<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0123-885X</journal-id>
<journal-title><![CDATA[Revista de Estudios Sociales]]></journal-title>
<abbrev-journal-title><![CDATA[rev.estud.soc.]]></abbrev-journal-title>
<issn>0123-885X</issn>
<publisher>
<publisher-name><![CDATA[Facultad de Ciencias Sociales, Universidad de los Andes]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0123-885X2008000200007</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Del grabado como estrategia: Mediaciones entre el original y la copia]]></article-title>
<article-title xml:lang="en"><![CDATA[Printmaking as strategy: mediating between originals and copies]]></article-title>
<article-title xml:lang="pt"><![CDATA[Da gravura como estratégia: Mediações entre o original e a cópia]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Zalamea]]></surname>
<given-names><![CDATA[Patricia]]></given-names>
</name>
<xref ref-type="aff" rid="A01"/>
</contrib>
</contrib-group>
<aff id="A01">
<institution><![CDATA[,Universidad de los Andes Departamento de Arte ]]></institution>
<addr-line><![CDATA[Bogotá ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2008</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2008</year>
</pub-date>
<numero>30</numero>
<fpage>58</fpage>
<lpage>71</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0123-885X2008000200007&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0123-885X2008000200007&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0123-885X2008000200007&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Este artículo se remonta a los orígenes del grabado entendido como obra de arte, entre los siglos XV y XVII en Europa, para explorar las posibilidades eminentemente autorreflexivas del medio, cuyas particularidades de "reproductibilidad" redimensionan la noción del arte en Occidente; establece una comparación entre el fenómeno de las réplicas en el grabado y la pintura a partir del nuevo entendimiento renacentista de la identidad artística y de la firma como extensión de la persona. Investiga la relación histórica entre original y copia, insinuando la manera en que el grabado relativiza algunas nociones actuales sobre la reproducción, a partir de conceptos como invención e imitación, y la "mano" del artista. Para poner estas ideas en juego, propone una interpretación de un grabado específico, la Ninfa de Fontainebleau, y su reproducción en distintos contextos. Atribuida a Pierre Milán y René Boyvin, esta imagen puede leerse como una declaración artística sobre la capacidad del grabado de recrear otros medios visuales, y de extenderse tanto espacial como temporalmente.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[By tracing the origins of printmaking in Europe between the fifteenth and seventeenth centuries, this article explores the self-reflexive possibilities of the medium, whose reproductive abilities redefine Western art in a number of ways. It establishes a comparison between the phenomenon of replication in both prints and paintings, in connection to the Renaissance notion of artistic identity and signatures, which may be understood as an extension of the artist's persona. Similarly, it analyzes the ways in which prints question the relationship between originals and copies, both historically and in terms of our current understanding of reproductions, while probing concepts such as invention and imitation, as well as the artist's hand. Using this background information, an interpretation of a specific engraving, the Nymph of Fontainebleau, is proposed. Attributed to Pierre Milán and René Boyvin, this work may be read as an artistic declaration about print's ability to recreate other visual media, and to extend itself both in space and time.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Este artigo remonta-se às origens da gravura entendida como obra de arte, entre os séculos XV e XVII na Europa, com o objetivo de explorar as possibilidades eminentemente auto-reflexivas do meio, cujas particularidades de "reprodutibilidade" redimensionam a nocao da arte no Ocidente. Compara, também, o fenómeno das replicas na gravura e na pintura a partir do novo entendimento renascentista da identidade artística e da assinatura como extensão da pessoa. O texto analisa a relacao histórica entre original e cópia, sugerindo a maneira com que a gravura relativiza algumas nocóes atuais sobre a reproducao, a partir de conceitos como invencao e imitacao, e a "mão" do artista. Para pôr essas idéias em jogo, propóe a interpretacao de urna gravura específca, a Ninfa de Fontainebleau, e sua reproducao em contextos distintos. Atribuída a Pierre Milán e René Boyvin, essa imagen pode ser lida como urna declaracao artística sobre a capacidade da gravura de recriar outros meios visuais, e de se estender tanto espacial como temporalmente]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Grabado]]></kwd>
