From Rome to Seville, Then to Lima, and Back to Seville

A new interpretation emerges from the analysis of a 1603 agreement between sculptor Juan Martínez Montañés and Mateo Vázquez de Leca, revealing critical insights into the materiality, mobility, and circulation of artistic models during the early modern period. The study highlights how the desire to create a 'better' crucifix in Seville, modeled after one in Lima, reflects broader trends in artistic diffusion and the criteria for quality. By examining the qualities of both works and their historical context, the research sheds light on the complex dynamics of art production, mobility, and reception across the Iberian world.

Riello, J. (2025). From Rome to Seville, Then to Lima, and Back to Seville. The Creation, Diffusion, and Reception of Italian Art in the Early Modern Iberian World, 123–142. https://doi.org/10.4324/9781003503972-9