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Art, Travel, and Exchange between Iberia and Global Geographies, c. 1400â1550
Series:
Traditional narratives hold that the art and architecture of the Iberian Peninsula in the late 15th century were transformed by the arrival of artists, objects, and ideas from northern Europe. The year 1492 has been interpreted as a radical rupture, marking the end of the Islamic presence on the peninsula, the beginning of global encounters, and the intensification of exchange between Iberia and Renaissance Italy.
This volume aims to nuance and challenge this narrative, considering the Spanish and Portuguese worlds in conjunction, and emphasising the multi-directional migrations of both objects and people to and from the peninsula. This long-marginalised region is recast as a âdiffuse artistic centreâ in close contact with Europe and the wider world. The chapters interweave varied media, geographies, and approaches to create a rich tapestry held together by itinerant artworks, artists, and ideas.
Contributors are LuiÌs Urbano Afonso, Sylvia Alvares-Correa, Vanessa Henriques Antunes, Piers Baker-Bates, Costanza Beltrami, António Candeias, Ana Cardoso, Maria L. Carvalho, Maria José Francisco, Bart Fransen, Alexandra Lauw, Marta Manso, Eva March, Encarna Montero Tortajada, Elena Paulino Montero, Fernando António Baptista Pereira, Joana Balsa de Pinho, MarÃa Sanz Julián, Steven Saverwyns, Marco Silvestri, Maria Vittoria Spissu, Sara Valadas, Céline Ventura Teixeira, Nelleke de Vries, and Armelle Weitz.
This volume aims to nuance and challenge this narrative, considering the Spanish and Portuguese worlds in conjunction, and emphasising the multi-directional migrations of both objects and people to and from the peninsula. This long-marginalised region is recast as a âdiffuse artistic centreâ in close contact with Europe and the wider world. The chapters interweave varied media, geographies, and approaches to create a rich tapestry held together by itinerant artworks, artists, and ideas.
Contributors are LuiÌs Urbano Afonso, Sylvia Alvares-Correa, Vanessa Henriques Antunes, Piers Baker-Bates, Costanza Beltrami, António Candeias, Ana Cardoso, Maria L. Carvalho, Maria José Francisco, Bart Fransen, Alexandra Lauw, Marta Manso, Eva March, Encarna Montero Tortajada, Elena Paulino Montero, Fernando António Baptista Pereira, Joana Balsa de Pinho, MarÃa Sanz Julián, Steven Saverwyns, Marco Silvestri, Maria Vittoria Spissu, Sara Valadas, Céline Ventura Teixeira, Nelleke de Vries, and Armelle Weitz.
Costanza Beltrami, Ph.D. (2020), Courtauld Institute of Art, is Senior Lecturer in Art History at the University of Stockholm. Her research focuses on gothic architecture in the late 15th and early 16th centuries. Recent publications include âMemory, Modernity, and Anachronism at the Convent of San Juan de Los Reyes, Toledoâ, in Lateness and Modernity in Medieval Architecture, edited by Alice Isabella Sullivan and Kyle G. Sweeney (Brill, 2023).
Sylvia Alvares-Correa, Ph.D. (2023), University of Oxford, is Junior Research Fellow at Christ Church College, Oxford. Her research focuses on cultural exchange between the Netherlands and Portugal in the 15th and early 16th centuries. Recent publications include âCrusading in a Lisbon Convent: The Making and Meaning of The Passion of Christ in Jerusalem (Lisbon, ca. 1500)â, Journal of Historians of Netherlandish Art, 15/2 (2023).
Sylvia Alvares-Correa, Ph.D. (2023), University of Oxford, is Junior Research Fellow at Christ Church College, Oxford. Her research focuses on cultural exchange between the Netherlands and Portugal in the 15th and early 16th centuries. Recent publications include âCrusading in a Lisbon Convent: The Making and Meaning of The Passion of Christ in Jerusalem (Lisbon, ca. 1500)â, Journal of Historians of Netherlandish Art, 15/2 (2023).
