Selected Reading



Alpers, Svetlana. The Decoration of the Torre de la Parada: Corpus Rubenianum Ludwig Burchard, Part IX. London: Phaidon Press, 1971.

Anes, Gonzalo. Las colecciones reales y la fundación del Museum del Prado. Madrid: Fundaci.n de Amigos del Museo del Prado, 1996.

Bayer, Andrea, ed. Art and Love in Renaissance Italy. Exh. cat. New Haven, Conn.: Yale University Press, 2008.

Bernstein, Joanne G. “The Female Model and the Renaissance Nude: Dürer, Giorgione, and Raphael.” Artibus et Historiae 13, no. 26 (1992): 49–63.

Boccardo, Piero, and Xavier F. Salomon, eds. Guido Reni: Il tormento e l’estasi; I San Sebastiano a confronto. Exh. cat. Milan: Silvana Editoriale, 2007.

Brown, Jonathan. A Palace for a King: The Buen Retiro and the Court of Philip IV. New Haven, Conn.: Yale University Press, 1980.

Brown, Jonathan. The Golden Age of Painting in Spain. New Haven, Conn.: Yale University Press, 1991.

Brown, Jonathan. Kings and Connoisseurs: Collecting Art in Seventeenth- Century Europe. Princeton, N.J.: Princeton University Press, 1995.

Brown, Patricia Fortini. Private Lives: Art, Architecture, and the Family in Renaissance Venice. New Haven, Conn.: Yale University Press, 2004.

Burke, Jill. “Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude.” Art History 36, no. 4 (September 2013): 714–39.

Burke, Jill. The Italian Renaissance Nude: Nakedness in Art and Life, 1400–1530. New Haven, Conn.: Yale University Press, forthcoming.

Burke, Marcus B., and Peter Cherry. Collections of Paintings in Madrid, 1601–1755. Documents for the History of Collecting. Edited by Maria L. Gilbert. 2 vols. Los Angeles: Provenance Index of the Getty Information Institute, 1997.

Carducho, Vicente. Diálogos de la pintura. Edited by F. Calvo Serraller. 1633. Madrid: Turner, 1979.

Carroll, Margaret D. Painting and Politics in Northern Europe: Van Eyck, Brueghel, Rubens, and Their Contemporaries. University Park, Pa.: Penn State Press, 2008.

Checa Cremades, Fernando. Felipe II: Mecenas de las artes. Madrid: Nerea, 1992.

Checa Cremades, Fernando et al., eds. Museo del Prado: Cátálogo de las pinturas. Madrid: Ministerio de Educaci.n y Cultura, 1996.

Civil, Pierre. “Erotismo y pintura mitológica en la España del siglo de oro.” Edad de oro 9 (1990): 39–49.

Clark, Kenneth. The Nude: A Study in Ideal Form. London: John Murray,1956.

Dal Pozzo, Cassiano. El diario del viaje a España del Cardenal Francesco Barberini/Il diario del viaggio in Spagna del Cardinale Francesco Barberini. Edited by Alessandra Anselmi. 1626. Madrid: Fundaci.n Carolina, 2004.

De Clippel, Karolien. “Rubens’s ‘Nymphs and Satyrs’ in the Prado: Observations
on Its Genesis and Meaning.” Burlington Magazine 149 (February 2007): 76–81.

De Clippel, Karolien, Katharina Van Cauteren, and Katlijne Van der Stighelen,
eds. The Nude and the Norm in the Early Modern Low Countries. Turnhout, Belgium: Brepols, 2011.

Delenda, Odile. Francisco de Zurbarán, 1598–1664: Catálogo razonado y critic. Madrid: Fundaci.n Arte Hisp.nico, 2009.

Diaz Padrón, Matías. Museo del Prado: Catálogo de pinturas; Escuela flamenca.
Madrid: Museo Nacional del Prado, 1975.

Diaz Padrón, Matías. El siglo de Rubens en el Museo del Prado: Catálogo rezonado de pintura flamenca del siglo XVII. Madrid: Editorial Prensa Ib.rica, 1995.

Ertz, Klaus. Jan Brueghel der Ältere (1568–1625): Kritischer Katalog der Gemälde. Lingen: Luca Verlag, 2008–10.

Falomir Faus, Miguel, ed. Tiziano. Exh. cat. Madrid: Museo Nacional del Prado, 2003.

Falomir Faus, Miguel, ed. Tintoretto. Exh. cat. Madrid: Museo Nacional del Prado, 2007.

Farina, Viviana. Al sole e all’ombra di Ribera: Questioni di pittura e disegno a Napoli nella prima metà del seicento. Exh. cat. Naples: Nicola Longobardi Editore, 2014.

