Making Art in Tudor Britain – Workshop 4

Making Art in Tudor Britain

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.

Click on the titles below to view the 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