Murillo Y Su Estela En Sevilla

"Uno de los aspectos más necesitados de investigación y revisión es precisamente el de los discípulos de Murillo. Tanto Diego Angulo como Enrique Valdivieso han señalado en sus respectivos catálogos razonados que es precisamente en los discípulos de Murillo como Pedro Núñez de Villavicencio, Juan Simón Gutiérrez, Sebastián Gómez 'el mulato', Francisco Meneses Osorio, Esteban Márquez y en el XVIII Ruiz Soriano, Domingo Martínez hasta Juan de Espinal donde todavía perduran los ecos del murillismo. Estudiar con rigor y con un discurso nuevo, absolutamente renovador, la perduración de los modelos murillescos y el funcionamiento de la academia sevillana, es una de las asignaturas pendientes de la investigación histórico-artística. Sería una ocasión única para arrojar luz a este complicado mundo que está virtualmente inédito."--publisher's description.

This book explores the cultural exchange between Italy and Spain in the seventeenth century, examining Spanish collectors’ predilection for Italian painting and its influence on Spanish painters. Focused on collecting and using a novel methodology, this volume studies how the painters of the Sevillian school, including Francisco Pacheco, Diego Velázquez, Alonso Cano and Bartolomé Esteban Murillo, perceived and were influenced by Italian painting. Through many examples, it is shown how the presence in Andalusia of various works and copies of works by artists such as Michelangelo, Caravaggio and Guido Reni inspired famous compositions by these Spanish artists. In addition, the book delves into the historical, political and social context of this period. The book will be of interest to scholars working in art history, Renaissance studies, and Italian and Spanish history.

As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion. This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.