Download Das Originale der Kopie: Kopien als Produkte und Medien der by Horst Bredekamp, Tatjana Bartsch, Marcus Becker, Charlotte PDF

By Horst Bredekamp, Tatjana Bartsch, Marcus Becker, Charlotte Schreiter

The purpose of this quantity is to enquire into the size of the cultural perform of the copying of historic paintings. Copies because the fundamental - the unique? - that says to be the secondary are the motor of more than a few methods of cultural alternate during which hugely diversified content material and messages have been traded and communicated. As items and media of the transformation of antiquity, copies "bring to lifestyles" the situations of a probably uncomplicated reception of antiquity.

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Additional info for Das Originale der Kopie: Kopien als Produkte und Medien der Transformation von Antike

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10 The need to consciously engage with the implications of the methodology and direction as well 7 8 9 10 Stähli (2008), 22–24. Cf. 2009]). Hölscher’s (2008) introduction for students of classical archaeology (»Die Überlieferung griechischer Skulptur« 176–180), seems also to be reduced to its constitutive elements. An avoidance of the complexity of the current discussion is to be noticed in Klaus Fittschen’s reflections on the collection of imperial portraits (Kaisergalerie) in Herrenhausen: Fittschen (2006), 7–10, which alternates indecisively between an acceptance of the methodology and aim of the established Kopienkritik, its (in his opinion) indubitable transferability to post-Antique phenomena of copying, and a relativisation of the terms employed within it.

Nevertheless, a Preiscourant from around 1830, which is housed in Dresden, proves that an iron Laocoon with the same bust cut as the one in the possession of the Lauchhammer Gips was available for purchase: cf. Antike, Kunst und das Machbare (2004), 204. An iron cast of the full figure of the Apollo Belvedere can be found in the Wolkenburg garden in the Zwickau Muldental: Wierik (2004), 182–184, Fig. 83; Schreiter (2006), 64–65, Fig. 4–6. 34 Tatjana Bartsch – Marcus Becker – Charlotte Schreiter of Antique originals.

With respect to the various forms of transformative reproduction as a fundamental cultural technique, the spectrum ranges from historically differentiated interpretations of the concept of imitatio,32 a topic which is addressed in Victoria Sancho Lobis’s contribution through the example of the artistic practice of Peter Paul Rubens, through to works that incorporate apparently accurate plaster casts of Antique sculptures. In place of the traditional notion of the study of Antique art as a one-way street and the idea that, through the careful study and copying of Antique art by artists of the modern era, independent works of art inspired by antiquity result, the focus shifts to the pursuit of individual processes of transformation whose dynamic in the practice of copying is steered by differing approaches to individual aspects and parameters of a work of art.

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