The Creation, Diffusion, and Reception of Italian Art in the Early Modern Iberian World
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The Creation, Diffusion, and Reception of Italian Art in the Early Modern Iberian World
About this book
This edited volume addresses the circulation of works of art, images, and ideas between the Iberian and Italian world and the subsequent responses this motion generated.
Amongst the themes discussed are the concepts of centre and periphery, replicas and alterations, and how items and ideas were reinterpreted. The processes of appropriation and transformation create an artistic geography of identities in which originality can be studied through the processes of assimilation of images shared between Europe, Asia, and America. Chapters challenge the negative conceptualization of "copying" arguing that the "copy" is not simply a derivation but a new creation that is shaped by the interests and preferences of the receiver. Similarly, contributors argue for a more nuanced concept of what exactly an artistic centre is.
The book will be of interest to scholars working in art history, Renaissance studies, and Iberian studies.
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Information
Table of contents
- Cover Page
- Half-Title Page
- Series Page
- Title Page
- Copyright Page
- Contents
- List of Figures
- List of Contributors
- Introduction
- 1 Italy-Spain in the Renaissance: Model, Active Reception, Reaction, and Rejection
- 2 Valencia: Reflections on Art in a Mediterranean Metropolis of the Fifteenth Century
- 3 The Road between VĂ©lez Blanco and Murcia in the Early Sixteenth Century: A Southern Crossroad and the Italo-Spanish Dialogue
- 4 Donatello, Michelangelo, or Titian: Notes on Replicating and Rereading Images in Sixteenth-Century Hispanic Sculpture
- 5 Marcantonio Goes Global
- 6 The âApocalipsis de San Amadeoâ from Renaissance Italy to Viceregal America: Veiling and Revealing Visual Arcana
- 7 The Reception and Translation of Vasari as a Painter: The Concezione di Nostra Donna Outside Italy
- 8 From Rome to Seville, Then to Lima, and Back to Seville: An Italian Model and Two Crucifixions by Juan MartĂnez Montañés
- 9 Three Pistils, Three Nails: The Passion Flower and the Debate on the Iconography of the Crucifixion in Early Seventeenth-Century Spain
- 10 Neapolitan Sculpture in the Hispanic World: Circulation and Reception
- Index