Programme

IMPRESSIONS OF COLOUR
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Convenors: Ad Stijnman & Elizabeth Savage, with Emily Gray
IMPRESSIONS OF COLOUR
Rediscovering Colour in Early Modern Printmaking, 1400-1700

9-10 December 2011
Cambridge University


 

Click here to download the full programme with abstracts for Impressions of Colour (PDF; 802 KB)

Day 1: Techniques and Technical Approaches to Early Colour Printing

9.45-10:30      Keynote: Peter Parshall (former Curator of Old Master Prints, National Gallery of Art, Washington, DC): On Colour in Printing
Chair: Jean Michel Massing (Professor, History of Art, King’s College, University of Cambridge)

11.00-12.30    Panel: Between Hand and Machine, 1400-1500
Chair: David McKitterick (Librarian and Fellow, Trinity College, University of Cambridge)

  • Lieve Watteeuw (Conservator, Illuminare – Centre for the Study of Medieval Art, Catholic University Leuven) & Jan Van der Stock (Director, Illuminare – Centre for the Study of Medieval Art, Catholic University Leuven): The ‘Virgin and Child with Four Female Saints’ or the So-called ‘Brussels Madonna of 1418’ Reconsidered
  • Thomas Primeau (Director of Conservation and Paper Conservator, Baltimore Museum of Art): Stencil Colouring for the Mass Production of Coloured Prints
  • Kathryn Rudy (Lecturer, Art History, University of St Andrews): The Birgittines of The Netherlands: Experimental Colourists

12.30-14.30    Displays & Demo

  • FITZWILLIAM MUSEUM
    DISPLAY: COLOUR PRINTS BEFORE 1700 IN THE FITZWILLIAM MUSUEM

    Craig Hartley (Senior Assistant Keeper (Prints)), Elenor Ling (Documentation Assistant) and Amy Marquis (Study Room Supervisor)
  • HISTORICAL PRINTING ROOM
    DEMO: HISTORICAL COLOUR PRINTING TECHNIQUES

    (Historical Printing Room, Cambridge University Library) 
    Nick Smith (former Deputy Head of Rare Books, Cambridge University Library
  • CAMBRIDGE UNIVERSITY LIBRARY
    DISPLAY: COLOUR-PRINTED BOOK ILLUSTRATIONS 1485-1700

    Katie Birkwood (Rare Books Specialist)

14.30-15.30    Panel: Technical Approaches to Late Medieval Colour Printing, 1400-1500
Chair: Linda Stiber Morenus (Paper Conservator, Library of Congress)

  • Doris Oltrogge (Institute for Conservation Sciences, Cologne): Colour Printing in the Late 15th and 16th Centuries: Recipes and Analysis
  • Mayumi Ikeda (Postdoctoral Fellow, Japan Society of the Promotion of Science, Keio University): Colour Matters: The Fust and Schöffer Office and the Printing of the Two-Coloured Initials in the 1457 Mainz Psalter

15.30-17.00    Panel: Colour Printing in Workshop Practice, 1500-1700
Chair: Elizabeth Upper (PhD Candidate, History of Art, King’s College, University of Cambridge)

  • Linda Stiber Morenus (Paper Conservator, Library of Congress): Chiaroscuro Woodcut Printing in 16th century Italy: Technique in Relation to Artistic Style
  • Ad Stijnman (PhD Candidate, University of Amsterdam):The Development of Colour Intaglio Printing
  • Sarah Lowengard (Associate Professor, Cooper Union, New York): To the Center from the Periphery: Technological and Social Changes in Colour-printing Workshops

17.30-18.30    Panel: Technical Approaches to Chiaroscuro, 1500-1600
Chair: Achim Gnann (Curator of Italian Prints, 14th-19th Centuries, the Albertina)

  • Shelley Langdale (Associate Curator of Prints and Drawings, Philadelphia Museum of Art), Nancy Ash (Senior Conservator of Works of Art on Paper, Philadelphia Museum of Art) and Beth Price (Senior Scientist, Philadelphia Museum of Art): Changing Spectrums: Analytical challenges and New Technical Approaches in Examining 16th-century Italian Chiaroscuro Woodcuts
  • Naoko Takahatake (Assistant Curator, Prints and Drawings, Los Angeles County Museum of Art): The Intention of Color in Sixteenth-Century Italian Chiaroscuro Woodcuts

