Recent technical examinations of Early Netherlandish art have propelled in-depth studies of key works far beyond traditional connoisseurship methods. Ingenious new applications, as well as a prodigious amount of comparative technical documentation, have changed our views of standard workshop practices, including issues of materials and techniques, and details about the precise nature of collaboration. The studies presented in this book illustrate the variety of approaches and findings in what can be called the new connoisseurship. Here the reader will find alternative methods of evaluating Jan van Eyck's Saint Barbara and Ghent Altarpiece, Dirk Bouts's canvas paintings, Jacb Cornelisz van Oostsanen's Berlin Sketchbook, the Evora Altarpiece and the Saint Anne Altarpiece from Gerard David's workshop, Jan Gossart's Malvagna Triptych, and a triptych by Pieter I Claeissens. These individual studies will be of interest not only to aficionados of Early Netherlandish painting, but also to students who are keen to learn about the pivotal role of technical studies for this period of art history.
Was metalpoint used for Jan Van Eyck's Saint Barbara? a new hypothesis based on its re-examination / Marie Postec and Jana Sanyova -- Image processing for research on the Ghent Altarpiece / Maximiliaan P.J. Martens, Ljiljana Platiša, Bruno Cornelis, Tijana Ružić, Marc De Mey, Ann Dooms, Aleksandra Piźurica, and Ingrid Daubechiese -- Weave match and its implications: the case of Dirk Bouts / Don H. Johnson, Catherine Metzger, and Diane Wolfthal -- Reconstructing the Berlin Sketchbook: clues from material analysis / Ilona van Tuinen -- The Saint Anne Altarpiece by Gerard David and his Workshop / Catherine Metzger -- Jan Gossart's Modus Operandi: the technical and scientific investagation of the Malvagna Triptych / Paolo Pastorello -- Afterthoughts concerning Prestige Collaboration / Maryan W. Ainsworth -- The repainting of a triptych by Pieter I Claeissens: an exceptional situation or common practice? / Anne van Oosterwijk
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