The writers discuss the collection of paintings assembled by Abel-Jean Vignier (1639–1700), marquis d'Hauterive. They profile Vignier and identify the nucleus of his collection, noting in particular the number of Caravaggesque paintings it contained. They go on speculate on various aspects of the collection, such as how it was assembled, whether Vignier was an independent connoisseur or relied on advice, and what was the overriding stimulus behind his collection.
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