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Painting Flanders Abroad: Flemish Art and Artists in Seventeenth-Century Madrid [Kietas viršelis]

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Painting Flanders Abroad: Flemish Art and Artists in Seventeenth-Century Madrid
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"In Painting Flanders Abroad: Flemish Art and Artists in Seventeenth-Century Madrid, Flemish immigrants and imported Flemish paintings cross the paths of Spanish kings, collectors, dealers, and artists in the Spanish court city, transforming the development and nature of seventeenth-century Spanish painting. Examining these Flemish transplants and the traces their interactions left in archival documents, collection inventories, art treatises, and most saliently Spanish "Golden Age" paintings, this book portrays Spanish society grappling with a long tradition of importing its favorite paintings while struggling to reimagine its own visual idiom. In the process, the book historicizes questions of style, quality, immigration, mobility, identity, and cultural exchange to define what the evolving and amorphous visual concept of "Flemishness" meant to Spanish viewers in an era long before the emergence of nationalism"--

Painting Flanders Abroad: Flemish Art and Artists in Seventeenth-Century Madrid traces how Flemish immigrant painters and imported Flemish paintings fundamentally transformed the development of Spanish taste, collecting, and art production in the Spanish “Golden Age.”
Acknowledgments ix
Figures
xii
Introduction: A Centuries-Long Relationship 1(28)
Spain and Flanders
2(1)
An Interwoven History
2(2)
The Spanish Taste for Flemish Paintings: Oil Painting and the Imitation of Nature
4(6)
Sixteenth-Century Appreciation for Flemish Specialties: Portraits, Still Lifes, and Landscapes
10(9)
A Note about Flemishness
19(10)
1 Flemish Immigrant Painters in Madrid: A Portrait
29(56)
Flemish Immigrants and the Choice of Madrid
30(4)
Flemish Cultural Identity in Madrid: The Role of the Noble Guardia
34(6)
Flemish Portraiture in Spain
40(3)
"Portraits" of Flemish Immigrant Painters
43(1)
Felipe Diriksen: An Archer's Tentative Embrace of Flemishness
43(20)
Andries Smidt: Portraits and Other Flemish Pursuits
63(5)
Juan de Mesa, Pieter Perret, and Ignatius de Raeth: Portraitists to the Jesuits
68(5)
Jan van Kessel 11: Flemish Portraitist to the Spanish Sovereigns
73(12)
2 Food and Flowers: The Visual Seductions of Flemishness
85(68)
Flemish Motifs and a Distinctive Compositional Balance
87(4)
Flemish vs. Spanish Still Lifes
91(4)
Cocinas and bodegones Arrive in Spain
95(6)
Appeal and Danger of the Flemish Balance
101(8)
Madrid Modifications
109(7)
Flemish Flowers
116(2)
Marketing Flemish Flowers, Fruits, and Plants
118(13)
Flemish Flower Garland Collaborations: A Process Inherent to a Form
131(22)
3 Paises flamencos: Picturing Flemish Distance
153(62)
Distance and Distant Places
153(4)
Imagining Travel by Land
157(3)
Painters, Paintings, and Viewers Travel by Sea
160(6)
Paisesflamencos and their Distant Echoes
166(21)
Coda: Rubens and the End of "Flemish" Art in Spain
187(3)
Rubens's Flemishness
190(5)
Rubens's Figural Focus and its Dissemination
195(7)
Absorbing Rubens in Spain
202(13)
Notes 215(46)
Bibliography 261(53)
Index 314
Abigail D. Newman (Ph.D., Princeton University) works at the Rubenianum and Rubenshuis and teaches at the University of Antwerp. She has written for journals and exhibitions including her monograph, Rubenss St. Andrew de los Flamencos: Altarpiece Enframed by a Spanish-Flemish Community (Rubenshuis/BAI, 2018) and co-edited Many Antwerp Hands: Collaborations in Netherlandish Art (Harvey Miller Publishers/Brepols, 2021).