Colloque international: Flandes by Substitution. Copies of Flemish Masters in the Hispanic World (1500-1700)

Michiel Coxcie, David et Goliath, huile sur panneau, 139 x 106 cm, Real Monasterio de San Lorenzo de El Escorial

Michiel Coxcie, David et Goliath, huile sur panneau, 139 x 106 cm, Real Monasterio de San Lorenzo de El Escorial

Type : colloque international.
Inscription (payante) : du 20 décembre 2016 au 26 janvier 2017.
Date de la manifestation : 9-10 février 2017.
Lieu : Royal Institute for Cultural Heritage (KIK-IRPA), Brussels.

Lunch, morning and afternoon teas on Thursday and Friday are included in the registration fee, as well as the reception on Friday and the preprint abstracts
Price: 75 €.

Program

09:00 Registration & coffee

09:30 Welcome by Christina Ceulemans (Director-General of KIK-IRPA)

09:40 Didier Martens (Université Libre de Bruxelles), Jalons pour une histoire de la copie de Primitifs flamands en Espagne, depuis l’époque des Rois Catholiques jusqu’à Philippe IV
10:20 Questions and discussion

Session 1

10:30 Miquel Angel Herrero & Isidre Puig (Universitat de Lleida)
“Christ crowned with Thorns with linked hands“, or the fortune of a
Flemish “Ecce Homo“ among the Spaniards. On Bouts saga’s originals, workshop replicas and Hispanic copies

10:50 Catheline Perier-D’Ieteren (Université Libre de Bruxelles)
L’Espagne et le succès des copies de Vierge à la soupe au lait d’après un prototype de G. David : une version peu connue exécutée sur ardoise

11:10 Questions and discussion

11:15 Coffee break

11:35 Nicola Jennings (Courtauld Instute of Art, London)
Imitation, Inspiration or Innovation? Juan de Flandes and the Collection of Paintings of Isabella de Castile

11:55 Jessica Weiss (Metropolitan State University of Denver)
Castilian Legacy and Juan de Flandes’s Miraflores Copy

12:15 Questions and discussion

12:20 Lunch

Session 2

14:00 Almudena Perez de Tudela (Patrimonio Nacional, Madrid)
Copias de retratos cortesanos entre España y los Países Bajos durante el reinado de Felipe II

14:20 Astrid Harth (Ghent University)
“Standing on the shoulders of giants”: Copying and the Habsburg collection policy

14:40 Questions and discussion

14:50 Antonia Putzger (Technische Universität Berlin)
Strategic Anachronism and Network of Images: faithful copies of Early Netherlandish altarpieces at the court of Philip II

15:10 Helene Dubois (KIK-IRPA), Lorne Campbell, Jose Juan Perez-Preciado & Laura Alba (Museo Nacional del Prado)
Michiel Coxcie’s copies for the Spanish court: a comparison between the techniques used in his copies of the Ghent Altarpiece by the van Eycks and the « Descent from the Cross » by Rogier van der Weyden

15:30 Questions and discussion

15:40 Coffee break

Session 3

16:00 Marie Grappasonni (Association du Patrimoine artistique, Brussels)
Les copies de Marcelus Coffermans (c. 1525-1581) d’après les Primitifs Flamands destinées au marché espagnol

16:20 Jose Juan Perez-Preciado (Museo Nacional del Prado)
Jan Gossaert’s Deesis at Prado copying Van Eyck’s Saint Bavon altarpiece. Some new evidences about the use of the painting at El Escorial as a doctrinal and an artistic icon

17:00 Questions and discussion

17:10 Replica : une histoire d’aller-retour Séville-Bruxelles. Presentation of the artistic work on the copy by Constantin Meunier (1831-1905) from the painting the Descent from the cross by Peter Kempeneer (1503-1580) by Gloria Martin (plastic artist)

Friday, 10 February 2017

08:30 Coffee

Session 4

09:00 Macarena Moralejo (Universidad de León)
Copies emulating Federico Zuccari’s model for the L’Annunziata church in Rome within the Flemish, Italian, German and Hispanic Ars Sacra (1500-1700)

09:20 Ana Dieguez-Rodriguez (Instituto Moll: Research Centre for the Flemish Painting in Spain, Madrid)
« The Calvary » of Hendrik de Clerck (1560-1630) for the church of Saint-Josse-ten-Noode in Brussels. Reflections over the influence of a « Calvary » by Michiel Coxcie (1499-1592)

09:40 Isabel Monteiro & Hugo Sanches (Early Music Consort Il Dolcimelo Portugal, Lisbon-Oeiras)
Flemish music in Iberian courts

10:00 Questions and discussion

10:15 Coffee break

10:40 Abigail Newman (Rubenianum, Antwerp)
Copying Rubens, Claiming Rubens: The Dissemination and Incorporation of Rubens in 17th-Century Spain

11:20 Questions and discussion

Session 5

11:30 Manuel Garcia-Luque (Universidad de Granada)
Copies after Rubens and Van Dyck in Granada: reception and influence

11:50 Eduardo Lamas-Delgado (KIK-IRPA)
Miguel Manrique-Michele Fiammingo (ca 1610/12-1647) and the market of copies at the Western Mediterranean

12:10 Questions and discussion

12:20 Lunch break

Session 6

13:40 David Garcia-Cueto (Universidad de Granada)
Collecting and Copying Flemish Painting in the Royal Palaces and Monasteries of Madrid: Rubens’ copies in the Patrimonio Nacional

14:00 Angel Rodriguez Rebollo (Fundación universitaria española, Madrid)
« No ha de haber en los palacios estatua ni pintura que no crie en el pecho del príncipe gloriosa emulación »: Rubens, Martínez del Mazo and the decoration of the Prince’s Quarters in the Alcázar of Madrid

14:20 Felipe Serrano (Universidad de Jaén)
Flemish copies at periphery: the cathedral of Jaen and its patronage of copies

14:40 Questions and discussion

14:55 Coffee break

Session 7

15:20 Stephanie Porras (Tulane University)
Copying ad majorem Dei Gloriam: the Jesuit Order and the export of Antwerp artistic models to the Hispanic World

15:40 Sandra van Ginhoven (Getty Research Institute)
Originals and Adaptable Compositions: Guilliam Forchondt’s art dealership in Antwerp (1643-1678) and the Overseas Paintings Trade

16:00 Fernando Herrera & Selene Garcia (Universidad Nacional Autónoma de México)
Los cuadros flamencos de la iglesia de la Soledad de Oaxaca (México)

16:20 Questions and discussion
Painting restoration workshop (2nd floor)

16:30 « The Holy Family » by Peter Paul Rubens (1577-1640). Presentation of the conservation work in progress on the painting by Karen Bonne (restorer of paintings at KIK-IRPA, Brussels)

16:45-18:45 Closing reception