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Conferences and Symposia
United States and Canada
Fresh Perspectives on an Old Master: Rembrandt van Rijn
Cleveland Museum of Art, April 15, 2012, 12:30pm-5:00pm.
Sponsored by the Cleveland Museum of Art, The Baker-Nord Center for the Humanities, The Department of Art History and Art, and the College of Arts and Sciences, Case Western Reserve University.
Held in conjunction with the exhibitions “Rembrandt in America” and “Rembrandt Prints from the Morgan Library and Museum,” February 19 – May 28, 2012.
- Deborah Babbage (Courtauld Institute of Art, London), Reassessing Rembrandt’s Pendant Portraits of Nicolaes van Bambeeck and Agatha Bas.
- Victoria Sancho Lobis (Print Collection and Fine Art Galleries, University of San Diego), Invention as Instruction: Rembrandt’s “Academic” Prints and Their Intended Audience.
- Esmée Quodbach (Center for the History of Collecting, The Frick Collection and Art Reference Library), Rembrandt on the Market: The Sale of the “Lansdowne Mill” in 1911.
- Joanna Sheers (New York University, Institute of Fine Arts), The Humanist Concept of “ut pictura poesis” in Rembrandt’s Artistic Practice.
A Conversation with Mariët Westermann (Vice President, Mellon Foundation), and Svetlana Alpers (Professor Emerita, University of California, Berkeley).
Artistic Responses to Watershed Eras
16th Biennial International Conference on Netherlandic Studies (ICNS), Calvin College, Grand Rapids, MI, June 7-9, 2012.
Organized by Herman De Vries and Henry Luttikhuizen.
Keynote speakers: Rudolf Dekker and Till-Holger Borchert.
Workshops and sessions of interest to or presented by HNA members:
- On Origin and Lineage. Presenters: Koenraad Jonckheere, Hannelore Magnus, Kerry Gavaghan.
- Nieuw Nederland. Presenters: Erin Bonuso, Elizabeth Sutton, Jeroen Dewulf.
- International Markets for Netherlandish Art. Presenter: Hans Miegroet.
- Seventeenth-Century Dutch Art. Presenters: Zhenya Gershman, Catherine Levesque, Julie Hochstrasser.
Netherlandish Culture of the Sixteenth Century
Centre for Reformation and Renaissance Studies, Victoria University in the University of Toronto, October 19-20, 2012.
Sixteenth-Century Society and Conference
Cincinnati, October 25-28, 2012.
CAA 101st Annual Conference
New York, February 13-16, 2013.
For Call for Papers for HNA-related sessions, see under Opportunities.
Europe
Rubens and the Thirty Years War: Dynastic Politics, Diplomacy and the Arts, c. 1618-1635
Rubenianum, Antwerp, May 10-11, 2012.
Nicola Courtright (Amherst College), The Representation of the French-Spanish Marriage Alliance in the Medici Cycle.
Jean-François Dubost (Paris-Est), Artistes étrangers à la cour de Marie de Médicis: des “arisans du gloire” pour la France?
Blaise Ducos (Louvre, Paris), Rubens allemand? Le duo formé par Georg Petel et Rubens.
Michael Auwers (Antwerp), The Gift of Rubens: Re-Thinking the Concept of Gift-Giving in Early Modern Diplomacy.
John Adamson (Peterhouse, Cambridge University),
Rubens and Charles I’s Second Spanish Match: Dynastic Politics and Its Visualisations, 1628-1630.
Erin Griffey (University of Auckland), The Passage from Bourbon Princess to Stuart Queen: Henrietta Maria’s Trousseau and the Politics of Magnificence.
Laura Olivan (Granada), The Fight for Representation: Isabel de Bourbon, the Count Duke of Olivares and the Diplomatic Uses of Art.
Peter Davidson (University of Aberdeen), Tracing the Jesuit: The Pompa Introitus and the Arch with the Mountain of Potosi.
Ulrich Heinen (Universität Wuppertal),Visual Communication as a Negotiating Tool: Some Methodological Considerations of Media in Early Seventeenth-Century Diplomacy.
Anthony Colantuono (University of Maryland), High Quality Copies and the Art of Diplomacy during the Thirty Years War.
Marika Keblusek (Leiden), Peter Paul Rubens and Balthazar Gerbier: Between Cultural and Political Brokerage.
Toby Osborne (Durham), Diplomacy and Depiction: Abbate Scaglia and Sir Antony Van Dyck.
