Making Art in Tudor Britain - Workshop 3
Making Art in Tudor Britain
Abstracts from Academic Workshops
Funded by the Arts and Humanities Research Council
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?
- Technique and Imitation
Susan Foister, Director of Collections, National Gallery
workshops in London, between integration and exclusion
Sophie Cassagnes-Brouquet, Universite de Toulouse le Mirail
in sixteenth-century European painting
Marika Spring, Scientific Department, National Gallery, London
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
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
a Virtuoso Painter: Cornelis Ketel's portrait of Adam Wachendorff
and Homo Bulla
B. Schoonhoven, A. Wallert and E. Metz
transmission of artistic conventions/visual vocabulary in Tudor
Tania String, Bristol University
Joanna Woodall, Courtauld Institute