International Conference

Copying, Replicating & Emulating Paintings in the 15th-18th Century

Copenhagen 21-22 May 2012

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 fifteenth to eighteenth centuries.

Registration
Registration fee is € 160.
Students, presenters and poster contributors can register at a reduced rate: € 80

This fee covers the two day symposium, morning coffee & tea, lunch and afternoon refreshments both days, as well as a reception and an exclusive, private view of the exhibition ‘Illuminated -Tracing Bosch & Bruegel’ including the interdisciplinary and lavishly illustrated publication ‘On the trail of Bosch and Brueghel. Four paintings united under cross-examination’, Archetype Publications in collaboration with the National Gallery of Denmark / CATS.

Additional practical information, including accomodation possibilities and venue details, will be made available in due course from this website.

Registration is closed

Conference dinner at Restaurant Madklubben
The dinner is the relaxed conclusion of the first concentrated conference day, and is held in the inviting spaces of the well-reputed and popular Restaurant Madklubben (“The Food Club”).
The menu includes an aperitif, 3 courses, 3 glasses of wine, mineral water, and coffee.

Address:
Store Kongensgade 66
DK-1264 Copenhagen K
The dinner includes an aperitif, 3 courses, 3 glasses of wine and coffee
www.bistrobooking.dk/madklubben/

Directions:
http://maps.google.dk/maps?q=store+kongensgade+66&hl=da&ie=UTF8&ll=55.685061,
12.581577&spn=0.010572,0.031586&sll=55.686053,12.57823&sspn=0.010572,0.031586&
hnear=Store+Kongensgade+66,+1264+K%C3%B8benhavn,+K%C3%B8benhavn+K&t=m&z=15

Program Summary - view full program here (pdf)

Session 1: Emulations and Copies in the 15th-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

Special view of the exhibition Illuminated -Tracing Bosch & Bruegel

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

After an introduction by Eva de la Fuente Pedersen, senior research curator, viewing of the newly reinstalled galleries of European Art 1300-1800

Scientific Committee
Contributions will be published in ArtMatters: International Journal for Technical Art History, a peer reviewed on-line publication.

Dr Eva de la Fuente Pedersen, Senior Research Curator, National Gallery of Denmark
Dr Erma Hermens, Lord Kelvin Adam Smith lecturer in Technical art History, University of Glasgow, Scotland
Dr Sally J. Rush, Senior Lecturer History of Art, University of Glasgow, Scotland
Dr Ron Spronk, Professor of Art History, Queen's University, Kingston, Canada & Hieronymus Bosch Chair, Radboud Universiteit, Nijmegen, Netherlands
Dr Jørgen Wadum, Keeper of Conservation & Director CATS, National Gallery of Denmark
Mr Mads Chr. Christensen, Head of Scientific Dept., MSc., National Museum of Denmark.
Ms Greta Koppel, Curator of Dutch and Flemish paintings, Kadriorg Art Museum, Tallinn, Estonia
Mr Mikkel Scharff, Head of Department, the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, School of Conservation

The conference is organised by:

CATS/SMK & University of Glasgow

- within the framework of the Bosch & Bruegel project between Kadriorg Art Museum, Tallinn;  University of Glasgow / Glasgow Life; National Gallery of Denmark, Copenhagen and made possible thanks to generous support from the EU Culture Programme.