Some of the material in is restricted to members of the community. By logging in, you may be able to gain additional access to certain collections or items. If you have questions about access or logging in, please use the form on the Contact Page.
This thesis investigates the dissemination of Martin Schongauer's religious prints and their reception by artists in late fifteenth-century Aragón. It has long been accepted that Schongauer's prints reached the Iberian Peninsula; however, the German artist's influence on artists and publishers working in Aragón has gone largely unexamined. Among the most widely circulated images in Europe, Schongauer's devotional prints also formed a corpus of visual material for publishers and artists in Aragón. Introduced by important court figures such as Isabel of Castile, Schongauer's motifs were later adopted by local publishers and artists working in the local hispanoflamenco style. I investigate Schongauer's influence upon a variety of media, including woodcuts, book illustrations and painted panels. I consider the publishing practices of Pablo Hurus, a German printer working in Zaragoza. I argue that Hurus appropriated Schongauer's engravings for their technical refinement and efficacy as devotional images converting the engravings into illustrations for his publications of Andres de Li's Tesoro de la Pasion and Bernhard von Breydenbach's Peregrinatio in Terram Sanctam. The illustrations enhanced and, in case of Breydenbach's text, altered the nature of the original text from a travel guide to a devotional volume. I examine the painted panels executed after Schongauer's engravings by Aragonese artists, Miguel Jimenez, Martin Bernat and Pedro de Oviedo. I argue that Schongauer's engravings and Hurus's woodcuts functioned as effective pictorial models for these painters who filtered out certain formal elements while preserving the emotional intensity and inventiveness of Schongauer's original design.