European Paintings 15th-18th Century

This richly illustrated volume brings together papers from the international conference Copying, Replicating & Emulating Paintings in the 15th-18th Century, inspired by the Bosch & Bruegel: Four Paintings Magnified project. Hosted by CATS in Copenhagen, the conference featured contributions from art historians, conservators, and scientists. Together, they examine how combined art historical and technical analysis offers new insights into workshop practices, materials, and meaning in early European painting traditions.

Inspired by the European project, Bosch & Bruegel: Four Paintings Magnified, this book contains papers from the international conference Copying, Replicating & Emulating Paintings in the 15th-18th Century in Copenhagen organised by the Centre for Art Technological Studies and Conservation (CATS). This multidisciplinary approach was reflected in the thoughtful and varied selection of art historians, conservators and scientists who presented papers over the two day conference. The authors in this extensively illustrated volume explore how art historical and technical examination of 15th-18th century European paintings conducted in tandem not only address key subjects such as meaning, materials and manufacturing techniques, but also allow fresh perspectives on the prevailing workshop practices of copying, replicating and emulating paintings.

Preface - Jorgen Wadum and Erma Hermens

1 Copies of Prototypes by Quentin Massys from the Workshop of his son Jan: the case of the butter Madonna - Maria Clelia Galassi

2 Emulating van Eyck: the significance of grisaille - Noelle Streeton

3 Pieter Brueghel as a copyist after Pieter Bruegel - Christina Currie and Dominique Allart

4 An unpublished copy of Hieronymus Bosch's Temptation of Saint Anthony - Catheline Perier-D'Ieteren

5 Two versions of a Boutsian Virgin and Child painting: questions of attribution, chronology and function - Eva de la Fuente Pedersen and Troels Filtenborg

Section 2 - England in the 16th-17th Century

6 A Technical Study of portraits of James VI and I attributed to John de Critz (d. 1642)
Artist, workshop and copies - Caroline Rae and Aviva Burnstock

7 Calling authenticity into question: investigating the production of versions and copies in Tudor portraiture - Sophie Plender & Polly Saltmarsh

8 Materials as Markers: how useful are distinctive materials as indicators of master or copyist? - Libby Sheldon and Gabriella Macaro

9 Michiel van Mierevelt - copy master. Exploring the oeuvre of the Van Mierevelt workshop - Anita Jansen and Johanneke Verhave

10 The problem of the portrait copies painted by Rubens in Madrid, 1628-29 - Jeremy Wood

11 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 - Julia Burdajewicz

12 After Raphael: The Hunterian Entombment copy examined in the context of copying practices in early 17th-century Rome - Helen Howard, Erma Hermens and Peter Black

13 The Strawberry Girl: repetition in Reynolds's studio practice - Alexandra Gent, Rica Jones and Rachel Morrison

14 Joseph Booth's chymical and mechanical paintings - David Saunders,

Preface - Jorgen Wadum and Erma Hermens

1 Copies of Prototypes by Quentin Massys from the Workshop of his son Jan: the case of the butter Madonna - Maria Clelia Galassi

2 Emulating van Eyck: the significance of grisaille - Noëlle Streeton

3 Pieter Brueghel as a copyist after Pieter Bruegel - Christina Currie and Dominique Allart

4 An unpublished copy of Hieronymus Bosch’s Temptation of Saint Anthony - Catheline Périer-D’Ieteren

5 Two versions of a Boutsian Virgin and Child painting: questions of attribution, chronology and function - Eva de la Fuente Pedersen and Troels Filtenborg

Section 2 - England in the 16th-17th Century

6 A Technical Study of portraits of James VI and I attributed to John de Critz (d. 1642); Artist, workshop and copies - Caroline Rae and Aviva Burnstock

7 Calling authenticity into question: investigating the production of versions and copies in Tudor portraiture - Sophie Plender & Polly Saltmarsh

8 Materials as Markers: how useful are distinctive materials as indicators of master or copyist? - Libby Sheldon and Gabriella Macaro

9 Michiel van Mierevelt – copy master. Exploring the oeuvre of the Van Mierevelt workshop - Anita Jansen and Johanneke Verhave

10 The problem of the portrait copies painted by Rubens in Madrid, 1628-29 - Jeremy Wood

11 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 - Julia Burdajewicz

12 After Raphael: The Hunterian Entombment copy examined in the context of copying practices in early 17th-century Rome - Helen Howard, Erma Hermens and Peter Black

13 The Strawberry Girl: repetition in Reynolds's studio practice - Alexandra Gent, Rica Jones and Rachel Morrison

14 Joseph Booth's chymical and mechanical paintings - David Saunders

• Edited by Erma Hermens