Jeremy Wood (University of Nottingham), Venetian Art and the Court of Charles I: The Roles of Rubens and Van Dyck.
Raffaella Morselli (Università di Teramo), Rubens and the Gonzaga’s Paintings.
Jeffrey Chipps Smith (University of Texas-Austin), Rubens, Bishop Veit-Adam von Gepeckh and the Freising High Altar, 1623-1625.
Copying, Replicating & Emulating Paintings in the 15th-18th Century
National Gallery of Denmark, Copenhagen, May 21-22, 2012.
http://www.smk.dk/en/explore-the-art/visit-the-conservator/cats-conference-may-2012
Matthijs Ilsink, Inversive Emulation: Pieter Bruegel and the Cripples from Croton.
Maria Clelia Galassi, Copying Quentin Massys’s Prototypes in the Workshop of His Son Jan. The Case of the Butter Madonna.
Noëlle Streeton, Emulating Van Dyck: The Significance of Grisaille.
Christina Currie and Dominique Allart, Pieter Brueghel as a Copyist after Pieter Bruegel.
Catheline Périer-D’Ieteren, An Unpublished Copy of The Temptation of St. Anthony of Hieronymus Bosch: Original and Its Multiples.
Jos Koldeweij, The Bosch Research and Conservation Project.
Caroline Rae and Aviva Burnstock, Technical Study of Portraits of James I Attributed to John de Critz (c.1552-1642); Artist Workshop and Copies.
Sophie Plender and Polly Saltmarsh, Copies and Versions: Discussing Holbein’s Legacy in England. Technical Examination of Copies of Holbein Portraits at the National Portrait Gallery.
Melanie Gifford, Material Innovation and Convention.
Libby Sheldon and Gabriella Macaro, Materials as Markers of a Workshop: How Useful Are Distinctive Painting Materials as Indicators of Master, Follower or Copyist?
Anita Jansen and Johanneke Verhave, Michiel van Mierevelt – Copy Master. Exploring the Oeuvre of the Van Mierevelt Workshop.
Lidwien Wösten and Annetje Boersma, Pieter van der Werff, a Study on Copying Portraits of Chamber Members of the VOC in Rotterdam.
Christa Gattringer, Frans Snyders’s (1579-1657) Studio Practice.
Jeremy Wood, The Problem of Rubens’s Copies Painted in Madrid in 1628-29.
Julia Burdajewicz, The Assumption of the Virgin by the Studio of Peter Paul Rubens in the National Gallery of Art in Washington – Between the Master’s Piece and Student’s Copy.
James Hamm, Dan Kushel and Allen Kosanovich, A Lost Michelangelo Discovered?
Helen Howard, Erna Hermens and Peter Black, A Raphael, Lanfranco or What? The Hunterian Entombment Copy Examined in the Context of Copying Practices in Early 17th-Century Rome.
Alexandra Gent, Rica Jones and Rachel Mossison, The Strawberry Girl: Repetition in Reynolds’s Studio Practice.
David Saunders, Joseph Booth’s Chymical and Mechanical Copies.
Carrara Marble and the Low Countries, Late Middle Ages-2012
International Conference, Rome and Carrara, June 5-8, 2012.
Organized by The Academia Belgica, Rome, The Royal Netherlands Institute in Rome, The Low Countries Sculpture Society, Brussels and a series of Belgian and Dutch universities.
Cinzia Maria Sicca Bursill-Hall (Università di Pisa), The Marble Trade in the Sixteenth Century: Pietro Torrigiani and the Companies of Bardi, Cavalcanti and Botti in Antwerp and Bruges.
Geneviève Bresc-Bautier (Musée du Louvre, Paris), Le commerce du marbre de Carrare sous Louis XIV, sous l'angle des relations internationales, des compagnies financières et des relations avec les propriétaires de carrières.
Frits Scholten (Rijksmuseum Amsterdam/Vrije Universiteit Amsterdam), The Amsterdam Marble Consortium.
Jacek Kriegseisen (University of Gdansk), Gdansk, Antwerp and Amsterdam: Commercial Relations for the Import of Carrara Marble.
Michał Wardzyński (University of Warsaw), From Carrara through Amsterdam to the Commonwealth of the Two Nations. Three Royal Polish Commissions for Carrara Marble in the 17th Century.
Cristiano Giometti (Università di Pisa), Marble Merchants from the Low Countries in the Early Eighteenth Century from the Documents of the State Archives of Massa.
