Painting in Britain 1500-1630 by Cooper, Tarnya; Cooper, Tarnya; Bunstock, Aviva;

Rövid leírás:

This overview answers key questions about the production and consumption of art in Britain in the 16th and early 17th century, integrating art history, history, and conservation science. The lavish illustrations allow the reader to engage directly with the new material and to see some of the most famous Tudor and Jacobean paintings in a new light.

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Hosszú leírás:

This book is the first major essay volume in over a decade to focus on Tudor and Jacobean painting. Its interdisciplinary approach reflects the dynamic state of research in the field, utilising a range of methodologies in order to answer key art historical questions about the production and consumption of art in Britain in the 16th and early 17th century.
The introduction sets the tone for the interdisciplinary approach that is taken throughout the volume .It brings together a discussion of the context for the production of painted images in Tudor and Jacobean England with a selection of technical images of twenty paintings that span the period and demonstrate the information that can be gained from material analysis of paintings.
In further chapters, leading exponents of painting conservation and conservation science discuss the material practices of the period, using and explaining a range of analytical techniques, such as infrared reflectography and dendochronology. Questions of authorship and aspects of workshop practice are also discussed. As well as looking at specific artists and their studios, the authors take a broader view in order to capture information about the range of artistic production during the period, stretching from the production of medieval rood screens to the position of heraldic painters. The final section of the book addresses artistic patronage, from the commissioning of works by kings and courtiers, to the regional networks that developed during the period and the influence of a developing antiquarianism on the market for paintings.
The book is lavishly illustrated in colour throughout, with reproductions of whole paintings and many details selected to amplify the text. It will be an essential source for those working in the fields of art history, conservation and material science, and of interest to lovers of British Tudor and Stuart painting.

It is difficult to overstate the magnitude of the scholarship represented in this volume, the skill with which the essays deal with a large corpus of data in with such clarity and concision, and the attractive presentation of the book as a whole.

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Tartalomjegyzék:

• Introduction


• Artists, Patrons and the Contexts for the Production of Painted Images in Tudor and Jacobean England


• Part I Material Practices


• Introduction


• 1: Aviva Burnstock: Interpreting the Results of Technical Analysis


• 2: Ian Tyers: Panel Making, Sources of Wood, Construction 'Trademarks' and Conclusions on the Making and Trade in the UK


• 3: Sophie Plender: Materials, Techniques and Practice: The Relationship between Artists' Treatises and Painting Methods and Techniques in Tudor and Jacobean England


• 4: Libby Sheldon: Palette, Practice and Purpose: Pigments and their Employment by Native and Anglo-Netherlandish Artists in Tudor and Jacobean Paintings


• 5: Rachel Billinge: Artists' Underdrawing and the Workshop Transfer Process


• 6: Klaas Jan van den Berg, Katrien Keune, Suzan de Groot and Henk van Keulen: Binding Media in Tudor and Jacobean Paintings


• 7: Marie Louise Sauerberg: The Conservation of Paintings from the Tudor Era in the Context of Portraits of Elizabeth I


• 8: Caroline Rae: Marcus Gheeraerts the Younger, John de Critz the Elder, Robert Peake the Elder and William Larkin


• Part 2 Tudor and Jacobean Painters and Their Workshops


• Introduction


• 9: Lucy J. Wrapson: A Medieval Context for the Artistic Production of Painted Surfaces in England: Evidence from East Anglia (c.1400-50)


• 10: Susan Foister: Distinctive or Different? English Artistic Practices in a European Context


• 11: Victoria Button: 'Pictures by the Life': The Materials and Techniques of Holbein's Portrait Drawings


• 12: Hope Walker: Talent and Adversity: A Reassessment of the Life and Works of Hans Eworth of Antwerp and London (active 1540-74)


• 13: Katherine Coombs and Alan Derbyshire: . Nicholas Hilliard's Workshop Practice Reconsidered


• 14: Edward Town: 'A Good Eye, and Steadfast Hand': Painting in London 1547-1625


• 15: Elizabeth Goldring: Heraldic Drawing and Painting in Early Modern England


• 16: Karen Hearn: Migrant Artists in Jacobean London


• 17: Catharine MacLeod: Robert Peake: Portraits, Patrons and Technical Evidence


• 18: Anita Jansen and Johanneke Verhave: The Ambassador and the Painter: Sir Dudley Carleton Painted by Michiel van Mierevelt


• 19: David Taylor: Gesture Recognition: Adam de Colone and the Transmission of Portrait Types from the Low Countries and England to Scotland


• Part 3 Patronage, Markets and Audiences


• Introduction


• 20: Frederick Hepburn: 'pintor Ynglés': The Earliest Evidence for Portraiture at the Court of Henry VII


• 21: Charlotte Bolland: SAT SUPER EST': A Portrait of Henry Howard, Earl of Surrey


• 22: Catherine Daunt: Heroes and Worthies: Emerging Antiquarianism and the Taste for Portrait Sets in England


• 23: Robert Tittler: Painters' and Patrons' Circles in Provincial England, c.1580-1640


• 24: Susan Bracken: Collectors in England 1580-1630 - Evolutions in Taste

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