Making Copies in European Art 1400-1600

Shifting Tastes, Modes of Transmission, and Changing Contexts


Volume Editor:
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 Making Copies in European Art, in addition to studying many unfamiliar pictures, incorporates previously unpublished documentary materials.

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Maddalena Bellavitis, Ph.D., is adjunct lecturer of Early Modern Art History at Boston University. She has published a monograph and several articles and essays on European Art, infrared analysis of works of art, and iconography.
“The collected essays will be of interest to early modernists in a broad range of disciplines but may be of particular interest to those interested in the art market and cross-cultural studies.”
Theresa Kutasz Christensen, in: Renaissance Quarterly, Vol. 73 , No 4 (Winter 2020), pp. 1365–1366.

List of Illustrations
Notes on Contributors

Introduction to Making Copies in European Art 1400–1600: Shifting Tastes, Modes of Transmission, and Changing Contexts
Peter M. Lukehart


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
Barbara von Barghahn

2 Models and the Practice of Drawing in Eastern Spain, 1370–1450
E. Montero Tortajada

3 Eyckian Icons and Copies
Larry Silver

4 Copies after the Ghent Altarpiece for Spain: Four Case Studies
Leslie Blacksberg

5 Following Bosch: The Impact of Hieronymus Bosch’s Diableries and Their Reproduction in the 16th Century
Maddalena Bellavitis

6 Tratta da Zorzi: Giulio Campagnola’s Copies after other Artists and His Use of Models
Irene Brooke

7 Virgin and Child with the Milk Soup after Gerard David: Series of Paintings on the Same Theme after Known Models
Catheline Périer-D’Ieteren

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
Mari Pietrogiovanna

9 Copies and Derivations of Giorgionesque Inventions: An Insight into the Visual and the Historical Sources
Sarah Ferrari

10 Copies of Raphael’s Mythological Paintings in the Collection of Cardinal Ludovisi
Claudia La Malfa

11 From Workshop Master to the Artist’s Individuality
Ana Calvo

12 Jacopo Bassano and the Prints from Raphael’s Masterpieces
Claudia Caramanna

13 Que se haga al modo y manera de [….]: Copy and Interpretation in the Visual Arts in Aragón during the 16th Century
Carmen Morte García

14 Early Netherlandish Devotional Images, Their Copies and Their Metamorphosis in Aragonese Culture through Peripheral Areas
Caterina Virdis Limentani

15 Marketing Workshop Versions in the 17th-century Dutch Art Market
Angela Ho

16 Pictorial Copies in Granada during the Early Modern Age
David García Cueto

Academic and museum scholars whose specialization ranges from the late Middle Ages to the Baroque era, as well as conservators and students who are focused upon methods, materials and artistic technique. All interested in the Renaissance, copying, models, imitations, devotion, workshops, painting, drawing, prints, reliefs, and underdrawings.
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