Dinner (pre-booked only)

Day 2: The Arts of Early Colour Printing

9.00-10.30      Panel: German ‘Chiaroscuro’ Woodcuts, 1500-1650
Chair: Jean Michel Massing  (Professor, History of Art, King’s College, University of Cambridge)

  • Elizabeth Upper (PhD candidate, History of Art, King’s College, University of Cambridge): Blood, Flames and Rubrication: The Functions of Colour-Printed Book Illustrations in Early Modern Germany
  • Alice Klein (PhD candidate, History of Art, University of Paris IV Sorbonne): Hans Wechtlin and the Production of the German Chiaroscuro Woodcuts
  • Anja Grebe (Assistant Professor, Art History, University of Bamberg): Dürer in ‘clair-obscur’: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints

11.00-12.30    Panel: Netherlandish Chiaroscuro Woodcuts, 1550-1600
Chair: Nancy Bialler (Senior Vice President, Sotheby’s)

  • Edward Wouk (Chester Dale Fellow, Metropolitan Museum of Art): The Flourish of Colour in Antwerp Printing 1555
  • Marjolein Leesberg (The New Hollstein): Hendrick Goltzius’s Chiaroscuros Revisited
  • Virginie D’Haene (Assistant Keeper, Prints and Drawings, Groeningemusuem, Bruges): ‘Met gronden en hooghsels cluchtich’: On the Grounding and Heightening of Prints and Drawings in the Sixteenth and Seventeenth-Century Netherlands

12.30-14.30    Displays & Demo

  • FITZWILLIAM MUSEUM
    DISPLAY: COLOUR PRINTS BEFORE 1700 IN THE FITZWILLIAM MUSUEM

    Craig Hartley (Senior Assistant Keeper (Prints)), Elenor Ling (Documentation Assistant) and Amy Marquis (Study Room Supervisor)
  • HISTORICAL PRINTING ROOM
    DEMO: HISTORICAL COLOUR PRINTING TECHNIQUES

    (Historical Printing Room, Cambridge University Library) 
    Nick Smith (former Deputy Head of Rare Books, Cambridge University Library
  • CAMBRIDGE UNIVERSITY LIBRARY
    DISPLAY: COLOUR-PRINTED BOOK ILLUSTRATIONS 1485-1700

    Katie Birkwood (Rare Books Specialist)

14.30-16.00    Panel: Individual Approaches to Colour Printmaking, 1550-1650
Chair: Craig Hartley (Senior Assistant Keeper (Prints), Fitzwilliam Museum)

  • Joris van Grieken (Prints and Drawings, Royal Library of Belgium): Intaglio Printing in Colour in 16th-Century Antwerp: The Case of Hieronymus Cock
  • Huigen Leeflang (Curator of Prints, Rijksmuseum, Amsterdam): Collecting Hercules Segers’s ‘Printed Paintings’
  • Alexander Dencher (PhD candidate, Université Paris I Panthéon-Sorbonne (CHAR)): Colour in Printmaking in Early 17th-Century Paris

16.30-18.00    Panel: Intaglio Colour Printmaking and Entrepreneurship, 1650-1700
Chair: Ad Stijnman (PhD Candidate, University of Amsterdam)

  • Simon Turner (The New Hollstein): Exploring Colour Prints in the Teyler Manner
  • Marrigje Rikken (PhD candidate, Institute for Cultural Disciplines, University of Leiden) and Elmer Kolfin (Assistant Professor, University of Amsterdam): A New Copy Printed in Colour of Carel Allard’s ‘Tooneel der voornaamste Nederlandse huizen en lusthoven’: A Hypothesis Validated or Falsified?
  • Erik Hinterding (Editorial Board Member, Museum Het Rembrandthuis): The Use of Colour in Rembrandt’s Prints

18.00-18.15    Concluding Remarks by Peter Parshall

Wine Reception