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Abstracts of Baltimore/Washington Conference Papers

Rogier van der Weyden: Sculpture and Painting in Early Netherlandish Art
Chairs: Mark Tucker (Philadelphia Museum of Art), Lloyd DeWitt (Philadelphia Museum of Art)
The Walters Art Museum, Graham Auditorium
Thursday, November 9, 2006

• New Findings on the Function of Rogier van der Weyden’s Philadelphia Crucifixion
  Mark S. Tucker, Philadelphia Museum of Art
• Sculpture and Painting / Sculptors and Painters: Wall-mounted memorials in the Burgundian Netherlands
  Douglas Brine, Courtauld Institute of Art, London
• Iconic Transitions and the Interdependence of Painting and Sculpture in the Early Netherlandish Canon
  Carol J. Purtle, University of Memphis
• Brussels stone sculpture in the period of Rogier van der Weyden
  Bart Fransen, KIK/IRPA and Katholieke Universiteit Leuven
• Grisaille and the Thresholds of Early Netherlandish Triptychs
  Lynn F. Jacobs, University of Arkansas

Printmaking in Northern Europe 1450—1700: Medium, Market, and Message
Chair: Stephanie S. Dickey (Queen's University, Kingston, Ontario)
Thursday, November 9, 2006

• Philips Galle, His Descendants, and Print Workshops in Antwerp
  Karen Bowen, Independent Scholar
• Lottery Dials: The Interactive Print as Intervention
  Suzanne Karr Schmidt, Yale University
• Hendrick Goudt, 'constrijcken Plaestsnijder tot Utrecht'
  Tico Seifert, Freie Universität Berlin
• Marketing Naval Heroes: Portrait Prints during the Anglo-Dutch Wars
  Vanessa Schmidt, Institute of Fine Arts, New York University
• Designer and Engraver, the Nature of Their Exchange
  Nadine Orenstein, Metropolitan Museum of Art

The Bible and Spiritual Enlightenment: Defining Dutch and Flemish Religious Devotion
Chair: Shelley Perlove (University of Michigan-Dearborn)
Friday, November 10, 2006

• The Painting St. John The Baptist, St. Barbara and Two Donors of the St. Martin Church in Bratislava: The Case of a Corrected Image
  Ingrid Ciulisova, The Slovak Academy of Sciences-Institute of Art History
• God-Given Senses: Biblical Narratives in the Backgrounds of Prints of the Five Senses
  Sharon Assaf, Tel Aviv University
• Sola Scriptura? Mapping the Passion Cycle during the Era of Confessional Clashes
  Birgit Ulrike Münch, Universität Trier
• Imitation and Incarnation in Hendrick Goltzius’s Annunciation of 1594
  Walter S. Melion, Emory University
• The Temple of Solomon: Its Interpretation by the Jesuit Fathers during the Early Seventeenth Century in the Low Countries
  Piet Lombaerde, Universiteit Antwerpen

Artistic Consciousness and the Emerging Art Theoretical Discourse in Painting, 1400—1700
Chairs: Natasha Seaman (Independent Scholar),
Todd Richardson (Universiteit Leiden)
Friday, November 10, 2006

• Windows and Mirrors, Portals and Doors: Openings to Early Netherlandish Painting
  Heike Schlie, Universität Dortmund
• In the Footsteps of St. Luke: Artistic Consciousness in Representations of St. Luke Painting the Virgin in Netherlandish Art
  Annette de Vries, Universiteit Groningen
• Rubens and the Decorum of Flesh
  Suzanne Walker, Tulane University
• Rembrandt and the Rules of Art Revisited
  Eric Jan Sluijter, Universiteit van Amsterdam and Institute of Fine Arts, New York University
• ‘Schieten zonder wit’ - A New Interpretation of Rembrandt's ‘Nightwatch’
  Jürgen Müller, Technische Universität Dresden

Looking Backwards: The Meaning of Copying
Chairs: Ariane Mensger (Staatliche Kunsthalle Karlsruhe), Dagmar Eichberger (Kunsthistorisches Institut der Universität Heidelberg)
Friday, November 10, 2006

• Shared Images, Shared Thoughts: Johanna the Mad and Four Tapestry Variations of the Mystic Grapes
  Elisabeth Cleland, Metropolitan Museum of Art
• Contextualizing Copies: Investigating Copies and Reproductions after Early Netherlandish Masters in the Light of the Reception of Their Art in the Second Half of the 16th Century
  Joris Van Grieken, Katholieke Universiteit Leuven
• The True Copy: Imitation and Truth in Pieter Bruegel's Landscape with the Magpie on the Gallows
  Catherine Levesque, The College of William and Mary
• Why Did Rembrandt Copy almost Two Dozen Moghul Miniatures?
  Zirka Z. Filipczak, Williams College
• Reproducing the Golden Age. Copies after 17th-Century Dutch Genre Painting in the First Half of the 18th Century
  Junko Aono, Universiteit van Amsterdam

The Dutch in the World: Art and Collecting in a Global Milieu
Chair: Julie Hochstrasser (University of Iowa)
Friday, November 10, 2006

• Nicolaes Witsen and His Circle: Globalization, Collecting, and Art Patronage in Amsterdam circa 1700.
  Rebecca Parker Brienen, University of Miami
• The Role of the Netherlands in the ‘ Tupinambization’ of Early-Modern European Collections
  Amy Buono, University of California, Santa Barbara
• Jan Weenix and the Dutch Taste for the Orient
  Anke van Wagenberg-Ter Hoeven, Salisbury University
• Appropriation, Elevation and Re-presentation: The Evolution of Chinese Objects in Seventeenth- Century Netherlandish Art
  Candace Q. Huey, Chabot College
• Dissection, Self-Mutilation and Painted Tea Cups: Collecting Chinese Export Ware in Seventeenth-Century Holland
  Dawn Odell, Virginia Polytechnic and State University

Unfolding the Early Netherlandish Diptych
Chairs: John Hand (National Gallery of Art), Ron Spronk (Harvard University Art Museums)
Saturday, November 11, 2006

• The Early Franco-Flemish Diptychs: The 'Soissons' Ivories
  Sarah M. Guérin, University of Toronto
• Sin and Redemption in Late-Medieval Drama: Hugo van der Goes's Vienna Diptych
  Mark Trowbridge, Marymount University
• Tactility and Devotion in Personal Devotional
  Portrait Diptychs
  Jessica Buskirk, University of California, Berkeley
• Jan van Scorel's Tambov/Berlin Diptych
  Molly Faries, Indiana University