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