<kwd lng="es"><![CDATA[Renacimiento]]></kwd>
<kwd lng="es"><![CDATA[identidad artística]]></kwd>
<kwd lng="es"><![CDATA[imitación]]></kwd>
<kwd lng="es"><![CDATA[copia]]></kwd>
<kwd lng="es"><![CDATA[original]]></kwd>
<kwd lng="en"><![CDATA[Printmaking]]></kwd>
<kwd lng="en"><![CDATA[Renaissance]]></kwd>
<kwd lng="en"><![CDATA[artistic identity]]></kwd>
<kwd lng="en"><![CDATA[imitation]]></kwd>
<kwd lng="en"><![CDATA[copy]]></kwd>
<kwd lng="en"><![CDATA[original]]></kwd>
<kwd lng="pt"><![CDATA[Gravura]]></kwd>
<kwd lng="pt"><![CDATA[Renascimento]]></kwd>
<kwd lng="pt"><![CDATA[identidade artística]]></kwd>
<kwd lng="pt"><![CDATA[imitagao]]></kwd>
<kwd lng="pt"><![CDATA[copia]]></kwd>
<kwd lng="pt"><![CDATA[original]]></kwd>
</kwd-group>
</article-meta>
</front><body><![CDATA[  ]]></body><back>
<ref-list>
<ref id="B1">
<label>1</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bambach]]></surname>
<given-names><![CDATA[Carmen]]></given-names>
</name>
</person-group>
<source><![CDATA[Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice 1300-1600]]></source>
<year>1999</year>
<publisher-loc><![CDATA[Cambridge ]]></publisher-loc>
<publisher-name><![CDATA[Cambridge University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<label>2</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Barolsky]]></surname>
<given-names><![CDATA[Paul]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[The Artist's Hand]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Ladis]]></surname>
<given-names><![CDATA[Andrew]]></given-names>
</name>
<name>
<surname><![CDATA[Wood]]></surname>
<given-names><![CDATA[Carolyn]]></given-names>
</name>
</person-group>
<source><![CDATA[The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop]]></source>
<year>1995</year>
<publisher-loc><![CDATA[Athens ]]></publisher-loc>
<publisher-name><![CDATA[University of Georgia Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<label>3</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Baxandall]]></surname>
<given-names><![CDATA[Michael]]></given-names>
</name>
</person-group>
<source><![CDATA[Pintura y vida cotidiana en el Renacimiento: arte y experiencia en el Quattrocento]]></source>
<year>1981</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Gili]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<label>4</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Boorsch]]></surname>
<given-names><![CDATA[Suzanne]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[The Prints of the School of Fontainebleau]]></article-title>
<source><![CDATA[The French Renaissance in Prints from the Bibliothèque Nationale de France]]></source>
<year>1994</year>
<publisher-loc><![CDATA[Los Angeles ]]></publisher-loc>
<publisher-name><![CDATA[Grunewald Center for the Graphic ArtsUniversity of California]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<label>5</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Boschini]]></surname>
<given-names><![CDATA[Marco]]></given-names>
</name>
</person-group>
<source><![CDATA[La carta del navegar pittoresco]]></source>
<year>1966</year>
<publisher-loc><![CDATA[Venecia ]]></publisher-loc>
<publisher-name><![CDATA[Istituto per la collaborazione culturale]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<label>6</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Butler]]></surname>
<given-names><![CDATA[Judith]]></given-names>
</name>
</person-group>
<source><![CDATA[Cuerpos que importan: Sobre los límites materiales y discursivos del sexo]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<label>7</label><nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Campbell]]></surname>
<given-names><![CDATA[Lorne]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[The Art Market in the Southern Netherlands in the Fifteenth Century]]></article-title>
<source><![CDATA[The Burlington Magazine]]></source>
<year>1976</year>
<numero>118</numero>
<issue>118</issue>
<page-range>188-198</page-range></nlm-citation>
</ref>
<ref id="B8">
<label>8</label><nlm-citation citation-type="book">
