Making Copies in European Art 1400-1600 comprises sixteen essays that explore the form and function, manner and meaning of copies after Renaissance works of art. The authors construe copying as a method of exchange based in the theory and practice of imitation, and they investigate the artistic techniques that enabled and facilitated the production of copies. They also ask what patrons and collectors wanted from a copy, which characteristics of an artwork were considered copyable, and where and how copies were stored, studied, displayed, and circulated. Making Copies in European Art, in addition to studying many unfamiliar pictures, incorporates previously unpublished documentary materials.
Author(s): Maddalena Bellavitis
Series: Brill's Studies in Intellectual History / Brill's Studies on Art, Art History, and Intellectual History
Publisher: Brill
Year: 2018
Language: English
Pages: 516
City: Leiden
Contents
Acknowledgments
Illustrations
Notes on Contributors
Introduction
Essays
Chapter 1 Jan van Eyck’s Arnolfini Portrait and Copies after His Woman and Her Toilette: Recollections of the Alhambra’s Constellation Halls, the Hamman, and Alchemy
Chapter 2 Models and the Practice of Drawing in Eastern Spain, 1370–1450
Chapter 3 Eyckian Icons and Copies
Chapter 4 Copies after the Ghent Altarpiece for Spain: Four Case Studies
Chapter 5 Following Bosch: The Impact of Hieronymus Bosch’s Diableries and Their Reproduction in the 16th Century
Chapter 6 Tratta da Zorzi: Giulio Campagnola’s Copies after other Artists and his Use of Models
Chapter 7 Virgin and Child with the Milk Soup after Gerard David: Series of Paintings on the Same Theme after Known Models
Chapter 8 Not Just Copies but Variations, Suggestions, Interpretations and Critical Reception: Joos van Cleve and the Lost Madonna of the Cherries by Leonardo da Vinci
Chapter 9 Copies and Derivations of Giorgionesque Inventions: An Insight into the Visual and the Historical Sources
Chapter 10 Copies of Raphael’s Mythological Paintings in the Collection of Cardinal Ludovisi
Chapter 11 From Workshop Master to the Artist’s Individuality
Chapter 12 Jacopo Bassano and the Prints from Raphael’s Masterpieces
Chapter 13 Que se haga al modo y manera de [….]: Copy and Interpretation in the Visual Arts in Aragón during the 16th Century
Chapter 14 Early Netherlandish Devotional Images, Their Copies and Their Metamorphosis in Aragonese Culture through Peripheral Areas
Chapter 15 Marketing Workshop Versions in the 17th-century Dutch Art Market
Chapter 16 Pictorial Copies in Granada during the Early Modern Age
Coda
Index of Places
Index of Names
