Abstract
The relocation of the Papal Court from Italy to France at the beginning of the 14th century and its installation in Avignon for several decades from 1309 gives the opportunity to reflect on the practices of consumption of Italian paintings outside the peninsula. We are first dealing with the construction of an artistic labor market based on the mobility of artists, and then with the construction of a market for works of art, very gradually established, thanks to the new mobility of paintings. Avignon thus played the role of a laboratory for the diffusion of Italian painting in late medieval Europe, both from an aesthetic and economic point of view.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
