Making Art in Tudor Britain - Workshop 3

Making Art in Tudor Britain

Abstracts from Academic Workshops (2007-8)
Funded by the Arts and Humanities Research Council

Workshop 3 (March 2008)
Foreign Artists working in England in the early Sixteenth century

The workshop looked at the following research questions:

What interchanges took place between English and Foreign artists?

How distinct are the material practises of Anglo-Netherlandish artists?

What does the identification of under drawing tell us about artistic practise?

How helpful are national categories and when do 'émigré' artists become 'English'?

To what extent do foreign artists help direct taste in England?

Holbein - Technique and Imitation
Susan Foister, Director of Collections, National Gallery

Netherlandish workshops in London, between integration and exclusion
Sophie Cassagnes-Brouquet, Universite de Toulouse le Mirail

Pigments in sixteenth-century European painting
Marika Spring, Scientific Department, National Gallery, London

Painting technique in Bruges' portraiture of the sixteenth century
Till-Holger Borchert, Dorothy K. Hohenberg Chair of Excellence in Art History
Art Department, The University of Memphis

Paintings associated with Guillim Scrots: some technical evidence
Catharine MacLeod, Curator of seventeenth-century collections, National Portrait Gallery

Hans Eworth: Four case studies in painting method and technique from the National Portrait Gallery
Tarnya Cooper, Curator of sixteenth-century collections, National Portrait Gallery

Antonis Mor and the portrait of Thomas Gresham
Michel van de Laar, Margreet Wolters, Arie Wallert, Rijksmuseum, Amsterdam

Becoming a Virtuoso Painter: Cornelis Ketel's portrait of Adam Wachendorff and Homo Bulla
B. Schoonhoven, A. Wallert and E. Metz

The transmission of artistic conventions/visual vocabulary in Tudor portraits
Tania String, Bristol University

Summary
Joanna Woodall, Courtauld Institute