Diogo Lemos (University of Coimbra, Centre for the History of Society and Culture, Portugal)
During his reign (1707–1750), John V of Portugal recognized the strategic role of emulation and the circulation of iconic visual works within European courts. He instructed his diplomats to collect copies of key artworks, many of which were reproduced as engravings and circulated widely, often compiled and advertised in catalogues resembling books. These printed images served as vital iconographic sources for commissions by the king, executed by artists trained in Europe’s major apprenticeship circuits, and later integrated into the broader visual and cultural repertoire of other courts.
This proposal investigates the mechanisms of circulation, promotion, and readership of visual materials in the early modern period, drawing parallels with the spread of printed books and printed imagery. It examines how networks of diplomacy, espionage, and the press contributed to the creation of visual icons, and how John V actively engaged with these dynamics to shape the Portuguese court’s identity.
Intersecting portraits and material culture with early modern book and print networks, and highlighting France’s important but not exclusive role, this study explores the nuances of artistic exchanges across courts.
Focusing on the iconology of the Catholic Kings, the paper offers new insights into the cultural and political milieu of the period, demonstrating how curated visual collections and printed catalogues operated alongside books as instruments of power, communication, and cross-cultural dialogue.