âTaken as a whole, this volume represents a monumental undertaking in understanding the reach and connections that Iberia had during the fifteenth and sixteenth centuries. Considering the movement of artists first, then the movement of objects, and finally less traditional ways of thinking about and analyzing artistic exchange, the volume offers a thoughtful and well-researched exploration of artistic connections.â
Emily D. Kelley in The Medieval Review, 26.04.01 (https://scholarworks.iu.edu/journals/index.php/tmr/article/view/43221)
âThe volume succeeds in its aim to transcend narratives confined to formalistic analysis. It does so by repositioning art historical inquiry within a broader global framework â prompting a reassessment of the disciplineâs methods and a re-evaluation of its questions â that reflects Iberiaâs role in the Early Modern world.â
Caterina Fioravanti in The Burlington Magazine 168:1476 (March 2026), pp. 283â284)
âThe editorial organization of the volume is another of its strengths. The chapters are thoughtfully grouped, and complementary essays work together to paint a complex portrait of artistic movement into and out of the Iberian world. Costanza Beltrami and Sylvia Alvares-Correaâs Introduction is excellent, bringing these diffuse studies together into a coherent whole. This volume is immediately accessible to scholars unfamiliar with scholarship on late-medieval Iberia, with succinct interrogations of many pressing historiographic concepts such as composite monarchies, polycentrism, and shifting definitions of Iberia. As one would hope in a book about art and exchange, the volume is beautifully illustrated and includes maps, and other images that help the reader to better understand the entangled geographies under discussion.â
Kai R. Werner in Terrae Incognitae: The Journal of the Society for the History of Discoveries (2025)
Emily D. Kelley in The Medieval Review, 26.04.01 (https://scholarworks.iu.edu/journals/index.php/tmr/article/view/43221)
âThe volume succeeds in its aim to transcend narratives confined to formalistic analysis. It does so by repositioning art historical inquiry within a broader global framework â prompting a reassessment of the disciplineâs methods and a re-evaluation of its questions â that reflects Iberiaâs role in the Early Modern world.â
Caterina Fioravanti in The Burlington Magazine 168:1476 (March 2026), pp. 283â284)
âThe editorial organization of the volume is another of its strengths. The chapters are thoughtfully grouped, and complementary essays work together to paint a complex portrait of artistic movement into and out of the Iberian world. Costanza Beltrami and Sylvia Alvares-Correaâs Introduction is excellent, bringing these diffuse studies together into a coherent whole. This volume is immediately accessible to scholars unfamiliar with scholarship on late-medieval Iberia, with succinct interrogations of many pressing historiographic concepts such as composite monarchies, polycentrism, and shifting definitions of Iberia. As one would hope in a book about art and exchange, the volume is beautifully illustrated and includes maps, and other images that help the reader to better understand the entangled geographies under discussion.â
Kai R. Werner in Terrae Incognitae: The Journal of the Society for the History of Discoveries (2025)
Acknowledgements
List of Maps and Figures
Notes on Contributors
Introduction: Rethinking Artistic Mobilities in the Iberian World
âCostanza Beltrami and Sylvia Alvares-Correa
1 Recomposing and Reframing the Northern European Influence in Aragonese Painting, c.1400: The Unsettled Case of Marçal de Sas
âEncarna Montero Tortajada
2 âIn the Spanish Fashionâ: Iberian Artists Travelling in Italy, 1400â1550
âPiers Baker-Bates
3 Travelling Stonemasons and the Architectural Cultural Exchange between Spain, Mexico, and Peru in the 16th Century: Connections and Paths of the Toribio de Alcaraz Family
