Tag Archives: 16th Century

ARTES Coll & Cortés Travel Scholarship report: Sylvia Alvares-Correa (PhD Candidate, University of Oxford)

By Sylvia Alvares-Correa


Joos van Cleve (attr.)
The Annunciation
Oil on oak panel
Museu de Arte Sacra do Funchal, inv. MASF35


Detail of figure 1

The generous award funds provided by ARTES Coll&Cortes allowed me to travel to Lisbon to investigate the transmission of Flemish art, designs, and techniques to Portugal in the late medieval period, on which my PhD research is based. The trip fortuitously overlapped with the exhibition ‘The Islands of White Gold, Art Commissions in Madeira: 15th and 16th Centuries’ at the Museu Nacional De Arte Antiga as well as the ‘Medieval Europe in Motion—The Middle Ages, A Global Context?’ conference hosted at the Calouste Gulbenkian Foundation. Both introduced me to works of art and research with which I had not been familiar and underlined the complexity and ambiguity involved in defining artistic transmission.


Workshop or Circle of Quentin Metsys
Triptych of the Descent from the Cross
Oil on oak panel
Museu Nacional de Arte Antiga, Inv. 1285 Pint

The fluid movement of artists and designs between north and south during this period means that just because something looks Flemish doesn’t necessarily mean it is; unfortunately, ‘style’ is often the determinant factor in classifying the origin of artworks in museums as well as in literature. Production methods can help elucidate if not by who at least where an artwork was made. To this end, the research trip sponsored by ARTES Coll & Cortes allowed me to collect data on the different joinery methods used in 15th and 16th century panel painting. Specifically, I sought out works joined by perpendicular dowels. Internal dowels, the predominate joinery method found in the north, in some cases dictated by guild regulations, are less likely to disrupt the surface of the painting; perpendicular dowels, however, tend to protrude slightly to the surface over time and can often be discerned with the naked eye. Current research proposes that the latter joinery method was predominant exclusively in Portugal (though famously employed by Hugo van der Goes as well).



Detail of figure 2

My preliminary investigations, however, yielded evidence that perpendicular dowels were utilized not only Portuguese panel paintings, but also in panels believed to be imported from Flanders. While it is too early to draw conclusions, the diversity of joinery methods observed suggest that either perpendicular dowels were not as uncommon to northern production as has been supposed or that certain works in Portuguese collections which have been classified as ‘Flemish’ were perhaps produced locally. I’m looking forward to delving in further!







Featured exhibition: Son of Laocoön. Alonso Berruguete and Pagan Antiquity

35933736581_c23472b4c0_bHijo del Laocoonte. Alonso Berruguete y la Antigüedad pagana, Museo Nacional de Escultura, Valladolid, until 5 November 2017

This is the first exhibition to explore the ‘pagan soul’ of sixteenth century sculptor Alonso Berruguete. The exhibition focuses on his fascination with the works of antiquity, which he saw on his sojourn in Italy between about 1508 and 1518, and in particular the influence of the newly discovered group of the struggling Laocoon on Berruguete’s own sacred and secular work in Spain.
The exhibition of sculptures, paintings, drawings and prints is selected from Spanish and international collections and accompanied by a full programme of conferences, guided tours, and concerts as well as a multi-essayed catalogue edited by the exhibition’s curator and deputy director of the Museum, Manuel Arias Martínez.

New book: The Casa del Deán: New World Imagery in a Sixteenth-Century Mexican Mural Cycle

The Casa del Deán: New World Imagery in a Sixteenth-Century Mexican Mural Cycle, by Penny C. Morrill
(Austin: University of Texas Press, December 2014)
ISBN: 978-0-292-75930-5 (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)
“Extensively illustrated with new color photographs, this pioneering study of a masterpiece of colonial Latin American art reveals how a cathedral dean and native American painters drew on their respective visual traditions to promote Christian faith in the New World.”