Muriel Barbier (Institut National du Patrimoine, Paris), Carrara Marble for French Fireplaces Delivered by Flemish Marble Masons in the 18th Century.
Krista De Jonge (Catholic University of Leuven), Luxury Artefacts. The Early Modern Low Countries and the Genoese Trading Network in Carrara Marble.
Francis Tourneur (Association Pierres et Marbres de Wallonie, Namur), Marble Gleanings: Commerce, Design, Production and Techniques from Boussu to Corroy-le-Château.
Pier Terwen (Independent Historian and Conservator of Sculpture, Leiden), The Use and Meaning of Carrara Marble in the Tomb Monument of Admiral Tromp (†1653) and Other Monuments.
Aleksandra Lipinska (University of Wroclaw), “Marbre blanc qu’on dit albastre”. Italian Marble vs. Transalpine Alabaster in 16th-Century Low Countries Sculpture.
Géraldine Patigny (Université Libre de Bruxelles/Royal Institute of Cultural Heritage, Brussels), La place du marbre dans la sculpture à Bruxelles à l’époque de Jérôme Du Quesnoy père et fils.
Léon Lock (Catholic University of Leuven), The Techniques of Carrara Marble Carving in Antwerp in the 17th Century between Tradition and Innovation.
Inger Groeneveld (Royal Academy of Arts, The Hague), Carrara Marble for the Dutch Interior 1600-1800.
Sophie Mouquin (Université de Lille III / Ecole du Louvre, Paris), Poetics, Symbolism and Science: The Perception of Carrara Marble in Paris and in the Low Countries in the 18th Century.
Emile van Binnebeke (Royal Museums of Art and History, Brussels), The Theory and Practice of Carrara Marble Sculpture by Gabriel and Godecharle.
Wim Oers (WENK Sint-Lucas Brussels-Ghent/Oxford University), The Use and Meaning of Carrara Marble Sculptures and Decorations at Schönenberg (the Current Royal Palace at Laken), near Brussels, 1781-87.
Albert Lemeunier (Université de Liège/former director, Grand Curtius Museum, Liège), Meuse Valley Marble Sculpture in the 14th Century.
Caroline Heering (Université Catholique de Louvain), Where Artifice Meets Nature. The Marble Ornaments of the Lady Chapel in the Antwerp Jesuit Church.
Hendrik Jan Tolboom (Rijksdienst voor Cultureel Erfgoed, Amersfoort), Conservation of Carrara Marble Sculpture in the Netherlands; a Study on the Weathering, Past Treatments and Possible Future Measures for the Conservation of the Carrara Marble Sculptures on the Exterior of the Royal Palace in Amsterdam.
Linda Van Santvoort (University of Ghent) Lode De Clercq (Independent Conservator, Antwerp), and Joris Snaet (Catholic University of Leuven), The Laken Cemetery and the Use of Carrara Marble.
Guido-Jan Bral (Independent Art Historian, Brussels), Carrara Marble in the Brussels Arenberg Palace in the Long 19th Century.
Florence Peltier (Musée du Marbre, Rance), An Episode in the Export of Carrara Marble Workers’ Expertise to One of the Principal Belgian Centres for the Extraction of Marble (1923).
Jan van ’t Hof (Rijksdienst voor Cultureel Erfgoed, Amersfoort), New Times, New Buildings, New Appreciation: White Carrara and Coloured Marbles c.1860-1965 in Rotterdam Interiors.
Sandra Tazzini-Berresford (Independent Art Historian, Carrara), Carrara Marble Exports to the Netherlands in the Early 20th Century.
Louk Tilanus (University of Leiden), Aart Schonk and the Tradition of Modern Dutch Sculptors Working in Carrara.
Waar zijn wij mee bezig? Middeleeuwse kunstgeschiedenis tot 1400 in Nederland
Radboud Universiteit, Nijmegen, June 8, 2012.
http://www.ru.nl/contact/bereikbaarheid
Jitske Jasperse, De verschijning van Hertogin Mathilde: vrouwen op munten in twaalfde-eeuws Duitsland.
Martine Meuwese, Gelderse Liefdesbeesten? De Fournival-miniaturen uit het Nederrijns Moraalboek.
Christel Theunissen, “Daar komt de aap uit de mouw”: vroege laatmiddeleeuwse koorbanken en hun decoratie.
Annika Rulkens, Wat is kloosterarchitectuur? De kerken van het klooster Fulda in de negende eeuw.
