Painting in Britain 1500-1630: Production, Influences, and Patronage by Tarnya CooperPainting in Britain 1500-1630: Production, Influences, and Patronage by Tarnya Cooper

Painting in Britain 1500-1630: Production, Influences, and Patronage

EditorTarnya Cooper, Aviva Bunstock, Maurice Howard

Hardcover | September 27, 2015

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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 andconsumption 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 anddemonstrate 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 practiceare 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. Thefinal 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 andStuart painting.
Tarnya Cooper is Chief Curator at the National Portrait Gallery, London, UK. Aviva Bunstock is Head of the Departtment of Conservation and Technology at Courtauld Institute of Art, London, UK. Maurice Howard is Professor of History of Art at the University of Sussex, UK. Edward Town is Postdoctoral Research Associate at the Yale Center...
Title:Painting in Britain 1500-1630: Production, Influences, and PatronageFormat:HardcoverDimensions:400 pagesPublished:September 27, 2015Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0197265847

ISBN - 13:9780197265840

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Table of Contents

Tarnya Cooper and Maurice Howard: IntroductionTarnya Cooper and Maurice Howard: Artists, Patrons and the Contexts for the Production of Painted Images in Tudor and Jacobean EnglandPart 1 Material PracticesAviva Burnstock: Introduction1. Aviva Burnstock: Interpreting the Results of Technical Analysis2. Ian Tyers: Panel Making, Sources of Wood, Construction 'Trademarks' and Conclusions on the Making and Trade in the UK3. Sophie Plender: Materials, Techniques and Practice: The Relationship between Artists' Treatises and Painting Methods and Techniques in Tudor and Jacobean England4. Libby Sheldon: Palette, Practice and Purpose: Pigments and their Employment by Native and Anglo-Netherlandish Artists in Tudor and Jacobean Paintings5. Rachel Billinge: Artists' Underdrawing and the Workshop Transfer Process6. Klaas Jan van den Berg, Katrien Keune, Suzan de Groot and Henk van Keulen: Binding Media in Tudor and Jacobean Paintings7. Marie Louise Sauerberg: The Conservation of Paintings from the Tudor Era in the Context of Portraits of Elizabeth I8. Caroline Rae: Marcus Gheeraerts the Younger, John de Critz the Elder, Robert Peake the Elder and William LarkinPart 2 Tudor and Jacobean Painters and Their WorkshopsTarnya Cooper: Introduction9. 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 Context11. Victoria Button: 'Pictures by the Life': The Materials and Techniques of Holbein's Portrait Drawings12. 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 Reconsidered14. Edward Town: 'A Good Eye, and Steadfast Hand': Painting in London 1547-162515. Elizabeth Goldring: Heraldic Drawing and Painting in Early Modern England16. Karen Hearn: Migrant Artists in Jacobean London17. Catharine MacLeod: Robert Peake: Portraits, Patrons and Technical Evidence18. Anita Jansen and Johanneke Verhave: The Ambassador and the Painter: Sir Dudley Carleton Painted by Michiel van Mierevelt19. David Taylor: Gesture Recognition: Adam de Colone and the Transmission of Portrait Types from the Low Countries and England to ScotlandPart 3 Patronage, Markets and AudiencesMaurice Howard: Introduction20. Frederick Hepburn: 'pintor Yngles': The Earliest Evidence for Portraiture at the Court of Henry VII21. Charlotte Bolland: SAT SUPER EST': A Portrait of Henry Howard, Earl of Surrey22. Catherine Daunt: Heroes and Worthies: Emerging Antiquarianism and the Taste for Portrait Sets in England23. Robert Tittler: Painters' and Patrons' Circles in Provincial England, c.1580-164024. Susan Bracken: Collectors in England 1580-1630 - Evolutions in Taste