In the early modern Low Countries, distinctive patterns of collaboration developed. Not only legal agreements but also relationships of trust fostered an artistic culture in which collaboration was a central practice – seemingly as important to the participating artists as to their works’ viewers. The Temptation of St. Anthony (Madrid, Prado), painted in Antwerp in about 1520–24, was described a half a century later and far from its geographical origins as a collaboratively painted work: a 1574 list of works that King Philip II of Spain sent to the monastery of El Escorial expressly described the painting as having figures by Quinten Metsijs and a landscape by Joachim Patinir.
Rubens, considered the ‘genius’ of the Flemish Baroque, is mainly associated with two types of collaborative relationships: on the one hand, as a friend and equal of other masters, such as Jan Brueghel I; and on the other hand, as the supervisor of his pupils, workshop assistants and affiliates working in other media, such as tapestry weavers, sculptors and printmakers, who executed his designs. Yet Rubens also collaborated in ways that are perhaps less often considered collaborations: his ‘autograph’ works undoubtedly benefited from dialogue with colleagues, friends and patrons; in reworking objects in his own collection, Rubens ‘collaborated’ with artists from earlier periods. Rubens was not exceptional in working so collaboratively with his colleagues, as the prevalence and variety of artistic collaboration in the early modern Low Countries attests.
Collaboration has long been a critical component of artistic practice, employed in different periods, places and media. Yet the early modern Low Countries saw particularly rich elaborations of this practice, with not only artists but also dealers and collectors involved in shaping collaborative artistic relationships, the products they spawned and how these works were viewed. This conference takes artistic collaboration to be the process of two or more individuals contributing substantively to a work’s conception and production, such that the end result is something different from what these individuals could have produced alone. A wide range of motives prompted such collaborations, and they occurred within particular historical circumstances.
Programme :
5 November
08:30 Registration and coffee
09:00 Welcome: Véronique Van de Kerckhof, Rubenianum
09:05 Opening Remarks: Lieneke Nijkamp, Rubenianum and Abigail Newman, Universiteit Antwerpen/Rubenianum
SESSION I: Shaping the Image of Collaboration
09:15 Introduction by session chair: Max Martens, Universiteit Gent
09:30 Katharine Campbell, University of Michigan, Composite Traditions: Metsys and Patinir’s Temptation of Saint Anthony and Antwerp’s Artistic Heritage
09:55 Dorien Tamis, Independent Scholar, The Critical Appreciation and Reception of Collaboration in the Low Countries
10:20 Discussion
10:30 Coffee break (45 minutes)
SESSION II: Antwerp Workshops as Sites of Collaboration
11:15 Introduction by session chair: Sabine Van Sprang, Koninklijke Musea voor Schone Kunsten van België
11:30 Jan Van der Stock, Illuminare / KU Leuven, The Antwerp Altarpiece Enterprise of Dierick Proudekin (ca. 1442–ca. 1507). Assessing the Archival Evidence
11:55 Elisabeth van Eyck, Royal Institute for Cultural Heritage (KIK-IRPA), From Telde to Ringsaker: Antwerp Sculpted Altarpieces with Painted Wings from 1530 to 1540
12:20 Discussion
12:30 Lunch (1 hour and 30 minutes)
SESSION III: Collaboration through Shared Knowledge
14:00 Introduction by session chair: Manfred Sellink, Koninklijk Museum voor Schone Kunsten Antwerpen
14:15 Oliver Kik, KU Leuven, Art as Science: The Art of Geometry and Netherlandish Artists’ Mapmaking Collaborations 1480–1560
14:40 Julia Grace Lillie, Bard Graduate Center, Collaboration in Exile: Print Publications by Crispijn de Passe and Matthias Quad, Made in Cologne, 1589–1604
15:05 Ruth Noyes, John Atkinson House Foundation, Artistic-Epistemic Collaborations Beyond Netherlandish Art and Science: The Case of Opticorum Libri Sex and the astrolabium aequinoctiale
15:30 Discussion
15:45 Coffee break (45 minutes)
16:30 Introduction: Arnout Balis, Centrum Rubenianum
16:45 Keynote: Anne Woollett, J. Paul Getty Museum
6 November
SESSION IV: Artists’ Networks
09:00 Introduction by session chair: Eric Jan Sluijter, Universiteit van Amsterdam
09:15 Alice Zamboni, The Courtauld Institute of Art, Making Contact: Collaborative Engraving Production in the Circle of Netherlandish Artists at the Munich Court of Wilhelm V, c. 1588–1595
09:40 Rudy Jos Beerens, KU Leuven, Mapping Professional Networks of Painters in Seventeenth-Century Brussels
10:05 Discussion
10:15 Coffee break (30 minutes)
SESSION VI: Comparative Cases in Southern Europe
10:45 Introduction: Bernard Aikema, Università di Verona
11:00 Stefan Halikowski Smith, Swansea University, The Chafariz d’el Rei: A Luso-Flemish Partnership?
11:25 Eduardo Lamas-Delgado, Royal Institute for Cultural Heritage (KIK-IRPA), Many Italian and Flemish Hands among Spaniards: Francisco Rizi and Artistic Collaboration in Baroque Spain
12:50 Matteo Fioravanti, Università degli Studi di Genova, Collaborations Outside Antwerp. Jan Roos’ Genoese workshop: Artistic Personalities, Specialisations, and Collaborations
12:15 Discussion
12:30 Lunch (1 hour and 30 minutes)
SESSION V: Typical Antwerp Collaborative Techniques?
14:00 Introduction by session chair: Elizabeth Honig, University of California, Berkeley/Universiteit Utrecht
14:15 Uta Neidhardt and Konstanze Krüger, Staatliche Kunstsammlungen Dresden, Van Balen and Brueghel in Collaboration: A Group of Works from Dresden
14:40 Ursula Härting, Independent Scholar, Collaboration – Addition: Alexander Keirincx (1600–1652) in Antwerp, Utrecht, Britain, Amsterdam
15:05 Discussion
15:15 Coffee break (45 minutes)
16:00 Keynote: Filip Vermeylen, Erasmus Universiteit Rotterdam
17:00 Closing Remarks: Elizabeth Honig, University of California, Berkeley/Universiteit Utrecht
Informations pratiques :
November 5-6, 2018
Rubenianum, Antwerp
Source : Rubenianum
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