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

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Tarnya Cooper (Chief Curator, Chief Curator, National Portrait Gallery, London) Aviva Bunstock (Head of the Dept of Conservation & Technology, Head of the Dept of Conservation & Technology, Courtauld Institute of Art, London)

Painting in Britain 1500-1630

Production, Influences, and Patronage

Tarnya Cooper (Chief Curator, Chief Curator, National Portrait Gallery, London), Aviva Bunstock (Head of the Dept of Conservation & Technology, Head of the Dept of Conservation & Technology, Courtauld Institute of Art, London), Maurice Howard (Professor of History of Art, Professor of History of Art, University of Sussex) , Edward Town (Postdoctoral Research Associate, Postdoctoral Research Associate, Yale Center for British Art)

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English

Oxford University Press
08 September 2015

Conservation, restoration & care of artworks; Renaissance art; Painting & paintings

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.

Edited by: Tarnya Cooper (Chief Curator Chief Curator National Portrait Gallery London), Aviva Bunstock (Head of the Dept of Conservation & Technology, Head of the Dept of Conservation & Technology, Courtauld Institute of Art, London), Maurice Howard (Professor of History of Art, Professor of History of Art, University of Sussex), Edward Town (Postdoctoral Research Associate, Postdoctoral Research Associate, Yale Center for British Art)
Imprint: Oxford University Press
Country of Publication: United Kingdom
Dimensions: Height: 286mm, Width: 221mm, Spine: 35mm
Weight: 2g
ISBN: 9780197265840
ISBN 10: 0197265847
Pages: 400
Publication Date: 08 September 2015
Audience: College/higher education , Further / Higher Education
Format: Hardback
Publisher's Status: Active

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

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

It is difficult to overstate the magnitude of the scholarship represented in this volume, the skill with which the essays deal with a large corpus of data in with such clarity and concision, and the attractive presentation of the book as a whole. Nicholas Grindle, The British Art Journal