Jeroen Westerman, Koninklijker dan de koning? Het dertiende-eeuwse koor van de kathedraal van Doornik.
Iris Crouwers, Van grafheuvel tot kerkhof: stenen kruisen en de kerstening van Noorwegen.
Kees Veelenturf, Een knipoog van de honderdman: anomalieën in de lerse iconografie van de Kruisiging.
Early Modern Merchants as Collectors
Ashmolean Museum, Oxford, June 15-16, 2012.
Papers of interest to HNA members:
David Howarth (University of Edinburgh), ‘Gilding The Moon’: The East India Company and Material Culture Exchange between England, Persia and India in Early Stuart England.
Hans Van Miegroet (Duke University), Dealer Practices and Collection Patterns in Primary, Secondary and Tertiary Market Segments in Early Modern Europe.
Sven Dupré (Freie Universität Berlin) and Christine Göttler (University of Bern), Art, Alchemy, and Commerce: The Collection of the Portuguese Merchant-Banker Emmanuel Ximenes in Antwerp.
Henk Looijesteijn (International Institute for Social History, Amsterdam),
For the Love of God? A Dutch Mennonite Merchant as Book Collector.
Aleksandra Lipinska (Instytut Historii Sztuki, Wroclaw), Brothers in Collecting: Thomas and Jacob Rhediger. Two 16th-Century Silesian Art Collectors and Bibliophiles.
Tarnya Cooper (National Portrait Gallery, London), English Merchants in the Sixteenth and Early Seventeenth Centuries: Commissioning and Collecting Portraits and Deorative Objects.
To register, please follow the link to the Oxford Stores website where you can make your payment and indicate any dietary restrictions: https://www.oxforduniversitystores.co.uk/browse/product.asp?catid=135&modid=1&compid=1
In addition, students must send proof of student status to christina.anderson@ashmus.ox.ac.uk. Any questions may also be sent to this address.
The Challenge of the Object
33rd Congress of the Inaternational Committee of the History of Art (CIHA), Germanisches Nationalmuseum, Nuremberg, July 15-20, 2012.
www.ciha2012.de
Papers by or of interest to HNA members:
Stefan Laube (Germany), ‘Siamesische Zwillinge’ in der Kunstkammer. Koinzidenzen von Bild und Ding in der frühen Neuzeit.
Andrew Morrall (US), Object, Material, Myth: The ‘Representative Object’ and Embodied Knowledge in Sixteenth-Century Northern Europe.
Ariane Mensger (Germany, HNA), Die Scheidung zwischen Kopie und Original als Geburt der Kunstgeschichte.
Eveliina Juntunen (Germany, HNA) The Print as an Avantgarde Media. On the Primacy of the Original and Change of the Reception of Printed Art in the German Reich (1871-1917).
Ilona Steimann (Israel), From Liturgical Object to Polemical Instrument: Hebrew Manuscripts of Hartmann Schedel.
E.P. Lieske Tibbe (Netherlands), Amsterdam Citizen or Outcast? The Position of Rembrandt’s Works at Two Expositions on the History of Amsterdam, 1876 and 1925.
Barbara Welzel (Germany, HNA), Cologne Cathedral: Archepiscopal Church, National Monument, World Heritage.
Hélène Dubois (Belgium, HNA), Technical Connoisseurship of the Finishing Touches of Large Studio Works Produced in Rubens’s and Jordaens’s Studios.
Giovanni Maria Fara (Italy), I Trattati di Albrecht Dürer nelle Biblioteche Italiane.
Cecilia Candréus (Sweden), Hazards of Attribution. Re-Examining Connoisseurship by Studying the Context of Manufacture of a Group of 17th-Century Embroideries.
Jørgen Wadum (Denmark), Tracing Bosch and Bruegel. Four Paintings Magnified.
John Delaney, Melanie Gifford (HNA), Lisha Glinsman,
John Hand (HNA), Catherine Metzger (USA), Objectivity and Interpretation: Technical Study of Dürer’s Madonna and Child/Lot and His Daughters.
Elke Anna Werner (Germnay), Lucas Cranach the Elder. Production Process and Invention.
Gunnar Heydenreich (Germany), The Cranach Digital Archive: Challenges and Perspectives for Collaborative Art Technological and Art Historical Reserch.
Jane Carroll (USA, HNA), The Invisibility of the Tangible. Underdrawings, Connoisseurship and the Cultural Dialogue.
