EUROPEAN PAINTINGS 15TH–18TH CENTURY Copying, Replicating and Emulating CATS Proceedings, I, 2012 Edited by Erma Hermens Archetype Publications www.archetype.co.uk in association with This online publication is available as a paperback book from Archetype Publications, www.archetype.co.uk, ISBN 978-909492-06-6 First published 2014 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2014 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collaborative research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustrations: (top left) Jan Massys, Holy Family, oil on panel, 101 × 73 cm, Antwerp, Koninklijk Museum voor Schone Kunsten, signed and dated 1563. (© Koninklijk Museum voor Schone Kunsten, Antwerp); (bottom left) detail from Quinten Massys, Virgin and Child (Butter Madonna), oil on panel, 135 × 90 cm, Berlin, Gemäldegalerie. (© UGent, Gica&s); (top right) detail from Jan Massys (attr.), Virgin and Child, oil on panel, 84.5 × 74.5 cm, Brussels, Musées royaux des Beaux-Arts. (© UGent, Gica&s); (bottom right) Jan Massys, Virgin and Child, oil on panel, 78 × 60 cm, Genoa, Galleria di Palazzo Bianco, signed and dated 1552. (© Maria Clelia Galassi) Back cover illustration: Dieric Bouts workshop, Virgin and Child with a Rosary, after c.1459, oil on panel, 42.5 × 27.5 cm, Copenhagen, Statens Museum for Kunst, inv. DEP2. (© SMK.) Printed on acid-free paper Designed by Marcus Nichols at PDQ Digital Media Solutions Ltd. Typeset by PDQ Digital Media Solutions Ltd, Bungay CONTENTS Foreword vii Pieter Brueghel as a copyist after Pieter Bruegel 1 Christina Currie and Dominique Allart Copies of prototypes by Quentin Massys from the workshop of his son Jan: the case of the Butter Madonna 12 Maria Clelia Galassi An unpublished copy of Hieronymus Bosch’s Temptation of Saint Anthony 20 Catheline Périer-D’Ieteren Emulating van Eyck: the significance of grisaille 29 Noëlle L.W. Streeton Two versions of a Boutsian Virgin and Child painting: questions of attribution, chronology and function 36 Eva de la Fuente Pedersen and Troels Filtenborg Copies and versions: discussing Holbein’s legacy in England. Technical examination of copies of Holbein portraits 50 at the National Portrait Gallery Sophie Plender and Polly Saltmarsh A technical study of portraits of King James VI and I attributed to John de Critz the Elder (d.1642): artist, 58 workshop and copies Caroline Rae and Aviva Burnstock Michiel van Mierevelt, copy master: exploring the oeuvre of the Van Mierevelt workshop 67 Anita Jansen and Johanneke Verhave The Assumption of the Virgin by the studio of Peter Paul Rubens from the National Gallery of Art in Washington: 76 between master’s piece and student’s copy Julia Burdajewicz The problem of the portrait copies painted by Rubens in Madrid, 1628–29 87 Jeremy Wood After Raphael: the Hunterian Entombment copy examined in the context of copying practices in early 17th-century Rome 95 Peter Black, Erma Hermens and Helen Howard Materials as markers: how useful are distinctive materials as indicators of master or copyist? 105 Libby Sheldon and Gabriella Macaro Joseph Booth’s chymical and mechanical paintings 113 David Saunders The Strawberry Girl: repetition in Reynolds’s studio practice 122 Alexandra Gent, Rachel Morrison and Rica Jones v FOREWORD Whether you are reading this online or in a printed format, From a large number of submitted high quality papers the sci- we are pleased to present the proceedings of the conference entific committee made a representative selection that covers Copying, Replicating & Emulating Paintings in the 15th–18th more than three centuries, thereby illustrating a vast range of Century, organised by the Centre for Art Technological Studies artists and workshop practices. Thirteen peer-reviewed papers and Conservation (CATS), which took place at the Statens plus one invited paper on two intriguing Boutsian versions Museum for Kunst (SMK), the national gallery of Denmark, depicting The Virgin and Child, are presented in these online 21–22 May 2012. and print-on-demand conference proceedings, carefully and SMK, the National Museum of Denmark (NMD), and the eloquently edited by Dr Erma Hermens. School of Conservation (SoC) at the Royal Danish Academy of We hope you will find the proceedings