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Subject: Conference on copying, replicating and paintings in the 15th-18th century

Conference on copying, replicating and paintings in the 15th-18th century

From: Anne Haack Christensen <anne.christensen<-at->
Date: Wednesday, January 25, 2012
Conference on Copying, Replicating and Emulating Paintings in the
15th-18th Century
National Gallery of Denmark
Copenhagen,
21-22 May 2012

<URL:http://www.smk.dk/en/>

Inspired by the European project

    "Bosch and Bruegel: Four Paintings Magnified"
    <URL:http://www.bosch-bruegel.com>

this conference aims to explore how art historical and technical
examination of paintings in tandem can address key subjects as
meaning, materials and manufacturing techniques, as well as be a
catalyst for fresh perspectives on prevailing European workshop
practices when copying, replicating and emulating paintings in the
15th 18th centuries.

Read more and register here before March 15, 2012

    <URL:http://www.smk.dk/cats-conference>

Program Summary

Session 1
Emulations and Copies in the 16th Century

    Matthijs Ilsink
    Inversive emulation: Pieter Bruegel and the Cripples from Croton

    Maria Clelia Galassi
    Copying Quentin Massys' Prototypes in the Workshop of His Son
    Jan: The Case of the Butter Madonna

    Noelle Streeton
    Emulating van Eyck: the significance of grisaille

    Christina Currie and Dominique Allart
    Pieter Brueghel as a copyist after Pieter Bruegel

    Catheline Perier-D'Ieteren
    An unpublished Copy of the Temptation of St. Antony of
    Hieronymus Bosch: Original and its Multiples

    Jos Koldeweij
    The Bosch Research and Conservation Project

Session 2
England 16th-17th Century

    Caroline Rae and Aviva Burnstock
    Technical study of Portraits of James I attributed to John de
    Critz (c.1552-1642); Artist workshop and copies

    Sophie Plender and Polly Saltmarsh
    Copies and versions: Discussing Holbein's legacy in England.
    Technical examination of copies of Holbein portraits at the
    National Portrait Gallery

Session 3
Materials as Markers

    Melanie Gifford
    Material innovation and convention

    Libby Sheldon and Gabriella Macaro
    Materials as markers of a workshop: How useful are distinctive
    painting materials as indicators of Master, follower or copyist?

Session 4
>From the Netherlands to Antwerp, 17th-18th Century

    Anita Jansen and Johanneke Verhave
    Michiel van Mierevelt: Copy master. Exploring the oeuvre of the
    Van Mierevelt workshop

    Lidwien Wosten and Annetje Boersma
    Pieter van der Werff, a study on copying portraits of chamber
    members of the VOC in Rotterdam

    Christa Gattringer
    Frans Snyder's (1579-1657) Studio Practice

Session 5
Rubens and his Workshop

    Jeremy Wood
    The problem of Rubens's copies painted in Madrid in 1628-29

    Julia Burdajewicz
    Assumption of the Virgin by studio of Peter paul Rubens from the
    National Gallery of Art in Washington - between master's piece
    and student's copy

Session 6
Italian Copies

    James Hamm, Dan Kushel and Allen Kosanovich
    A Lost Michelangelo Discovered?

    Helen Howard, Erma Hermens and Peter Black
    A Raphael. Lanfranco or what? The Hunterian Entombment copy
    examined in the context of copying practices in early
    17th-century Rome

Session 7
18th-19th Century Copies

    Alexandra Gent, Rica Jones and Rachel Morrison
    The Strawberry Girl: Repetition in Reynolds's Studio Practice

    David Saunders
    Joseph Booth's chymical and mechanical copies

The conference language will be English

Anne Haack Christensen
Paintings Conservator
National Gallery of Denmark
Solvgade 48-50
1307 Denmark


                                  ***
                  Conservation DistList Instance 25:35
                Distributed: Saturday, January 28, 2012
                       Message Id: cdl-25-35-006
                                  ***
Received on Wednesday, 25 January, 2012

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