Fra Noi Embrace Your Inner Italian
by Elena Ferrarin and Doug Graham
As a driving force behind Friends of the Uffizi Galleries, Lisa Marie Conte Browne has helped raise millions of dollars toward the restoration of the renowned art museum’s expansive collections.
Visitors flock by the millions each year to the Uffizi Galleries in Florence to marvel at its vast and dazzling array of art. Opened in 1769, it is one of the largest and best-known art museums in the world, boasting one of the most expansive collection of works from the Italian Renaissance.
The mission of Lisa Marie Conte Browne, president of Friends of the Uffizi Galleries, is to ensure that the museum remains vibrant for centuries to come. She works with museum leadership to identify pieces and rooms that are most in need of restoration and then rallies the Friends of Uffizi board and patrons to raise funds to make the restorations happen.
Conte Browne talked to Fra Noi about her Italian ancestry, how she came to lead the nonprofit and what it has accomplished in the nearly two decades since its founding.
Elena Ferrarin: Where did you grow up and what are your Italian roots?
Lisa Marie Conte Browne: I grew up in Bayonne, New Jersey, a town just 3 miles long and 1 mile wide. Despite its small size, growing up, it was home to eight Catholic churches, each representing a different community.
My church and grammar school was Our Lady of the Assumption, widely known as the Italian Catholic church.
My paternal grandfather immigrated to the United States from the Campania region of Italy when he was 19. My paternal grandmother was born in Connecticut, while both of my maternal grandparents were born in New Jersey.
Eventually, I moved to New York, and since the age of 28, I’ve made Florida my full-time home. When people ask about my heritage, I often say I’m three-quarters Neapolitan and one-quarter Sicilian — a blend that reflects my loyalty, passion, resilience and strong cultural identity.
EF: Did you grow up connected to your Italian heritage?
LMCB: I grew up living and breathing Italian traditions. Our home was influenced by all things Italian, from Armani and Capodimonte sculptures gracing our shelves to the comforting aroma of cotenne (braciole) simmering in our Sunday sauce, every detail reflecting our heritage.
The heart of it all was the kitchen, where I learned to cook at my maternal grandma’s knee. She measured nothing but duplicated identical. Grandma Mary didn’t just teach me how to make cream puffs; she passed down a legacy — of love, of family and of food. The memory of my grandma’s food is almost as soothing as her extra place at each table that she set — just in case someone dropped in.
EF: Where does your interest in the arts stem from?
LMCB: My parents filled my life with the beauty of art and nature. My father, an electrical engineer, and my mother, who owned a china shop, both shared their passions and art experiences with me. Growing up, it was completely normal for us to spend weekends visiting museums and art shows. The arts were simply a part of everyday life.
Though I was always drawn to the beauty of the artistic world, I received my Bachelor of Science from Florida Atlantic University, along with all my master’s work in developmental psychology. It wasn’t until the second chapter of my life that I returned to my artistic roots. Studying art in Florence rekindled something deep within me and eventually led me to this extraordinary opportunity of running the Friends of the Uffizi and helping others experience the transformative power of art.
EF: The Friends of the Uffizi Galleries was created in 2006. How did the nonprofit come about and how did you get involved?
LMCB: After spending a transformative summer in Florence studying art — with my mother graciously stepping in as caretaker for my 9-year-old son — I returned to Palm Beach, inspired and recharged. Soon after, I was approached by the chair of the Dreyfoos board (Dreyfoos School of the Arts is a public high school in West Palm Beach) with an invitation that would change the course of my professional life. He asked if I would meet with his attorney, who had just established a nonprofit 501(c)(3) … to enable American patrons to support the Uffizi Galleries, one of the world’s most iconic Renaissance institutions, while receiving a charitable tax benefit.
EF: What began as a meeting turned into a mission.
LMCB: My journey from executive director to president of this cherished organization has been one of deep passion, unwavering commitment and profound personal growth. Now, two decades later, the Friends of the Uffizi Galleries continues to fill my heart. It’s a role that honors not only my love of art and cultural heritage but also the many invaluable relationships I’ve built along the way.
EF: What kind of work does your position entail?
LMCB: Since the beginning of my tenure, I have worked closely with the museum’s director — first Antonio Natali in 2006, then Eike Schmidt and now Simone Verdi — who has always selected the restoration projects we support. This direct collaboration ensures that our contributions meet the Galleries’ most pressing and meaningful needs.
My role also includes maintaining a dynamic relationship with our dedicated board of directors, all of whom I had a hand in selecting. Together — with CEO Michael Bracci, Treasurer Bruce Crawford and each member of our passionate board — we have cultivated a thriving, deeply committed organization. Our strength lies in this close collaboration and shared love for the arts.
Daily, I engage with new patrons, long-standing supporters, and our board, fostering a vibrant and growing community of global art lovers who understand the importance of preserving Renaissance heritage. We found that education is one of our patrons’ most collectively agreed-upon gifts; so, if you take a look at our calendar of events, you may notice the lectures.
One of our proudest achievements is the creation of the Florentine Cultural Weekend, launched in 2008 and held every two years (with just one cycle missed due to the pandemic). This year’s gathering will take place October 16-25, 2025, and, as always, it will be a unique opportunity for our members to witness firsthand the results of the restorations they have made possible.
EF: Are there any restoration initiatives you’re especially proud of?
LMCB: I am immensely proud of the rooms we’ve restored, especially the Titian Room and the Michelangelo Room. One of the most significant undertakings was the six-year restoration of Leonardo da Vinci’s “Adoration of the Magi.”
The project closest to my heart is the restoration of the Valois Tapestries from the court of Catherine de’ Medici. From the beginning of our organization, these tapestries were on our to-do list. Yet, due to the scale and complexity of the task, none of our board members initially felt ready to take it on. I was even told they were not sexy enough.
It was only thanks to the vision and generosity of one remarkable patroness of the arts that we were able to begin. The restoration took a decade and a million dollars to complete, with the first tapestry restored in 2011. Seeing these masterpieces brought back to life has been one of the most fulfilling accomplishments of my career.
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