Inspired by the European project Bosch & 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 to 18th centuries.
Read more and register here before March 15, 2012: 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
Noëlle Streeton: Emulating van Eyck: the significance of grisaille
Christina Currie & Dominique Allart: Pieter Brueghel as a copyist after Pieter Bruegel
Catheline Périer-D’Ieteren: An unpublished Copy of the Temptation of St. Antony of Hieronymus Bosch: Original and its Multiples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 & Aviva Burnstock: Technical study of Portraits of James I attributed to John de Critz (c.1552-1642); Artist workshop and copies
Sophie Plender & Polly Saltmarsh: Copies and versions: Discussiong 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 & 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 & Johanneke Verhave: Michiel van Mierevelt – Copy master. Exploring the oeuvre of the Van Mierevelt workshop
Lidwien Wösten & 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 & Allen Kosanovich: A Lost Michelangelo Discovered?
Helen Howard, Erma Hermens & 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 & 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