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
