ABSTRACT
Reconstructing Seville’s patrimony of painting from the 16th and 17th centuries illuminates the city’s own artistic character, since its painters had diverse and numerous sources of influence and inspiration. The powerful influence that this painting exercised upon the same-themed paintings of artists like Murillo or Zurbaran only supports the theory that the canvas was preserved in the Seville Cathedral. Reni’s style arrived very early in Naples, where the local artists adopted “a sumptuous classicist influence of Guido Reni,” as the authors can see in the case of Massimo Stanzione, the so-called “Neapolitan Guido.” In Baroque Seville, the influence of the Bolognese painters is still perceptible, despite the strength of the Sevillian School at this time. By examining the Renian influence in Sevillian paintings, it has been our intention to bring to light the existence of a large group of paintings, copies after them, or prints of the work of the Bolognese master in Seville.
