Item Number: 149765
Title: Technical Studies of Paintings: Problems of Attribution (15th-17th Centuries) : Papers presented at the Nineteenth Symposium for the Study of Underdrawing and Technology in Painting held in Bruges, 11-13 September 2014
Author: Dubois A. ; J. Couvert ; T.-H. Borchert (eds)
Record created on 01/01/19
Description: Leuven: Peeters, 2018. 27cm., pbk., 377pp. illus.
Summary: Attributions are central questions in art history. Since the introduction of new examination methods such as radiography, infrared photography and reflectography, conventional art history has undergone major changes. Technical examinations can provide additional arguments for attributing works of art to individual artists or their workshops. However, technical studies often also reveal complex working methods, while new scientific imagery sometimes challenges accepted attributions and instigates reconsiderations of traditional attributions. The XIXth symposium for the Study of Underdrawing and Technology in Painting which was held in Bruges on 11-13 September 2014 was dedicated to technical studies of paintings: problems of attribution (15th-17th centuries). It focussed on the various ways in which technical studies can provide answers to the often complex issue of attribution and will discuss the challenges that art historians face in proposing conclusive theories.
Contents: Willem van Aelst and the Market for Still-life Painting in Paris. Reattribution of an Early Work, Melanie Gifford || The Beaune Last Judgement. Sorting out Rogier van der Weyden and his Assistants, Griet Steyaert and Rachel Billinge || Philip the Good Bare-headed. In Search for Original and Copy, Stephan Kemperdick || The Middendorf Altarpiece by a Follower of Hugo van der Goes, Maryan W. Ainsworth || Albrecht Bouts in Sibiu: a Unique Self-portrait in 'Memento Mori', Valentine Henderiks || Le Triptyque de l'Adoration des Mages (Turin-Gênes) et le mécénat d'Hendrik Keddekin, abbé de Ter Doest, Véronique Bücken || Revising Friedländer. The 'Underdrawing Connoisseurship' and the Master of the Turin Adoration, Maria Clelia Galassi || A New Virgo Lactans of the Gold Brocade Group, Caterina Virdis Limentani || The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Marés. An Unusual Altarpiece, Carmen Sandalinas Linares, Bart Fransen and Elisabeth Van Eyck || XRF Analysis of Pigments in the Donne Hours (Louvain-la-Neuve, Archives de l'Université, ms. A2), Anne Dubois || The Saint Michael Altarpiece in Spišská Kapitula. A Preliminary Report, Ingrid Ciulisová || The Goldene Tafel from Lüneburg, c. 1420. New Findings about Painting Process and Characteristics, Babette Hartwieg || Master or Assistant? Painted Alterations in the Pleydenwurff Workshop, Dagmar Hirschfelder (et al) || The Painted Wings of the Passion Altarpiece of Güstrow. A Vast Collective Enterprise, Catheline Périer-D'Ieteren || Reading between the Lines… Attribution Problems regarding Early Sixteenth Century Louvain Painters, Marjan Debaene and David Lainé || The Triptych of the True Cross in Veurne in Connection to a Drawing in Rotterdam. Working Process and Attribution, Judith Niessen and Margreet Wolters || The Contribution of Technical Art History to the Reconstruction of the Oeuvre of Pieter I Claeissens, Anne van Oosterwijk || Two 'New' Paintings by Jan de Beer. Technical Studies, Connoisseurship and Provenance Research, Peter van den Brink and Dan Ewing || The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem, Nicola Christie and Lucy Whitaker || The Oeuvre of Jan Swart van Groningen Reconsidered, Katrin Dyballa || Identifying Two Family Members in Jacob Cornelisz's Amsterdam Workshop: Cornelis Buys and Cornelis Anthonisz, Molly Faries and Daantje Meuwissen || Who is the Man in Red and Who Painted Him?, Mary Kempski and Lucy Whitaker || Hans Holbein Hans of Antwerp. Findings from the Recent Examination, Cleaning and Restoration, Claire Chorley || A Case of Mistaken Identity. A Version of the Good Shepherd by Pieter Brueghel the Younger, Dominique Allart (et al).
(Underdrawing and Technology in Painting, Symposia, 19)
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