中文简介：

巴洛克画派早期代表人物Peter Paul Rubens（1577-1640）本人从未跨越大西洋，但他对拉丁美洲殖民时期的影响是深远的。按照这位艺术家的设计制作的版画经常从欧洲被送到西班牙美洲，那里的艺术家用它们来制作各种物品。

本书首次全面研究了这一跨大西洋现象，尽管人们普遍认为它是塑造该地区艺术景观的最重要力量之一。复制，特别是在殖民背景下的复制，传统上具有负面的影响，使人们不愿意认真探索。然而，对印刷品来源的分析，以及在时代话语和原始展示空间内对所产生的作品进行重新语境化，使得对拉丁美洲殖民时期产生的这一大类艺术的重新评估成为可能——这些艺术太容易被视为衍生品，因而不值得持续关注和调查。本书对与这些复杂的创造性反应同时出现的艺术作者范式采取了一种新的方法，重点是17和18世纪的新西班牙和秘鲁总督区。本书认为，欧洲版画的使用是殖民地艺术家形成关于作为创作者意味着什么的想法的框架的重要组成部分。

英文简介：

Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects.

Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.