At the very beginning of the 16th century, the Loire Valley was the French Royal Court residence and then a center of high level of artistic production (painting, sculpture, jewelry, tapestry, illuminated manuscripts...). In the 1900s, the young discipline of art history focused on this “regional school of artistic production” and defined specific tools for studying it. Such fundamental studies, as that of Paul Vitry on Michel Colombe (Paris, 1901), and the 1904 exhibition on French Primitives, determined two main ways of study: firstly, monographic analysis of the production of important artists, such as Jean Fouquet, Michel Colombe or Jean Bourdichon; secondly, the definitions of notions like “school of the Loire Valley” or “art de la détente”. Recent historiography has reconsidered that subject and proposed new lines of reflection. The more dynamic and opened notion of “foyer” has replaced the notion of “regional artistic school”, and the anonymous corpus or those of the major masters have been reevaluated (Michel Colombe, Jean Poyer, Master of Claude of France). The Centre des Études Supérieures de la Renaissance is an actual motive of this revival through two programs of research. The ARVIVA project inventories, analyses and evaluates the figurative arts of the Loire Valley within the large period from 1470 to 1600. The Sculpture 3D project proposes the reconsideration of key masterpieces with the help of augmented reality in order to place new digital tools in service of scientific analysis. The first results of these programs are manifold. The enlarged period of study allows better understanding of the evolution of the artistic production. Moreover, deeper archives researches enlighten relationships of artists and donors and draw an interactive social network of Tours during the 1500s. On that base, this paper focuses on particular examples: Tours, as a capital of luxury, parishes as the center of microhistory of the social network, and recently discovered works of art.