<collab>Catálogo de exposición</collab>
<source><![CDATA[The French Renaissance in Prints from the Bibliothèque Nationale de France]]></source>
<year>1994</year>
<publisher-loc><![CDATA[Los Angeles ]]></publisher-loc>
<publisher-name><![CDATA[Grunewald Center for the Graphic ArtsUniversity of California]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<label>9</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cole]]></surname>
<given-names><![CDATA[Bruce]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[Titian and the Idea of Originality in the Renaissance]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Andrew]]></surname>
<given-names><![CDATA[Ladis]]></given-names>
</name>
<name>
<surname><![CDATA[Wood]]></surname>
<given-names><![CDATA[Carolyn]]></given-names>
</name>
</person-group>
<source><![CDATA[The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop]]></source>
<year>1995</year>
<publisher-loc><![CDATA[Athens ]]></publisher-loc>
<publisher-name><![CDATA[University of Georgia Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<label>10</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dijkstra]]></surname>
<given-names><![CDATA[Jeltje]]></given-names>
</name>
</person-group>
<source><![CDATA[Origineel en kopie: Een onderzoek naar de navolging van de Meester van Flémalle en Rogier van der Weyden]]></source>
<year>1990</year>
<publisher-name><![CDATA[University of Amsterdam]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<label>11</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elkins]]></surname>
<given-names><![CDATA[James]]></given-names>
</name>
</person-group>
<source><![CDATA[What Painting Is]]></source>
<year>2000</year>
<publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<label>12</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fermor]]></surname>
<given-names><![CDATA[Sharon]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[Movement and Gender in Sixteenth-Century Painting]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Adler]]></surname>
<given-names><![CDATA[Kathleen]]></given-names>
</name>
<name>
<surname><![CDATA[Pointon]]></surname>
<given-names><![CDATA[Marcia]]></given-names>
</name>
</person-group>
<source><![CDATA[The Body Imaged]]></source>
<year>1993</year>
<publisher-loc><![CDATA[Cambridge ]]></publisher-loc>
<publisher-name><![CDATA[Cambridge University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<label>13</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Garrard]]></surname>
<given-names><![CDATA[Mary]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[Art More Powerful than Nature?: Titian's Motto Reconsidered]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Meilman]]></surname>
<given-names><![CDATA[Patricia]]></given-names>
</name>
</person-group>
<source><![CDATA[The Cambridge Companion to Titian]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Cambridge ]]></publisher-loc>
<publisher-name><![CDATA[Cambridge University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<label>14</label><nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Goffen]]></surname>
<given-names><![CDATA[Rona]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[Signatures: Inscribing Identity in Italian Renaissance Art]]></article-title>
<source><![CDATA[Viator]]></source>
<year>2001</year>
<numero>32</numero>
<issue>32</issue>
<page-range>303-370</page-range></nlm-citation>
</ref>
<ref id="B15">
<label>15</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gombrich]]></surname>
<given-names><![CDATA[Ernest]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[The Renaissance Conception of Artistic Progress and Its Consequences]]></article-title>
<source><![CDATA[Norm and Form: Studies in the Art of the Renaissance]]></source>
<year>1966</year>
<publisher-loc><![CDATA[Chicago ]]></publisher-loc>
<publisher-name><![CDATA[University of Chicago Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<label>16</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Grodecki]]></surname>
<given-names><![CDATA[Catherine]]></given-names>
</name>
</person-group>
<source><![CDATA[Histoire de l'art au XVIe siècle (1540-1600): Sculpture, peinture, broderie, émail et faïence, orfèvrerie, armures, Documents du Minutier central des notaires de Paris]]></source>
<year>1986</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Archives Nationales]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<label>17</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Grodecki]]></surname>
