Sven Dupré is Professor of History of Art, Science and Technology at Utrecht University, and the University of Amsterdam. He is the Scientific Director of the project ARTECHNE: Technique in the Arts: Concepts, Practices, Expertise, 1500–1950, which is supported by a European Research Council (ERC) Consolidator Grant. He is the author of De Optica van Galileo Galilei (KVAB 2001) and has published on a wide range of topics on the history of early modern science, technology, and art in Italy, the Spanish Netherlands, Germany, Britain, and France. The many works he has co-edited include Early Modern Color Worlds (Brill 2016), Embattled Territory: The Circulation of Knowledge in the Spanish Nethe
Ann-Sophie Lehmann is Professor of Modern and Contemporary Art at the University of Groningen. She has published on a broad range of topics on how materials, tools, and practices partake in the meaning of art, how images and texts represent and reflect creative practices, and how knowledge about making engenders material literacy. The many works she has co-edited include Hiding Making – Showing Creation (AUP 2013), Meaning in Materials (Brill 2013), New Perspectives in Iconology. Visual Studies and Anthropology (Asp Editions 2012), and Body and Embodiment in Netherlandish Art, 1450–1750 (Waanders 2008). She recently co-curated the exhibition “Object Lessons. The Story of Material Education i
Workshop Knowledge: Formation and Perception of Art. Conference Report “WerkStattWissen – The Work o
Ever since the work of Pamela H. Smith (The Body of the Artisan, UCP 2004) and her interest in the nature of materials, the knowledge embodied by early modern artisans and the resulting importance of workshop knowledge for the production and perception of art, early modern research has started to focus more and more on sources concerned with the technology of art. These sources are nowadays used not only to provide information about the historical production of materials and art works and to get a more differentiated understanding of materials, but also to recreate knowledge of historical workshop practice and investigate the intersections between artistic making and scientific knowing. In