enjoyable and Fine Arts, Schools of Architecture, Design and Conservation enlightening and that the information contained therein will (the three partners of CATS) all have a long tradition of stimulate further research into aspects of copying, replicating organising conferences, symposia and workshops on topics and emulating paintings of the past. of interest to an international audience. This conference was co-organised with the Technical Art On behalf of the organisers History Department at the University of Glasgow and was Prof Dr Jørgen Wadum made possible thanks to a substantial grant from the EU Director of CATS Culture Fund Programme (Strand 1.2.1 Collaborative pro- grammes). The theme was inspired by the project Tracing Dr Erma Hermens, editor Bosch and Bruegel: Four Paintings Magnified, a pan-European Lord Kelvin Adam Smith Senior Lecturer research project investigating four Netherlandish paintings in Technical Art History from the 16th century depicting Christ Driving the Traders College of Arts, University of Glasgow from the Temple. The paintings are currently in the collections of the Kadriorg Art Museum, Tallinn, SMK, Copenhagen, the Glasgow Museums, as well as in a private collection, and the research results are presented in the publication On the Trail Organising committee of Bosch and Bruegel: Four Paintings United under Cross- examination (edited by E. Hermens, London 2012, Archetype CATS Publications in association with CATS), the first in the C ATS Miriam Watts; Anne H. Christensen; Hannah Tempest; Series of Technical Studies. Jack Johnsen; Per Ingemann Hansen; Manuela Vernaccini; In connection with this international and interdiscipli- Mette Kokkenborg; Sarah Ferry; Sanne Capion Hansen; Sara nary project, the conference explored how the methodology Cadinanos; Kamila Marta Korbela; Ylenia Praticó; Marion of technical art history can be applied successfully to examine Limbrecht; Jørgen Wadum aspects of meaning, materials and manufacturing techniques, and can act as a catalyst for fresh perspectives on prevailing GLASGOW UNIVERSITY European workshop practices in the 15th to the 18th century. Erma Hermens vii Scientific committee Dr Eva de la Fuente Pedersen, Senior Research Curator, Statens Museum for Kunst, Copenhagen, Denmark Dr Erma Hermens, Lord Kelvin Adam Smith Senior Lecturer in Technical Art History, University of Glasgow, Scotland Dr Sally Rush, Senior Lecturer History of Art, University of Glasgow, Scotland Prof Dr Ron Spronk, Professor of Art History, Queen’s University, Kingston, Canada and Hieronymus Bosch Chair, Radboud Universiteit, Nijmegen, The Netherlands Prof Dr Jørgen Wadum, Director of Conservation & Director of CATS, Statens Museum for Kunst, Copenhagen, Denmark Mads Chr. Christensen, Head of Scientific Department, MSc, National Museum of Denmark, Copenhagen, Denmark Greta Koppel, Curator of Dutch and Flemish Paintings, Kadriorg Art Museum, Tallinn, Estonia Mikkel Scharff, Associate Professor and Head of Department, The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, School of Conservation, Copenhagen, Denmark PIETER BRUEGHEL AS A COPYIST AFTER PIETER BRUEGEL Christina Currie and Dominique Allart ABSTRACT A long-term technical study of Pieter Brueghel the Younger’s replicas after his father has led to a deep understanding of his studio practice and copying process. is paper summarises the major ndings, including the type and preparation of his panel supports, the materials, function and style of his underdrawings and the systematic build-up of his paint layers using identical reserves for copies of the same composition. Brueghel’s design transfer technique – using pounced cartoons – is positively identi ed in one painting using infrared re ectography and inferred in his other copies through the use of reconstructions and overlaying tracings of multiple copies of the same compositions. at several hands contributed to the production is shown through stylistic analysis. Most of the signed paintings, however, seem to betray the work of a single hand at both the underdrawing and painting stages. is hand is likely to be that of the master himself. Finally, evidence from Pieter Bruegel the Elder’s original paintings, reconsidered in the context of the