Alisa Luxenberg is Associate Professor of Art History at the University of Georgia, USA.

’..With its impressive archival research and uncluttered writing style, this book makes a significant contribution to scholarship in French and Spanish art history and museum studies. Highly recommended...’ Choice ’The most important aspect to this valuable corrective study is that for the first time, we learn about what the Spanish thought about it all. In a finely nuanced account, Luxenberg reveals how many in the Spanish artistic establishment were either ambivalent, or indeed multivalent towards the French. There are fascinating accounts of the equivocal roles played by Carderera, Madrazo and Villaamil, all of whom would become pillars of Isabelline Madrid.’ Journal of the History of Collections

• Contents: The two museums from a trans-Pyrenean perspective; The Galerie Espagnole: content and critical reception in France; The protagonists and their priorities; Conception: precedents and provocations; Creation: the mission; Responses in Spain to Taylor's mission and the Galerie Espagnole; The Spanish galleries: the Museo Nacional and Museos Provinciales; Rethinking the visual legacy of the Galerie Espagnole; Closing thoughts; Bibliography; Index.

Alisa Luxenberg is Associate Professor of Art History at the University of Georgia, USA.

’..With its impressive archival research and uncluttered writing style, this book makes a significant contribution to scholarship in French and Spanish art history and museum studies. Highly recommended...’ Choice ’The most important aspect to this valuable corrective study is that for the first time, we learn about what the Spanish thought about it all. In a finely nuanced account, Luxenberg reveals how many in the Spanish artistic establishment were either ambivalent, or indeed multivalent towards the French. There are fascinating accounts of the equivocal roles played by Carderera, Madrazo and Villaamil, all of whom would become pillars of Isabelline Madrid.’ Journal of the History of Collections

• Contents: The two museums from a trans-Pyrenean perspective; The Galerie Espagnole: content and critical reception in France; The protagonists and their priorities; Conception: precedents and provocations; Creation: the mission; Responses in Spain to Taylor's mission and the Galerie Espagnole; The Spanish galleries: the Museo Nacional and Museos Provinciales; Rethinking the visual legacy of the Galerie Espagnole; Closing thoughts; Bibliography; Index.

Alisa Luxenberg is Associate Professor of Art History at the University of Georgia, USA.

’..With its impressive archival research and uncluttered writing style, this book makes a significant contribution to scholarship in French and Spanish art history and museum studies. Highly recommended...’ Choice ’The most important aspect to this valuable corrective study is that for the first time, we learn about what the Spanish thought about it all. In a finely nuanced account, Luxenberg reveals how many in the Spanish artistic establishment were either ambivalent, or indeed multivalent towards the French. There are fascinating accounts of the equivocal roles played by Carderera, Madrazo and Villaamil, all of whom would become pillars of Isabelline Madrid.’ Journal of the History of Collections

• Contents: The two museums from a trans-Pyrenean perspective; The Galerie Espagnole: content and critical reception in France; The protagonists and their priorities; Conception: precedents and provocations; Creation: the mission; Responses in Spain to Taylor's mission and the Galerie Espagnole; The Spanish galleries: the Museo Nacional and Museos Provinciales; Rethinking the visual legacy of the Galerie Espagnole; Closing thoughts; Bibliography; Index.