<given-names><![CDATA[Catherine]]></given-names>
</name>
</person-group>
<article-title xml:lang="fr"><![CDATA[Luca Penni et le milieu parisien: A propos de son inventaire après décès]]></article-title>
<source><![CDATA['Il se rendit en Italie': Etudes offertes à André Chastel]]></source>
<year>1987</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Flammarion]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<label>18</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hults]]></surname>
<given-names><![CDATA[Linda]]></given-names>
</name>
</person-group>
<source><![CDATA[The Print in the Western World: An Introductory History]]></source>
<year>1996</year>
<publisher-loc><![CDATA[Madison ]]></publisher-loc>
<publisher-name><![CDATA[University of Wisconsin Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<label>19</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Koerner]]></surname>
<given-names><![CDATA[Joseph]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[Albrecht Dürer: A Sixteenth-Century Influenza]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Bartrum]]></surname>
<given-names><![CDATA[Giulia]]></given-names>
</name>
</person-group>
<source><![CDATA[Albrecht Dürer and his Legacy: The Graphic Work of a Renaissance Artist]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Princeton ]]></publisher-loc>
<publisher-name><![CDATA[Princeton University Press.]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<label>20</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Landau]]></surname>
<given-names><![CDATA[David]]></given-names>
</name>
<name>
<surname><![CDATA[Parshall]]></surname>
<given-names><![CDATA[Peter]]></given-names>
</name>
</person-group>
<source><![CDATA[The Renaissance Print 1470-1550]]></source>
<year>1994</year>
<publisher-loc><![CDATA[New Haven ]]></publisher-loc>
<publisher-name><![CDATA[Yale University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<label>21</label><nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Maccherini]]></surname>
<given-names><![CDATA[Michele]]></given-names>
</name>
</person-group>
<article-title xml:lang="it"><![CDATA[Caravaggio nel carteggio familiare di Giulio Mancini]]></article-title>
<source><![CDATA[Prospettiva]]></source>
<year>1997</year>
<numero>86</numero>
<issue>86</issue>
<page-range>71-9</page-range></nlm-citation>
</ref>
<ref id="B22">
<label>22</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Magurn]]></surname>
<given-names><![CDATA[Ruth S]]></given-names>
</name>
</person-group>
<source><![CDATA[The Letters of Peter Paul Rubens]]></source>
<year>1991</year>
<publisher-loc><![CDATA[Evanston^eIllinois Illinois]]></publisher-loc>
<publisher-name><![CDATA[Northwestern University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<label>23</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mancini]]></surname>
<given-names><![CDATA[Giulio]]></given-names>
</name>
</person-group>
<source><![CDATA[Considerazioni della Pittura]]></source>
<year>1956</year>
<publisher-loc><![CDATA[Roma ]]></publisher-loc>
<publisher-name><![CDATA[Accademia Nazionale dei Lincei]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<label>24</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Morales Folguera]]></surname>
<given-names><![CDATA[José Miguel]]></given-names>
</name>
</person-group>
<source><![CDATA[Tunja: Atenas del Renacimiento en el Nuevo Reino de Granada]]></source>
<year>1998</year>
<publisher-loc><![CDATA[Málaga ]]></publisher-loc>
<publisher-name><![CDATA[Servicio de Publicaciones de la Universidad de Málaga]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<label>25</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Muller]]></surname>
<given-names><![CDATA[Jeffrey]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[Measures of Authenticity: The Detection of Copies in the Early Literature on Connoisseurship]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Preciado]]></surname>
<given-names><![CDATA[Kathleen]]></given-names>
</name>
</person-group>
<source><![CDATA[Retaining the Original: Multiple Originals, Copies, and Reproductions. Studies in the History of Art,20]]></source>
<year>1989</year>
<publisher-loc><![CDATA[Washington ]]></publisher-loc>
<publisher-name><![CDATA[National Gallery of Art]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<label>26</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[el Viejo]]></surname>
