Creation, Diffusion, and Reception of Italian Art in the Early Modern Iberian World

Corinna Tania Gallori is researcher for the Swiss National Fund project Building a Renaissance: Networks of Artists and Patrons from Ticino and Lombardy in Rome (1417– 1527), based at the Scuola Universitaria Superiore della Svizzera Italiana (SUPSI) of Mendrisio, as well as a member of the Circulation of images in the early modern artistic geographies of the Hispanic World (CIRIMA) research group.Benito Navarrete Prieto is Full Professor of Art History at the Universidad Complutense de Madrid and the PI of the the Circulation of images in the early modern artistic geographies of the Hispanic World (CIRIMA) research group.

• Introduction 1. Italy-Spain in the Renaissance: Model, Active Reception, Reaction, Rejection 2. Valencia. Art in a Mediterranean Metropolis in the Fifteenth Century 3. The Road between Vélez Blanco and Murcia: A Southern Crossroad for the Italo-Spanish Dialogue at the Beginning of the Sixteenth Century 4. From Donatello to Titian. Notes on Replicating and Re-Reading Images in Sixteenth-Century Spanish Sculpture 5. Marcantonio Goes Global 6. The “Apocalipsis de San Amadeo” from Renaissance Italy to Viceregal America: Veiling and Revealing Visual Arcanes 7. Reception of Vasari as a Painter: The Immaculate Conception Outside of Italy 8. From Seville to Lima and Back to Seville: Two Crucifixions by Juan Martínez Montañés 9. Three Pistils, Three Nails. The Passion Flower and the Debate on the Iconography of the Crucifixion in Early Seventeenth-Century Spain 10. Between Identity and Transformation: Neapolitan Sculpture in the Hispanic World