âMarco Silvestri
4 Portable Passion: The Adaptation of Martin Schongauerâs Engraved Inventions in Aragon and Castile
âNelleke de Vries
5 Travelling Images: Illustrations in the First Printed Story on Troy
âMarÃa Sanz Julián
6 Travelling Models in the Iberian Marian Atlas: Pathos and Consensus between the Flemish Mediterranean Networks and the Viceroyalty of New Spain
âMaria Vittoria Spissu
7 Lavish Tableware Consumption in Portugal and Early Imports of Ming Porcelain, 1499â1557
âLuÃs Urbano Afonso
8 The Azulejo as a Poetic of Ornament: Dissemination, Adaptation, and Fusion of Models in Iberian Compositions (16th Century)
âCéline Ventura Teixeira
9 All Saints Hospital in Lisbon: Artistic Exchanges in the Context of Hospital Architecture during the Renaissance
âJoana Balsa de Pinho
10 Travelling Artists and Local Elites in the Caribbean: Architecture in Santo Domingo in the Early 16th Century
âElena Paulino Montero
11 The Itinerancy of Jan van Eyckâs Models: (Re-)Creating Images of Power in Late Medieval Catalonia and Beyond
âEva March
12 Travelling Masterpieces from Flanders to Portugal: Jorge Afonsoâs Portuguese âCopyâ of Quentin Metsysâs Apparition of the Angel to Saints Clare, Agnes, and Colette
âVanessa Antunes, António Candeias, Sara Valadas, Ana Cardoso, Maria J. Francisco, Alexandra Lauw, Marta Manso, Fernando A. B. Pereira, and Maria L. Carvalho
13 A Composite Female Saint from Juan de Flandesâs Altarpiece for the University Chapel in Salamanca
âBart Fransen, Steven Saverwyns, and Armelle Weitz
Index
List of Maps and Figures
Notes on Contributors
Introduction: Rethinking Artistic Mobilities in the Iberian World
âCostanza Beltrami and Sylvia Alvares-Correa
Part 1: Travelling Artists
1 Recomposing and Reframing the Northern European Influence in Aragonese Painting, c.1400: The Unsettled Case of Marçal de Sas
âEncarna Montero Tortajada
2 âIn the Spanish Fashionâ: Iberian Artists Travelling in Italy, 1400â1550
âPiers Baker-Bates
3 Travelling Stonemasons and the Architectural Cultural Exchange between Spain, Mexico, and Peru in the 16th Century: Connections and Paths of the Toribio de Alcaraz Family
âMarco Silvestri
Part 2: Material Culture on the Move
4 Portable Passion: The Adaptation of Martin Schongauerâs Engraved Inventions in Aragon and Castile
âNelleke de Vries
5 Travelling Images: Illustrations in the First Printed Story on Troy
âMarÃa Sanz Julián
6 Travelling Models in the Iberian Marian Atlas: Pathos and Consensus between the Flemish Mediterranean Networks and the Viceroyalty of New Spain
âMaria Vittoria Spissu
7 Lavish Tableware Consumption in Portugal and Early Imports of Ming Porcelain, 1499â1557
âLuÃs Urbano Afonso
8 The Azulejo as a Poetic of Ornament: Dissemination, Adaptation, and Fusion of Models in Iberian Compositions (16th Century)
âCéline Ventura Teixeira
Part 3: Beyond Movement
9 All Saints Hospital in Lisbon: Artistic Exchanges in the Context of Hospital Architecture during the Renaissance
âJoana Balsa de Pinho
10 Travelling Artists and Local Elites in the Caribbean: Architecture in Santo Domingo in the Early 16th Century
âElena Paulino Montero
11 The Itinerancy of Jan van Eyckâs Models: (Re-)Creating Images of Power in Late Medieval Catalonia and Beyond
âEva March
12 Travelling Masterpieces from Flanders to Portugal: Jorge Afonsoâs Portuguese âCopyâ of Quentin Metsysâs Apparition of the Angel to Saints Clare, Agnes, and Colette
âVanessa Antunes, António Candeias, Sara Valadas, Ana Cardoso, Maria J. Francisco, Alexandra Lauw, Marta Manso, Fernando A. B. Pereira, and Maria L. Carvalho
13 A Composite Female Saint from Juan de Flandesâs Altarpiece for the University Chapel in Salamanca
âBart Fransen, Steven Saverwyns, and Armelle Weitz
Index
Postgraduate students and academic readers in History; Art History; Hispanic, Spanish, and Portuguese Studies, especially of the medieval and early modern periods.