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Copies of Flemish Masters in the Hispanic World (1500-1700)
Flandes by Substitution

E. Lamas-Delgado, D. García Cueto (eds.)
approx. 280 p., 125 colour ill., 210 x 297 mm
ISBN: 978-2-503-58025-8
Languages: English, French, Spanish
PaperbackPaperback
The publication is in production.The publication is in production. (11/2020)
Retail price: approx. EUR 120,00 excl. tax
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The artistic heritage of the regions that once formed part of the former Spanish Empire includes a large number of painted copies after Flemish masters made during the sixteenth and the seventeenth centuries. Most of these works have received little attention, even though they constitute a valuable source for understanding the artistic influence of the Southern Netherlands on Spanish and Latin American art and society in this period. Indeed, the study of copies of Flemish masters sheds light on a number of art historical issues, including the means of diffusion of artistic models, stylistic trends and the dynamics of the art market and the world of collecting. These copies are a valuable testimony to the political, commercial and cultural ties that existed between the Hispanic territories and the Southern Netherlands.
Table of Contents
1. (EN) Nicola Jennings, Imitation, Inspiration or Innovation? Juan de Flandes and the Collection of Paintings of Isabella of Castile
2. (EN) Jessica Weiss, Castilian Legacy and Juan de Flandes’s Miraflores Copy
3. (EN) Miquel Angel Herrero & Isidre Puig, ‘Christ crowned with Thorns with linked hands’, or the fortune of a Flemish ‘Ecce Homo’ among the Spaniards. On Bouts saga’s originals, workshop replicas and Hispanic copies
4. (ES) Almudena Pérez de Tudela, Copias de retratos cortesanos entre España y los Países Bajos durante el reinado de Felipe II
5. (EN) Astrid Harth, Mastering divine faces: Titian’s sacred images of Christ and the Virgin for Charles V
6. (EN) Hélène Dubois, Lorne Campbell, José Juan Pérez-Preciado & Laura Alba, Michiel Coxcie’s copies for the Spanish court: a comparison between the techniques used in his copies of the Ghent Altarpiece by the van Eycks and the Descent from the Cross by Rogier van der Weyden
7. (FR) Marie Grappasonni, Les copies de Marcelus Coffermans (c. 1525-1581) d’après les Primitifs Flamands destinés au marché espagnol
8. (EN) José Juan Pérez-Preciado, Jan Gossaert’s Deesis at Prado copying Van Eyck’s Saint Bavon altarpiece. Some new evidences about the use of the painting at El Escorial as a doctrinal and an artistic icon
9. (EN) Macarena Moralejo, Copies emulating Federico Zuccari's model for the L'Annunziata church in Rome within the Flemish, Italian, German and Hispanic Ars Sacra (1500-1700)
10. (EN) Ana Diéguez-Rodríguez, The Calvary of Hendrik de Clerck (1560-1630) for the church of Saint-Josse-ten-Noode in Brussels. Reflections over the influence of a Calvary by Michiel Coxcie (1499-1592)
11. (EN) Manuel García-Luque, Copies after Rubens and Van Dyck in Granada: reception and influence
12. (EN) Eduardo Lamas-Delgado, Miguel Manrique-Michele Fiammingo (c. 1610/12-1647) and the market of copies at the Western Mediterranean
13. (EN) David García-Cueto, Collecting and Copying Flemish Painting in the Royal Palaces and Monasteries of Madrid: Rubens’ copies in the Patrimonio Nacional
14. (EN) Ángel Rodríguez Rebollo, «No ha de haber en los palacios estatua ni pintura que no crie en el pecho del príncipe gloriosa emulación»: Rubens, Martínez del Mazo and the decoration of the Prince’s Quarters in the Alcázar of Madrid
Interest Classification:
Fine Arts & Performing Arts
Painting
Renaissance painting
Modern History (1501 to the present)

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