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Zusatztext no redundancy, no repetition here, but rather twenty-four well-written essays, each generously illustrated, to present an organic account of picture making in the English Renaissance. Informationen zum Autor Tarnya Cooper, Chief Curator, National Portrait Gallery, London, Aviva Bunstock, Head of the Dept of Conservation & Technology, Courtauld Institute of Art, London, Maurice Howard, Professor of History of Art, University of Sussex, Edward Town, Postdoctoral Research Associate, Yale Center for British Art Klappentext 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. Zusammenfassung 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. Inhaltsverzeichnis 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 W...
