Giles Knox examines how El Greco, Velaìzquez, and Rembrandt, though a disparate group of artists, were connected by a new self-consciousness with respect to artistic tradition. In particular, Knox considers the relationship of these artists to the art of Renaissance Italy, and sets aside nationalist art histories in order to see the period as one of fruitful exchange. Across Europe during the seventeenth century, artists read Italian-inspired writings on art and these texts informed how they contemplated their practice. Knox demonstrates how these three artists engaged dynamically with these writings, incorporating or rejecting the theoretical premises to which they were exposed. Additionally, this study significantly expands our understanding of how paintings can activate the sense of touch. Knox discusses how Velaìzquez and Rembrandt, though in quite different ways, sought to conjure for viewers thoughts about touching that resonated directly with the subject matter they depicted.

[Giles Knox](http://arthistory.indiana.edu/faculty/knox.shtml) is Associate Professor in the Department of Art History at Indiana University. He has edited, together with Tanya J. Tiffany: *Velázquez Re-Examined: Theory, History, Poetry, and Theatre*, Brepols, 2017. He is the author of *The Late Paintings of Velázquez: Theorizing Painterly Performance*, Ashgate, 2009.

AcknowledgementsList of IllustrationsIntroduction: Polemics of PaintingPart One - Origin Stories and the Challenge of ItalyChapter One - El Greco: Italy, Crete, ToledoChapter Two - From El Greco to Velázquez: Juan Bautista MaínoPart Two - Illusion, Materiality, TouchChapter Three - Velázquez and Inversion: Making and IllusionChapter Four - Vulcan, Mars, and Venus: Erotic TouchChapter Five - Late Rembrandt I: Texture and Skilled TouchChapter Six - Late Rembrandt II: Feeling with the EyesConclusionBibliographyIndex