Book Series Museums at the Crossroads, vol. 30

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

Flandes by Substitution

Eduardo Lamas, David García Cueto (eds)

  • Pages: 298 p.
  • Size:210 x 297 mm
  • Illustrations:125 col.
  • Language(s):English, French, Spanish
  • Publication Year:2021

  • ISBN: 978-2-503-58025-8
  • Paperback
  • Available


"This intriguing case study, in lieu of a conclusion, suggests a number of future potential avenues of research, namely how various artistic industries and merchant communities were tied to the Low Countries via family and/or trade, across the Spanish world." (Stephanie Porras, in: HNA Reviews, September 2021)


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.


Introduction — Eduardo Lamas and David García Cueto

Castilian Legacy and Juan de Flandes’s Miraflores Copy — Jessica Weiss

Imitation, Inspiration or Innovation? Juan de Flandes and the Use of Models from Illuminated Manuscripts — Nicola Jennings

Spanish Fortunes of a Flemish ‘Ecce Homo’: On the Bouts Family’s Originals, Workshop Replicas, Flemish Copies, and Hispanic Imitations — Miquel Àngel Herrero-Cortell & Isidro Puig Sanchis

Jan Gossaert’s Deesis: Copying Van Eyck’s Ghent Altarpiece — José Juan Pérez Preciado

Michiel Coxcie’s Copies for the Spanish Court: A Technical Comparison between the Copy of the Van Eycks’ Ghent Altarpiece and the Copy of Rogier van der Weyden’s Descent from the Cross — Laura Alba, Lorne Campbell, Hélène Dubois and José Juan Pérez-Preciado

Mastering Divine Faces: Titian’s Sacred Images of Christ and the Virgin for Charles V — Astrid Harth

Las copias de los retratos de Antonio Moro durante su segunda estancia en España (1559–1561) — Almudena Pérez de Tudela

Les copies de Marcellus Coffermans pour le marché espagnol — Marie Grappasonni

Copies Emulating Federico Zuccari’s Model for the Annunziata Church in Rome (1570–1600) — Macarena Moralejo Ortega

‘It copies the Crucifixion from Alsemberg’: On the Influence of Coxcie on the Calvary of Hendrick de Clerck for the Church of Saint-Josse-ten-Noode in Brussels — Ana Diéguez-Rodríguez

Rubens, Martínez del Mazo and the Decoration of the Prince’s Apartments in the Alcázar of Madrid — Ángel Rodríguez Rebollo

The Reflection of ‘Flandes’ in the Spanish Royal Collections: Copies after Rubens in the Patrimonio Nacional — David García Cueto

‘It is a copy after Rubens or Van Dyck’: Copying Flemish Paintings in Granada — Manuel García Luque

The Copies by Miguel Manrique and Western Mediterranean Commercial Networks — Eduardo Lamas