Making art in Tudor Britain – workshop 4
Abstracts from Academic Workshops (2007-8)
Workshop 4 (December 2008)
English Portraiture: Holbein and Beyond
This workshop explored copies and versions of portraits after Holbein.
It also looked at assessing artistic processes through the means of technical analysis.
Workshop abstracts:
The contexts for the production and demand for painted versions and copies in the sixteenth and early seventeenth century
Tarnya Cooper, Curator, Sixteenth-century collections, National Portrait Gallery
Holbein and his copyists
Susan Foister, Director of Collections, National Gallery, London
Work in progress: Holbein’s drawing processes
Victoria Button, PhD Student V&A / Royal College of Art Conservation (AHRC Doctoral Award Student)
Henry VIII and versions of the non-Holbein portraits
Helen Dowding, Assistant Painting Conservator (MATB project), National Portrait Gallery
On panel making and the post-1600 Holbein panels
Ian Tyers, Dendrochronologist
Interpreting underdrawing: The results of the project and some comparatives
Rachel Billinge, Research Associate, Conservation Department, National Gallery, London
Technique and effects of the after-Holbein copyists
Sophie Plender, Senior Painting Conservator (MATB project), National Portrait Gallery
Achieving painterly effects: The role of the artists’ paint medium
Aviva Burnstock, Head of the Department of Conservation and Technology, The Courtauld Institute of Art
Tints, texture and original intent, in four after-Holbein portraits
Libby Sheldon, Lecturer in History of Art with Material Studies, University College London