Dear user, changes will soon be made to Orfeo. We will undertake the migration to a new version, another environment (and therefore a new URL: https://orfeo.belnet.be/) and another provider. Belnet will take over the management of Orfeo in the future. For you, this means that no changes, modifications or uploads can be made to the database Orfeo from the 1st of December 2021 to the 10th of December 2021. The database remains available for consultation. From the 10th of December 2021 onwards, you can reach Orfeo via the new url https://orfeo.belenet.be/. Our apologies for the inconvenience.
The copies by Miguel Manrique and Western Mediterranean commercial networks
|dc.identifier.citation||Eduardo Lamas, 'The copies by Miguel Manrique and Western Mediterranean commercial networks', in: Copies of Flemish Masters in the Hispanic World (1500-1700) : "Flandes" by Substitution, ed. by Eduardo Lamas & David García Cueto, (Turnhout, 2021), pp. 233-241||en_US|
|dc.description||The Flemish painter Miguel Manrique (Marche-en-Famenne [?], ca. 1610/12- Malaga, 1647), known as Michele Fiammingo in Genoa, developed his career in Italy and in Spain. Some authors affirmed that he was trained by Rubens in Antwerp. At the end of his life he established himself in the city of Malaga, where he combined his profession as a painter with activities as a merchant and a moneylender. The little is known about his work in Spain let suppose that he dedicated a part of his artistic activity there to the production of copies after Rubens' models. This paper analyses this little known production and link it with other copies made by other local artists after Baroque Flemish masters, and it does discuss an eventual local production of copies in Malaga in concurrence or in collaboration with the art dealing houses in Antwerp within the Spanish art market.||en_US|
|dc.title||The copies by Miguel Manrique and Western Mediterranean commercial networks||en_US|
|dc.subject.free||De Wael, Cornelis|
|dc.relation.project||International Research Project COPIMONARCH. La copia pictórica en la Monarquía Hispánica, siglos XVI-XVIII (I+D HAR2014-52061-P)||en_US|