Las copias de obras maestras de la pintura en las colecciones de los Austrias y el Museo del Prado : actas del congreso internacional = proceedings of the international Symposium : Madrid, Museo Nacional del Prado, junio de 2017 /
The phenomenon of pictorial copying has generally received little attention from historiography, a circumstance largely due to the negative appreciation that twentieth-century culture had of this artistic practice, as the notion of originality was elevated by the avant-garde to one of the main categ...
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| Format: | Conference Proceeding Book |
| Language: | Spanish English French Italian |
| Published: |
Madrid :
Museo Nacional del Prado,
2021
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| Subjects: |
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| 245 | 1 | 4 | |a Las copias de obras maestras de la pintura en las colecciones de los Austrias y el Museo del Prado : |b actas del congreso internacional = proceedings of the international Symposium : Madrid, Museo Nacional del Prado, junio de 2017 / |c edición a cargo de David García Cueto |
| 264 | 1 | |a Madrid : |b Museo Nacional del Prado, |c 2021 | |
| 264 | 4 | |c ©2021 | |
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| 500 | |a Proceedings of the fourth meeting of the project "La copia pictórica en la Monarquía Hispánica (siglos XVI-XVIII)" held at the Museo Nacional del Prado, Madrid, Spain, June 26-27, 2017 | ||
| 504 | |a Includes bibliographical references (pages 198-222) | ||
| 505 | 0 | |a La colección real española en los siglos XVI y XVII y el copiado pictóric: una aproximación contextual / David García Cueto -- Moltiplicare, tradurre, intrepretare: reflessioni in margine al ruolo delle copie tra prima età moderna e ricezione storiografica contemporanea / Carla Mazzarelli -- Original y copia en la colección pictórica del Escorial: una perspectiva desde la literatura artística / José Policarpo Cruz Cabrera -- La copia en los talleres cortesanos españoles del siglo XVII: entre educación y repetición / Eduardo Lamas -- Sebastián Martínez y las copias de la capilla mayor de la catedral de Jaén / Felipe Serrano Estrella -- Raffaello da Napoli all Spagna, copie e originali / Andrea Zezza -- Copias de Tiziano en la colección real española, siglos XVI y XVII / Miguel Falomir -- "Tutto il palazzo commosso per questi ritratti": la fortuna dell'immagine miracolosa della Santissima Annunziata in Spagna intorno all'anno 1600 / Susanne Kubersky-Piredda -- Alle origini del naturalismo spagnolo: La Santa Caterina del Prado nel contesto delle prime copie da Caravaggio in Spagna (1610-20 ca.) / Maria Cristina Terzaghi -- Copy/paste Rubens: the art of Victor II Wolfvoet: newly identified works in the Spanish royal collections / Bert Schepers -- Ecos de Antonio Moro: problemas de la iconografía de María de Portugal (1538-1577) entre Lisboa, Madrid y Parma / Pedro Flor -- Series, paraphrases, copies: Diego Velázquez and Frans Luycx as portraitists of the House of Austria / Friedrich Polleross -- Le peintre français Jean Nocret (1617-1672) au Portugal: le récit (in)achevé d'un voyage / Susana Varela Flor -- Las copias de la serie de los "Amores de Júpiter" de Coreggio y Parmigianino hasta su salida de España a principios del siglo XVII / Almudena Pérez de Tudela -- La presencia de copias en el palacio del Buen Retiro durante el reinado de Felipe IV / Mercedes Simal López -- Charles I and the art of Italy in Spain / Susan Bracken -- Copie per i viceré di Napoli: doni diplomatici e collezionismo tra la fine del Cinquecento e il primo Seicento / Antonio Ernesto Denunzio -- A la sombra del rey: copias y originales en las colecciones del VII marqués del Carpio / Leticia de Frutos Sastre | |
| 520 | 8 | |a The phenomenon of pictorial copying has generally received little attention from historiography, a circumstance largely due to the negative appreciation that twentieth-century culture had of this artistic practice, as the notion of originality was elevated by the avant-garde to one of the main categories that were to guide creative processes. However, in recent years and in the light of the most advanced studies in Art History, there has been a progressive awareness of the importance of the pictorial copy in the Renaissance and Baroque art scene, extending its relevance to the beginning of the same twentieth century. From this process of recovery of the pictorial copy, the volume brings together a series of contributions by renowned specialists on the numerous and relevant set of copies related to the Austrian pictorial collection that the Museo Nacional del Prado gathers, showing in them the value that those copies had as substitutes for the originals, as a complement to the collections owned by the sovereigns of that dynasty, as a means of disseminating certain iconographies and devotions, and as a means of training and improving artists. David García Cueto, coordinator of the volume, is head of the Department of Italian and French Painting until 1800 at the Museo Nacional del Prado, and specializes in the study of artistic relations between Spain and Italy during the seventeenth century | |
| 546 | |a Contributions in Spanish, English, French, and Italian | ||
| 546 | |a Texts in Spanish, English, Italian and French | ||
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