Making Art in Tudor Britain 
Workshop 1

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

Histories of Artistic Practice in Tudor England:
the research landscape, methodologies and uses of technical evidence

This workshop explored the historical and intellectual contexts for technical analysis of paintings and examined the methodology of the Making Art in Tudor Britain project. The workshop looked at the following research questions:

What information can be gained from technical analysis and what models do we have for interpreting the findings?

How can the investigation of painting materials inform our understanding of artistic practice and the meanings and functions of art objects?

How important is the concept of authorship in interpreting visual imagery at this date?

What were the contemporary agendas that influenced the production and appearance of painting?

Abstracts

Historiographies for Painting in Tudor Britain
Maurice Howard, Professor of Art History, University of Sussex

What can be gained by technical analysis? The example of the Luttrell portrait attributed to Hans Eworth
Aviva Burnstock, Head of Conservation, The Courtauld Institute, University of London

Paint analysis as a tool for understanding artistic process
Libby Sheldon, Lecturer in History of Art with Material Studies, UCL

Dendrochronology & the NPG's Tudor panel paintings
Ian Tyers, Independent Scientist

Tudor and Stuart paintings and drawings at Tate
Karen Hearn, Curator of 16th and 17th Century British Art, Tate Britain

Technical Analysis of Tudor and Stuart Portraits at the Tate
Rica Jones, Conservation Department, Tate Britain

English Painting Practice, reconciling documentary evidence and technical analysis
Tarnya Cooper, Curator, sixteenth-century collections, National Portrait Gallery

Questioning the Categories: The Medieval Religious Background to the Tudor Portrait
Gervase Rosser, St. Catherine's College, Oxford

The AHRC / NPG
Nigel Llewellyn, Head of Research, Tate National