This volume is about Netherlandish workshop practice from the late fifteenth century to the 1560s. Some articles present the results of new technical studies that are comprehensive in nature, revealing the inter-relationship between prints and painting practices, modes of collaboration, shifts in procedure, the development and use of shop models, and the impact of international commerce. Others present new documentary evidence and new methods of historical statistics revealing trends in workshop size, career trajectories, and immigration. The essays have been collected around the theme of a session on workshop practice organized by Molly Faries for the 2002 Historians of Netherlandish Art International Conference held in Antwerp. Table of Contents: Molly Faries, ‘Making and Marketing: Studies of the Painting Process’; Micha Leeflang, ‘The Saint Reinhold Altarpiece by Joos van Cleve and his Workshop: New Insights into Albrecht Dürer’s Influence on the Working Process’; Ron Spronk and Catharina van Daalen, ‘Two Scenes from the Passion at the Harvard Art Museums: a Tale of Two Antwerp Workshops?’; Daantje Meuwissen, ‘A Painter in Black and White: the Symbiotic Relationship between the Paintings and Woodcuts of Jacob Cornelisz. van Oostsanen’; Anne H. van Buren, ‘Collaboration in Manuscripts’; Maryan Ainsworth, ‘Romanism as a Catalyst for Change in Bernard Van Orley’s Workshop Practices’; Linda Jansen, ‘Shop Collaboration in the Painting of Background Landscapes in the Workshop of Pieter Coecke van Aelst’; H. Verougstraete and R. Van Schoute, ‘Copies, Pastiches, and Forgeries after Bosch’; Margreet Wolters, ‘Creativity and Efficiency: Joachim Beuckelaer’s Use of Patterns and Models’; Maria Galassi, ‘Jan Massys and Artistic Relationships between Antwerp and Genoa during the Sixteenth Century’; Liesbeth Helmus, ‘Journeymen and Servants: Sixteenth-century Employment Contracts with Painters from the Netherlands’; Maximiliaan P.J. Martens and Natasja Peeters, ‘Artists by Numbers: Quantifying Artists’ Trades in Sixteenth-century Antwerp’ 20051221

lgli/04. m.mef-eb.6.09070802050003050106000509.pdf

lgrsnf/04. m.mef-eb.6.09070802050003050106000509.pdf

zlib/no-category/M. Faries (editor)/Making and Marketing: Studies of the Painting Process in Fifteenth- and Sixteenth- Century Netherlandish Workshops (Me Fecit)_25165763.pdf

Making and marketing studies of the painting process in fifteenth- and sixteenth-century Netherlandish workshops ; [derives from a session organized for the Historians of Netherlandish Art International Conference entitled "Painters' Workshops in the Sixteenth-Century Netherlands", which was held in Antwerp in March, 2002

edited by Molly Faries

Brepols Publishers

Belgium - French speaking, Belgium

Turnhout, Belgium, 2006

Turnhout, cop. 2006

April 30, 2007

Internet Archive

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Some essays derived from a session organized for the Historians of Netherlandish Art International Conference entitled " Painters' workshops in the sixteenth-century Netherlands" held in Antwerp, March 2002.--Cf. p. vii.
Includes bibliographical references (p. 223-242).

This volume is about Netherlandish workshop practice from the late fifteenth century to the 1560s. Some articles present the results of new technical studies that are comprehensive in nature, revealing the inter-relationship between prints and painting practices, modes of collaboration, shifts in procedure, the development and use of shop models, and the impact of international commerce. Others present new documentary evidence and new methods of historical statistics revealing trends in workshop size, career trajectories, and immigration. The essays have been collected around the theme of a session on workshop practice organized by Molly Faries for the 2002 Historians of Netherlandish Art International Conference held in Antwerp. Table of Contents: Molly Faries, ‘Making and Marketing: Studies of the Painting Process’; Micha Leeflang, ‘The Saint Reinhold Altarpiece by Joos van Cleve and his Workshop: New Insights into Albrecht DÃ1⁄4rer’s Influence on the Working Process’; Ron Spronk and Catharina van Daalen, ‘Two Scenes from the Passion at the Harvard Art Museums: a Tale of Two Antwerp Workshops?’; Daantje Meuwissen, ‘A Painter in Black and White: the Symbiotic Relationship between the Paintings and Woodcuts of Jacob Cornelisz. van Oostsanen’; Anne H. van Buren, ‘Collaboration in Manuscripts’; Maryan Ainsworth, ‘Romanism as a Catalyst for Change in Bernard Van Orley’s Workshop Practices’; Linda Jansen, ‘Shop Collaboration in the Painting of Background Landscapes in the Workshop of Pieter Coecke van Aelst’; H. Verougstraete and R. Van Schoute, ‘Copies, Pastiches, and Forgeries after Bosch’; Margreet Wolters, ‘Creativity and Efficiency: Joachim Beuckelaer’s Use of Patterns and Models’; Maria Galassi, ‘Jan Massys and Artistic Relationships between Antwerp and Genoa during the Sixteenth Century’; Liesbeth Helmus, ‘Journeymen and Servants: Sixteenth-century Employment Contracts with Painters from the Netherlands’; Maximiliaan P.J. Martens and Natasja Peeters, ‘Artists by Numbers: Quantifying Artists’ Trades in Sixteenth-century Antwerp’ 20051221

2023-05-30