Tobias Kunz (Germany), Wandernde und schwimmende Gnadenbilder. Aspekte der Legendenbildung und ihre bildliche Umsetzung in der frühen Neuzeit.
Catherine Scallen (USA, HNA), Marketing Rembrandt and Old Master Collecting in the Late Nineteenth Century.
Friedrich Polleross (Austria), Die Kunstgechichte und ihre Bilder im 17. Jahrhundert. Reiseführer und Sammlungskataloge.
Yoko Hiraoka (Japan), The Twelve Months by Pieter Bruegel the Elder: A Grand Panorama Overlooking Time and Space.
Thomas Eser (Germany), “This, I also created while I was sick.” The Danger of Interpreting Albrecht Dürer’s Artworks as Biographical Documents.
Andreas Bubenik (Australia), Appropriations of Albrecht Dürer’s Self-Portraits.
Dagmar Hirschfelder (Germany, HNA), Dürers Bildniszeichnungen als biographische Zeugnisse: Zur Netzwerkbildung auf der niederländischen Reise.
Daniela Bohde (Germany), Die Zeichnung als Ausdruck des Künstlers? Überlegungen zu Status und Funktion von altdeutschen Zeichnungen.
Erwin Pokorny (Austria), Dürers Selbstakt in Weimar.
Christopher Atkins (USA, HNA), Dürer’s Marking of Time.
Jeroen Stumpel (Netherlands), The Plate and the State: The Presentation of the Artist’s Monogram in Dürer’s Engravings.
Thomas Schauerte (Germany), Blackbox Altdorfer. Befruchtung und Divergenz in der Dürer- und Altdorfer-Biografik.
Susanne Meurer (Italy), “Yearning for Biography”. The Elusive Life of Matthias Grünewald.
Miriam Kirch (USA), “Ein gar sonderbares Schaustück.”
Angela Campbell (USA), Dürer in Details: A Technical and Historical Examination of Albrecht Dürer’s Meisterstiche.
Gábor Entrödi (Hungary), Dürers Entwürfe für die Augsburger Fuggerepitaphe und die Umwege der autonomen Zeichenkunst.
Stephanie Porras (USA, HNA), Folds, Taces and Holes: Dürer’s Ideal Bodies.
Anja Grebe (Germany, HNA), Dürer as Object: Relics of an Artist.
Tico Seifert (UK, HNA), William Bell Scott: Dürer’s Champion in Victorian Britain.
Ashley West (USA, HNA), Albrecht Dürer’s Idyll: An Artist, a Humanist, and a Book.
Berthold Hinz (Germany), Dürer als Autor und Protagonist deutschsprachiger Fachprosa.
Assaf Pinkus (Israel), The Eye and the Womb: Viewing and Using the Schreinmadonna.
Jheronimus Bosch; His Patrons and His Public
Jheronimus Bosch Art Center, ‘s-Hertogenbosch, September 16-18, 2012.
Colloquium Van Eyck Studies: Symposium XVIII for the Study of Underdrawing and Technology in Painting
Koninklijke Militaire School, Brussels, September 19-21, 2012.
http://vaneyckstudies.kikirpa.be
Hugo Van der Velden, 6 May 1432.
Bernard Ridderbos, Art and Compensation: Joos Vijd and the Iconological Programme of the Ghent Altarpiece.
Luc Dequeker, The Adoration of the Mystic Lamb – Philip the Good and Van Eyck’s Righteous Judges.
Catheline Périer-D’Ieteren, Le rôle du dessin sous-jacent et de l’ébauche préparatoire au lavis dans la genèse des peintures de L’Agneau Mystique – caractérisation et questionnements.
Abbie Vandivere, Surface Effects in Paintings by Jan van Eyck.
Anne-Sophie Lehmann, ‘Die cleene aerkins die een meinsche uuten lichame groijen’:Technique and Meaning of Painted Hair in Jan van Eyck’s Adam and Eve Panels of the Ghent Altarpiece.
Hélène Verougstraete, L’évolution dans la présentation de L’Agneau Mystique: le rapprochement progressif de deux retables.
Bettina von Roenne, The Frames by Schinkel for the Wings of the Ghent Altarpiece and the Copies in Berlin.
Pascale Fraiture, The Adoration of the Mystic Lamb Unframed or What the Dendrochronologial Study Reveals about the Altarpiece. Results of Two Series of Analyses by the Royal Institute of Cultural Heritage.
Aline Genbrugge and Jessica Roeders, Research into the Structural Condition of the Panels and the Frames of the Ghent Altarpiece.
