Extended Abstracts and videos

Abstracts of papers presented at Tudor and Jacobean Painting: Production, Influences and Patronage
Funded by the British Academy and The Paul Mellon Centre for Studies in British Art

Making Art in Tudor Britain: Conference introduction with Tarnya Cooper

Tarnya Cooper, Curator, Sixteenth-century collections, National Portrait Gallery
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Looking beneath the surface: infrared reflectography and the making Tudor art project
Rachel Billinge, Conservation Research Associate, National Gallery, London

Interpreting technical and analytical evidence in historical context
Aviva Burnstock, Head of the Department of Conservation and Technology, The Courtauld Institute of Art
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From drawing to painting: an exploration of the function of Holbein’s portrait drawings
Victoria Button, PhD candidate V&A / Royal College of Art Conservation
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Hans Holbein’s ‘Hans of Antwerp’
Claire Chorley, Paintings Conservator, The Royal Collection
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Towards a history of the market for portrait painting and commissioning practices in England 1550-1610
Tarnya Cooper, Curator, Sixteenth-century collections, National Portrait Gallery
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Evidence from portrait sets and multiple copies: a portrait of Richard III in focus
Catherine Daunt, Assistant Curator, National Portrait Gallery
Sally Marriott, Assistant Research Conservator, National Portrait Gallery
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Spes kneels to the Queen: a remarkable appeal for Elizabethan royal patronage
David Evett, Professor of English Emeritus, Cleveland State University
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Native and foreign practice – distinctive or different?
Susan Foister, Director of Collections, National Gallery, London
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Elizabethan and Jacobean painter-heralds
Elizabeth Goldring, Associate Fellow, Centre for the Study of the Renaissance, University of Warwick

Jacobean migrant artists 1603-1625
Karen Hearn, Curator of sixteenth- and seventeenth-century British Art, Tate

The earliest evidence for portraiture at the court of Henry VII
Frederick Hepburn, Independent Scholar
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Portraits of James V of Scotland and the celebration of dynasty
Erma Hermens, Lord Kelvin-Adam Smith Fellow in Technical Art History, University of Glasgow
Sally Rush, Senior Lecturer, History of Art, University of Glasgow

The imitation of architecture: decorative wall surfaces in Tudor interiors
Maurice Howard, Professor of Art History, University of Sussex
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‘Painting for the English’, the English portraits in the oeuvre of Michiel van Mierevelt
Anita Jansen, Art historian and Curator, Het Prinsenhof, Delft and project leader of ‘The Factory of Van Mierevelt’
Johanneke Verhave, Art historian and paintings restorer, researcher of painting technique for ‘The Factory of Van Mierevelt’

George Gower, Serjeant Painter
Rica Jones, Senior Conservator of Paintings, Tate

The fate of a board: four paintings from Trinity College
Christine Slottved Kimbriel, Conservator, Hamilton Kerr Institute
Spike Bucklow, Research Scientist, Hamilton Kerr Institute
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Robert Peake: technical evidence and patronage
Catharine MacLeod, Curator, Seventeenth-century collections, National Portrait Gallery
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On eighteenth-century representations of Elizabeth I – a case study of a repainted Tudor portrait
Marie Louise Sauerberg, Paintings Conservator and Assistant to the Director, Hamilton Kerr Institute
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Colour, texture and original appearance: new discoveries and re-evaluations of Tudor and Jacobean painting practices
Libby Sheldon, Lecturer in History of Art with Material Studies, University College London
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Gesture recognition: Adam de Colone and the transmission of portrait types from the Low Countries and England to Scotland
David Taylor, Senior Curator, Scottish National Portrait Gallery
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The Manteo portrait of Queen Elizabeth I
Larry E. Tise, Wilbur and Orville Wright Distinguished Professor of History, East Carolina University, Greenville
Sara N. James, Professor of Art History, Mary Baldwin College, Staunton, VA

Circles of patrons and painters: regional portrait activity in Kent and Cheshire
Robert Tittler, 'Distinguished Professor of History, Emeritus', Concordia University, Montreal, Canada
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Understanding the trade, production and use of wooden panels for paintings in sixteenth- and seventeenth-century England
Ian Tyers, Dendrochronologist
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Exploring the London stranger-painters: Hans Eworth and his contemporaries
Hope Walker, PhD candidate, The Courtauld Institute of Art

The Face of a “Thug”: an example of sixteenth-century portraiture or a nineteenth-century pastiche
Natasha Walker, Paintings Conservator, Tate
Jacqueline Ridge, Keeper of Conservation, National Galleries of Scotland
Karen Hearn, Curator of Sixteenth and Seventeenth-Century British Art, Tate
Joyce Townsend, Senior Conservation Scientist, Tate 

East Anglian rood screens in the Tudor period
Lucy Wrapson, Conservator and Research Associate, Hamilton Kerr Institute
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