Georgievska-Shine, Aneta. “Rubens’s Europa and Titian’s Auctoris Index.” Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 59 (2009): 275–291.

Georgievska-Shine, Aneta, and Larry Silver. Rubens, Velázquez, and the King of Spain. Burlington, Vt.: Ashgate, 2014.

Goffen, Rona. Titian’s Women. New Haven, Conn.: Yale University Press, 1997.

Goldfarb, Hilliard T., David Freedberg, and Manuela B. Mena Marqu.s. Titian and Rubens: Power, Politics, and Style. Exh. cat. Boston: Isabella Stewart Gardner Museum, 1998.

Held, Julius. The Oil Sketches of Peter Paul Rubens: A Critical Catalogue. Princeton, N.J.: Princeton University Press, 1980.

Leppert, Richard. The Nude: The Cultural Rhetoric of the Body in the Art of Western Modernity. Boulder, Colo.: Westview Press, 2007.

Lindquist, Sherry, ed. The Meanings of Nudity in Medieval Art. Burlington, Vt.: Ashgate, 2012.

Malvasia, Carlo Cesare. Felsina pittrice: Vite de’ pittori bolognesi con aggiunte, correzioni e note inedite dell’ autore. Edited by Giampetro Zanotti. 2 vols. Bologna: Guidi all’Ancora, 1841.

Marshall, Louise. “Reading the Body of a Plague Saint: Narrative Altarpieces and Devotional Images of St. Sebastian in Renaissance Art.” In Reading Texts and Images: Essays on Medieval and Renaissance Art and Patronage in Honour of Margaret M. Manion, edited by Bernard J. Muir, 237–72. Exeter, England: University of Exeter Press, 2002.

McIver, Katherine A. “Visual Pleasures, Sensual Sounds: Music, Morality, and Sexuality in Paintings by Titian.” In Sexualities, Textualities, Art, and Music in Early Modern Italy: Playing with Boundaries, edited by Linda L. Carroll, Melanie L. Marshall, and Katherine A. McIver, 13–22. Burlington, Vt.: Ashgate, 2014.

Muller, Jeffrey M. Rubens: The Artist as Collector. Princeton, N.J.: Princeton University Press, 1989.

Ovid. Metamorphoses. Translated by Rolfe Humphries. Bloomington: Indiana University Press, 1983.

Portús, Javier. “Indecencia, mortificación y modos de ver en la pintura del siglo de oro.” Espacio, tiempo y forma, series 7, Historia del Arte 8 (1995): 55–88.

Portús, Javier. La sala reservada del Museo del Prado y el coleccionismo de pintura de desnudo en la corte española, 1554–1838. Madrid: Museo Nacional del Prado, 1998.

Portús, Javier. La sala reservada y el desnudo en el Museo del Prado. Madrid: Museo Nacional del Prado, 2002.

Portús, Javier. Velázquez y la familia de Felipe IV, 1650–1680. Madrid: Museo Nacional del Prado, 2013.

Rosenthal, Lisa. Gender, Politics, and Allegory in the Art of Rubens. Cambridge: Cambridge University Press, 2005.

Rosenthal, Margaret F. The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Century Venice. Chicago: University of Chicago Press, 1992.

Schmitter, Monika. “The Quadro Da Portego in Sixteenth-Century Venetian Art.” Renaissance Quarterly 64, no. 3 (September 2011): 693–751.

Steinberg, Leo. The Sexuality of Christ in Renaissance Art and in Modern Oblivion. London: Faber & Faber, 1984.

Stoichita, Victor. The Self-Aware Image: An Insight into Early Modern Meta-Painting. Translated by Anne-Marie Glasheen. Cambridge: Cambridge University Press, 1997.

Talvacchia, Bette. Taking Positions: On the Erotic in Renaissance Culture. Princeton, N.J.: Princeton University Press, 1999.

Úbeda de los Cobos, Andrés, ed. Paintings for the Planet King: Philip IV and the Buen Retiro Palace. Exh. cat. London: Paul Holberton, 2005.

Van Hout, Nico. “Reconsidering Rubens’s Flesh Colour.” Boletín del Museo del Prado 19, no. 37 (2001): 7–20.

Vergara, Alejandro. Rubens and His Spanish Patrons. Cambridge: Cambridge University Press, 1999.

Wood, Jeremy. Rubens: Copies and Adaptations from Renaissance and
Later Masters; Italian Artists. Vol. 2 of 2: Titian and North Italian Art: Corpus Rubenianum Ludwig Burchard, Part XXVI
. London: Harvey Miller, 2010.

Woollett, Amy T., and Ariane van Suchtelen, eds. Rubens and Brueghel: A Working Friendship. Exh. cat. Los Angeles: J. Paul Getty Museum, 2006.