Italian Art in the Iberian World:
Circulation and Appropriation in the Modern Era

Despite being set in a profoundly Eurocentric centre-periphery framework, Fernand Braudel's Le modèle italien had the merit of challenging positivist paradigms, bringing into play the importance of a comparative analysis of historical facts over long periods. In a sense, the book also expressed a desire for a new way of considering temporality. The potential of the work of art is not defined by the moment in which it was created. Its reception and transformation create a timeframe that is different from and as legitimate as the original’s. Exchanges are not unidirectional. Therefore, studying mediation, the agents and the means through which images, knowledge and models were transferred is a fundamental aspect in the study of artistic circulation.

This conference aims to revisit Le modèle italien, discussing the creation, diffusion and reception of Italian art in the global world created by the Iberian countries in the modern age (1450-1750), and the consequences of such events. It does not want to establish cultural hierarchies that imply the influence of an “Italian model” that expands throughout Europe and from here to the New World and Asia, but rather to study in an intercultural and transcultural horizon the processes of creating images with new connotations and with their own generative and non-derivative canon. The processes of appropriation and transformation create an artistic geography of identities in which originality can be studied through the processes of assimilation of images shared between Europe, Asia and America.

Concept and organization:
Benito Navarrete Prieto (Universidad de Alcalà)
Corinna T. Gallori (Kunsthistorisches Institut in Florenz – Max-Planck-Institut)
Gerhard Wolf (Kunsthistorisches Institut in Florenz – Max-Planck-Institut)

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