Astrid Harth, PhD, City University of Hong Kong, Hong Kong, China
Dr. Astrid Harth is an Assistant Professor at the City University of Hong Kong. She is an art historian and conservation scientist (B.A. and M.A.) and holds a PhD in Art Science from Ghent University. Before joining CityUHK, she was a Postdoctoral Fellow of the Research Foundation Flanders (Belgium) and a visiting scholar at Columbia University. Her research focuses on the field of Technical Art History, which is aimed at connecting the scientific study of the materiality of artworks with art-historical research. She has received competitive research grants from the Research Foundation Flanders, the Integrating Platforms for the European Research Infrastructure ON Heritage Science (IPERION HS), The Metropolitan Museum of Art (Chester Dale Fellowship), and the University Grants Committee (UGC) Hong Kong.
Maryan Ainsworth, PhD, The Metropolitan Museum of Art, New York, USA
Dr. Maryan Ainsworth is Alvaro Saieh Curator Emerita of European Paintings at The Metropolitan Museum of Art. She received her B.A. and M.A. degrees in art history from Oberlin College and her Ph.D. from Yale University. During her 43-year career at The Met, she has specialized in the technical examination of paintings and trained over 25 Slifka Fellows in Technical Art History. She has served as Adjunct Professor at Barnard College and the Institute of Fine Arts of New York University, as the Kress-Beinecke Professor at CASVA at the National Gallery in Washington, and as the Robert Janson-La Palme visiting professor at Princeton. For her contributions to the culture and art history of Belgium, she was awarded the Knight of the Order of the Crown in 2001, and the Knight of the Order of Léopold in 2011. Among the award-winning books of which she is the sole or a major contributing author are: Petrus Christus, Renaissance Master of Bruges (1994); From Van Eyck to Bruegel, Early Netherlandish Painting in The Metropolitan Museum of Art (1998); Gerard David, Purity of Vision in an Age of Transition (1998); Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance (2010); German Paintings in The Metropolitan Museum of Art 1350—1600 (2013); and Grand Design, Pieter Coecke van Aelst and Renaissance Tapestry (2014). Recent examples of her Technical Art History methodology are the online entries on The Met’s early Netherlandish paintings and a book on Jan van Eyck’s Crucifixion and Last Judgment (2022).
