Comercio de obras de arte y su repercusión en la construcción del discurso histórico-artístico.

Un estudio del caso en la pintura del Primer Renacimiento en Zamora.

Abstract

The confirmation of the Zamora origins of two panels in Madrid trade once again points to the way in which the sale of heritage from the late 19th century and the first half of the following century has affected the reasoned construction of a history of Renaissance painting in this area. On the basis of this discovery, and relating it to other works, the article aims to delimit the production of certain painters who worked in the city of Zamora and its environs in the first third of the 16th century: the Maestro de las Dueñas de Zamora, closely related to the painting of the Master of Astorga, and Gil de Encinas, the former Master of Zamora.