| Acknowledgments |
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6 | (3) |
| Introduction: The Pictor Doctus and the Artists' Collections: From Taste to a Training Resource |
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9 | (20) |
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1 Learning from the Artistic Collections, Libraries and Workshops |
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Pablo de Cespedes y su biblioteca humanistica. Un nuevo acercamiento en su ideario artistico a traves de su coleccion |
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29 | (18) |
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Alejandro Jaquero-Esparcia |
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Bernardino Poccetti as Collector |
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47 | (30) |
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"Ha muerto Rubens". La recepcion y llegada de parte de su coleccion al patrimonio de la Corona espanola |
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77 | (28) |
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Francisco de Solis, Collector of Drawings |
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105 | (30) |
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Isabel Clara Garcia-Torano |
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2 Coteries. The Role of the Friendship and the Academies |
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Vicente Carducho's Modelling of Artistic Practice and Connoisseurship |
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135 | (24) |
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Between Guild and Academy: Collections of Central European Painters as a Source of Artistic Progress or a Steady Livelihood? |
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159 | (22) |
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French Barbizon Landscapes Collected by Pre-Raphaelite and Aesthetic Movement. Artists in the second half of the Nineteenth Century |
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181 | (20) |
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Women Painters and Academicians: Models and Collections |
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201 | (20) |
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3 Artists at the Court: Experience and Erudition |
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Court Institutions and their Impact on Artworks by the valet de chambre: Artists Serving at the Valois-Burgundian Court during the Fifteenth Century |
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221 | (20) |
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Velazquez and the Royal Collection. Opening the Pandora's Box |
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241 | (28) |
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| Index of names |
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269 | (8) |
| About the contributors |
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277 | |