Marjolijn Bol, Gems in the Water of Paradise: The Iconography and Reception of Heavenly Stones in the Ghent Altarpiece.
Wolfgang Christian Schneider, The Sparkling Stones in the Ghent Altarpiece and ‘Fountain of Life’ (Madrid) of Jan van Eyck.
Pierre Colman, Les autoportraits présumes de Jan van Eyck et la date approximative de sa naissance.
Marika Spring, Van Eyck’s Technique and Materials: Historical Perspectives and Contemporary Context.
Maryan Ainsworth, Jan van Eyck and Workshop: The Crucifixion and Last Judgement.
Melanie Gifford, John K. Delaney, Suzanne Quillen Lomax, Rachel Morrison and Marika Spring, New Findings on the Painting Medium of the Washington Annunciation.
Till-Holger Borchert and Rachel Billinge, Remarks on Character and Functions in Jan van Eyck’s Underdrawing of Portraits. The Case of Margaretha van Eyck.
Jill Dunkerton, Rachel Morrison and Ashok Roy, Pigments, Media and Varnish Layers on the Portrait of Margaret van Eyck.
Douglas Brine, The Fictive Metalwork Inscriptions of Jan van Eyck’s Van der Paele Virgin.
Susan Jones, Reconsidering Jan van Eyck’s Inscriptions.
Jamie L. Smith, New Evidence on Jan van Eyck’s St. Francis Receiving the Stigmata.
Jacques Paviot, Traveling in Van Eyck’s Paintings.
Maria Galassi, Jan van Eyck’s Genoese Commissions: The Lost Triptych for Battista Lomellini.
Bart Fransen, Jan van Eyck and Valencia, a Fruitful Artistic Exchange.
Claudine A. Chavannes Mazel and Micha Leeflang, Technical Analysis of The Fishing Party by Jan van Eyck (?).
Catherine Reynolds, Jan van Eyck as Illuminator? Hand G of the Turin-Milan Hours.
Ingrid Geelen, Jan van Eyck, polychromer (and designer?) of Statues.
Marjan Buyle and Anna Bergmans, La peinture murale avant Jan van Eyck. Une decouverte exceptionelle à l’église Saint-Jean de Malines (vers 1400).
Hélène Dubois, Jana Sanyova and Dominique Vanwijnsberghe, ‘Revenons à notre mouton’: Paul Coremans, Erwin Panofsky et Martin Davies autour de L’Agneau Mystique.
Lorne Campbell, Jan van Eyck and the Speed of Illusion.
Esther E. van Duijn, Gold Brocaded Velvets in Paintings by Jan van Eyck.
Maximiliaan P.J. Martens, Marc De Mey, Aleksandra Pižurica, Ann Dooms, Ingrid Daubechies, Ljiljana Platiša, Tijana Ružić and Bruno Cornelis, Highlights as Anchor Points in Jan van Eyck’s Inverse Optics.
Didier Martens and Ana Sánchez-Lassa, La Vierge au livre du Polyptyque de L'Agneau Mystique et sa descendance au XVIIème siècle: une production espagnole?
Valentine Henderiks, Les copies de la « Vierge à l’Enfant dans une église » de Jan van Eyck et le rôle de la version dessinée au musée du Grand Curtius.
Annick Born, The Legacy of Jan van Eyck in Quentin Metsys’ Oeuvre.
Uta Neidhardt and Christoph Schölzel, News Concerning the Development Process of the Dresden Triptych.
Harald Schwaetzer, The Silent St. Michael. An Interpretation of the Wooden Carved Angel within the “Singing Angels” of Van Eyck’s Ghent Altarpiece.
Claudine A. Chavannes Mazel and Patricia Stirnemann, Text and Context of St. John's Codex in the Ghent Altarpiece.
Noëlle L.W. Streeton, Questioning the Technical Paradigm of the Ghent Altarpiece: Technical Results for Other Eyckian Paintings.
Anne van Grevenstein and Hélène Dubois, The Ghent Altarpiece Revisited through Conservation Research: 2012-2017.
Dealer, Collector, Critic, Publisher …: The "animateur d'art" and His/Her Multiple Roles
Musées Royaux des Beaux-Arts de Belgique, Brussels, autumn 2012. Under the direction of Ingrid Goddeeris and Noémie Goldman.
animateurdart@fine-arts-museum.be. A Call for Papers went out on the HNA website in July 2011.
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