<given-names><![CDATA[Plinio]]></given-names>
</name>
</person-group>
<source><![CDATA[Textos de historia del arte]]></source>
<year>1987</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Visor]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<label>27</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pon]]></surname>
<given-names><![CDATA[Lisa]]></given-names>
</name>
</person-group>
<source><![CDATA[Raphael Dürer and Marcantonio Raimondi: Copying and the Italian Renaissance Print]]></source>
<year>2004</year>
<publisher-loc><![CDATA[New Haven ]]></publisher-loc>
<publisher-name><![CDATA[Yale University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<label>28</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Reilly]]></surname>
<given-names><![CDATA[Patricia]]></given-names>
</name>
</person-group>
<article-title xml:lang="en"><![CDATA[The Taming of the Blue: Writing Out Color in Italian Renaissance Theory]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Broude]]></surname>
<given-names><![CDATA[Norma]]></given-names>
</name>
<name>
<surname><![CDATA[Garrard]]></surname>
<given-names><![CDATA[Mary]]></given-names>
</name>
</person-group>
<source><![CDATA[The Expanding Discourse: Feminism and Art History]]></source>
<year>1993</year>
<publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Harper & Row]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<label>29</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Schreiber Jacoby]]></surname>
<given-names><![CDATA[Beverly]]></given-names>
</name>
</person-group>
<source><![CDATA[Drawing: (Partes I-V). Grove Art Online]]></source>
<year></year>
<publisher-name><![CDATA[Oxford University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<label>30</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Shearman]]></surname>
<given-names><![CDATA[John]]></given-names>
</name>
</person-group>
<source><![CDATA[Andrea del Sarto]]></source>
<year>1965</year>
<publisher-loc><![CDATA[Oxford ]]></publisher-loc>
<publisher-name><![CDATA[Clarendon Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<label>31</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Spear]]></surname>
<given-names><![CDATA[Richard]]></given-names>
</name>
</person-group>
<source><![CDATA[The "Divine" Guido: Religion, Sex, Money, and Art in the World of Guido Reni]]></source>
<year>1997</year>
<publisher-loc><![CDATA[New Haven ]]></publisher-loc>
<publisher-name><![CDATA[Yale University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<label>32</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Talvacchia]]></surname>
<given-names><![CDATA[Bette]]></given-names>
</name>
</person-group>
<source><![CDATA[Taking Positions: On the Erotic in Renaissance Culture]]></source>
<year>1999</year>
<publisher-loc><![CDATA[Princeton ]]></publisher-loc>
<publisher-name><![CDATA[Princeton University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<label>33</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vasari]]></surname>
<given-names><![CDATA[Giorgio]]></given-names>
</name>
</person-group>
<source><![CDATA[Le Vite]]></source>
<year>1930</year>
<publisher-loc><![CDATA[Florencia ]]></publisher-loc>
<publisher-name><![CDATA[Salari]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B34">
<label>34</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Witcombe]]></surname>
<given-names><![CDATA[Christopher]]></given-names>
</name>
</person-group>
<source><![CDATA[Copyright in the Renaissance: Prints and the &#8216;Privilegio&#8217; in Sixteenth-Century Venice and Rome]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Boston ]]></publisher-loc>
<publisher-name><![CDATA[Brill]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B35">
<label>35</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zerner]]></surname>
<given-names><![CDATA[Henri]]></given-names>
</name>
</person-group>
<source><![CDATA[The School of Fontainebleau]]></source>
<year>1969</year>
<publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Abrams]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<label>36</label><nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zorach]]></surname>
<given-names><![CDATA[Rebecca]]></given-names>
</name>
</person-group>
<source><![CDATA[Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Chicago ]]></publisher-loc>
<publisher-name><![CDATA[University of Chicago Press]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
