Emilie is art historian and conservator of paintings. She studied art history (M.A, 1998) and painting conservation (M.A 2003) at the University of Paris I, Panthéon-Sorbonne. Her conservation studies were completed with internships at the Solomon R. Guggenheim Museum (New-York, United States, Fulbright grantee), in the Appolon Gallery in the Louvre (Paris, France) and in the Stedelijk Museum Amsterdam (the Netherlands).

She worked as freelance conservator in France before moving to the Netherlands in 2005. After having been employed by the Stedelijk Museum Amsterdam, she joined the staff of the Stichting Restauratie Atelier Limburg (SRAL) in 2005. In this context, she has worked almost exclusively since April 2006 for the Royal Palace Amsterdam project that focused on the conservation and restoration of large-scale 17 th century paintings on canvas.     

Since September 2008 she is part of the educational staff of the University ofAmsterdam, Master program conservation and restoration of cultural heritage. She teaches and coordinates the so-called module Object Gericht Practicum for the first year Master. The program involves amongst others examination and documentation of paintings' material and technical characteristics, restoration techniques for surface dirt and varnish removal from painted surfaces and consolidation of paint layers. Emilie is as well involved in the Minor and Post initial programs through the organization of practical workshops.

In 2011 Emilie started PhD research at the same university which concentrates on the impact of wax-resin lining for conservation and restoration of Dutch 17 th century large-scale paintings on canvas.  

M. van Eikema Hommes, E. Froment, 'Een doek van geene beteekenis' de nachtelijke samenswering van Claudius Civilis in het Schakerbos van Govert Flinck en Jürgen Ovens technisch onderzocht, in Oud Holland n°2-3, December 2011.                                            

E. Froment, M. van Eikema Hommes, The darkness of the nocturnal conspiracy of Claudius Civilis by Govert Flinck and Jürgen Ovens (1659-1662) in the royal Palace Amsterdam, in icom-cc triennial 16 th conference Lisbon, September 2011.

M. van Eikema Hommes, E. Froment, The decoration programme in the galleries of the Royal Palace Amsterdam : a harmonious interaction betweenpainting, architecture and light?,   in catalogue of the exhibition ` Opstand als Opdracht`, Stichting Royal Palace Amsterdam, July 2011, pp. 34 -53.

E. Froment, M. van Eikema Hommes, The gallery of the Royal Palace Amsterdam: interrelation between paintings, light and architecture?, in icom-cc working group sculpture, polychromy and architectural decoration, Rome, April 2010.

L. Wijnberg, E. Froment, K. J. van den Berg, A. Burnstock, Jasper Johns' Untitled 1964-'65, in Art Matters: Netherlands technical studies in art, Vol. 4 (2007). - ISBN 978-90-400-8340-2. - p. 68-80

Publications others

E. Froment, UvA Erfgoedlab: the Royal Palace Amsterdam, exhibition and research, in icom-cc newsletter 1, working group sculpture, polychromy and architectural decoration, triennium 2008-2011.

2011

Organization: Restauratoren Nederland: De Lissabon Cyclus ICOM-CC

Title : The darkness of the nocturnal conspiracy of Claudius Civilis by Govert Flinck and Jürgen Ovens (1659-1662) in the royal Palace Amsterdam.

Organization: Icom-cc triennial 16 th conference in Lisbon

Title: The darkness of the nocturnal conspiracy of Claudius Civilis by Govert Flinck and Jürgen Ovens (1659-1662) in the royal Palace Amsterdam,

2010

Organization: Icom-cc in Rome

Title: The gallery of the Royal Palace Amsterdam: interrelation between paintings, light and architecture?

Organization: Picture meeting, Instituut Collectie Nederland, Amsterdam

Title: The gallery of the Royal Palace Amsterdam: interrelation betweenpaintings, light and architecture?

2008

Organization: Picture meeting, Instituut Collectie Nederland, Amsterdam

Title: The darkness of "De samenswering van Claudius Civilis in het Schakerbosh", by Govert Flinck and Jurrien Ovens, Royal Palace Amsterdam: original technique or alteration?