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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
21-22 May 2012


Inspired by the European project

    "Bosch and Bruegel: Four Paintings Magnified"

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


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    An unpublished Copy of the Temptation of St. Antony of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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