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[caption id="attachment_3513" align="aligncenter" width="379"] Michiel Coxcie, David et Goliath, huile sur panneau, 139 x 106 cm, Real Monasterio de San Lorenzo de El Escorial[/caption]Type : colloque international.Inscription (payante) : du 20 décembre 2016 au 26 janvier 2017.Date de la manifestation : 9-10 février 2017.Lieu : Royal Institute for Cultural Heritage (KIK-IRPA), Brussels.Lunch, morning and afternoon teas on Thursday and Friday are included in the registration fee, as well as the reception on Friday and the preprint abstractsPrice: 75 €.Program09:00 Registration &#38; coffee09:30 Welcome by Christina Ceulemans (Director-General of KIK-IRPA)09:40 Didier Martens (Université Libre de Bruxelles), Jalons pour une histoire de la copie de Primitifs flamands en Espagne, depuis l’époque des Rois Catholiques jusqu’à Philippe IV10:20 Questions and discussionSession 110:30 Miquel Angel Herrero &#38; Isidre Puig (Universitat de Lleida)“Christ crowned with Thorns with linked hands“, or the fortune of aFlemish “Ecce Homo“ among the Spaniards. On Bouts saga’s originals, workshop replicas and Hispanic copies10:50 Catheline Perier-D’Ieteren (Université Libre de Bruxelles)L’Espagne et le succès des copies de Vierge à la soupe au lait d’après un prototype de G. David : une version peu connue exécutée sur ardoise11:10 Questions and discussion11:15 Coffee break11:35 Nicola Jennings (Courtauld Instute of Art, London)Imitation, Inspiration or Innovation? Juan de Flandes and the Collection of Paintings of Isabella de Castile11:55 Jessica Weiss (Metropolitan State University of Denver)Castilian Legacy and Juan de Flandes’s Miraflores Copy12:15 Questions and discussion12:20 LunchSession 214:00 Almudena Perez de Tudela (Patrimonio Nacional, Madrid)Copias de retratos cortesanos entre España y los Países Bajos durante el reinado de Felipe II14:20 Astrid Harth (Ghent University)“Standing on the shoulders of giants”: Copying and the Habsburg collection policy14:40 Questions and discussion14:50 Antonia Putzger (Technische Universität Berlin)Strategic Anachronism and Network of Images: faithful copies of Early Netherlandish altarpieces at the court of Philip II15:10 Helene Dubois (KIK-IRPA), Lorne Campbell, Jose Juan Perez-Preciado &#38; Laura Alba (Museo Nacional del Prado)Michiel Coxcie’s copies for the Spanish court: a comparison between the techniques used in his copies of the Ghent Altarpiece by the van Eycks and the "Descent from the Cross" by Rogier van der Weyden15:30 Questions and discussion15:40 Coffee breakSession 316:00 Marie Grappasonni (Association du Patrimoine artistique, Brussels)Les copies de Marcelus Coffermans (c. 1525-1581) d’après les Primitifs Flamands destinées au marché espagnol16:20 Jose Juan Perez-Preciado (Museo Nacional del Prado)Jan Gossaert’s Deesis at Prado copying Van Eyck’s Saint Bavon altarpiece. Some new evidences about the use of the painting at El Escorial as a doctrinal and an artistic icon17:00 Questions and discussion17:10 Replica : une histoire d’aller-retour Séville-Bruxelles. Presentation of the artistic work on the copy by Constantin Meunier (1831-1905) from the painting the Descent from the cross by Peter Kempeneer (1503-1580) by Gloria Martin (plastic artist)Friday, 10 February 201708:30 CoffeeSession 409:00 Macarena Moralejo (Universidad de León)Copies emulating Federico Zuccari’s model for the L’Annunziata church in Rome within the Flemish, Italian, German and Hispanic Ars Sacra (1500-1700)09:20 Ana Dieguez-Rodriguez (Instituto Moll: Research Centre for the Flemish Painting in Spain, Madrid)"The Calvary" of Hendrik de Clerck (1560-1630) for the church of Saint-Josse-ten-Noode in Brussels. Reflections over the influence of a "Calvary" by Michiel Coxcie (1499-1592)09:40 Isabel Monteiro &#38; Hugo Sanches (Early Music Consort Il Dolcimelo Portugal, Lisbon-Oeiras)Flemish music in Iberian courts10:00 Questions and discussion10:15 Coffee break10:40 Abigail Newman (Rubenianum, Antwerp)Copying Rubens, Claiming Rubens: The Dissemination and Incorporation of Rubens in 17th-Century Spain11:20 Questions and discussionSession 511:30 Manuel Garcia-Luque (Universidad de Granada)Copies after Rubens and Van Dyck in Granada: reception and influence11:50 Eduardo Lamas-Delgado (KIK-IRPA)Miguel Manrique-Michele Fiammingo (ca 1610/12-1647) and the market of copies at the Western Mediterranean12:10 Questions and discussion12:20 Lunch breakSession 613:40 David Garcia-Cueto (Universidad de Granada)Collecting and Copying Flemish Painting in the Royal Palaces and Monasteries of Madrid: Rubens’ copies in the Patrimonio Nacional14:00 Angel Rodriguez Rebollo (Fundación universitaria española, Madrid)"No ha de haber en los palacios estatua ni pintura que no crie en el pecho del príncipe gloriosa emulación": Rubens, Martínez del Mazo and the decoration of the Prince’s Quarters in the Alcázar of Madrid14:20 Felipe Serrano (Universidad de Jaén)Flemish copies at periphery: the cathedral of Jaen and its patronage of copies14:40 Questions and discussion14:55 Coffee breakSession 715:20 Stephanie Porras (Tulane University)Copying ad majorem Dei Gloriam: the Jesuit Order and the export of Antwerp artistic models to the Hispanic World15:40 Sandra van Ginhoven (Getty Research Institute)Originals and Adaptable Compositions: Guilliam Forchondt’s art dealership in Antwerp (1643-1678) and the Overseas Paintings Trade16:00 Fernando Herrera &#38; Selene Garcia (Universidad Nacional Autónoma de México)Los cuadros flamencos de la iglesia de la Soledad de Oaxaca (México)16:20 Questions and discussionPainting restoration workshop (2nd floor)16:30 "The Holy Family" by Peter Paul Rubens (1577-1640). Presentation of the conservation work in progress on the painting by Karen Bonne (restorer of paintings at KIK-IRPA, Brussels)16:45-18:45 Closing reception