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Stefano Pierguidi: »A Certain Livelier Quality of Expression«
»A Certain Livelier Quality of Expression«
(S. 229 – 244)

Stefano Pierguidi

»A Certain Livelier Quality of Expression«
Bernini’s Two Versions of the Bust of Scipione Borghese

PDF, 16 Seiten

  • Autorschaft
  • Kunstgeschichte
  • Kopie
  • Identität
  • Kunstwissenschaften
  • Serialität
  • Multiples
  • Index

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Stefano Pierguidi

ist Ricercatore di storia della critica d’arte an der Universität La Sapienza in Rom. Seine Forschungen konzentrieren sich vor allem auf die Gemälde des späten Manierismus in Rom, die Iconologia von Cesare Ripa sowie die Tradition der Personifikation im 16. Jahrhundert, in jüngerer Zeit vor allem zu Annibale Carracci und Domenichino.

Weitere Texte von Stefano Pierguidi bei DIAPHANES
Walter Cupperi (Hg.): Multiples in Pre-Modern Art

Walter Cupperi (Hg.)

Multiples in Pre-Modern Art

Gebunden, 304 Seiten

PDF, 304 Seiten

In the last years replicated objects have gained an increasingly central position in the discourse about ancient, medieval and early modern art. ›Multiples‹, we are often told, lack uniqueness, invention, autonomy, and sometimes even authorship. Indeed, ›multiples‹ can be powerful multipliers – in that they enhance the ›aura of the originals‹ that they replicate – but they remain secondary indexes pointing to an ›original‹ imbued with significance. Yet, what happens if ›multiples‹ do not refer to other artifacts at all, or if they are associated with other ›multiples‹ rather than with a first version in the mind of their owners? What happened when serially-made ›multiples‹ were not quite identical to each other, as was the rule with pre-modern artifacts? What shaped their identity and the perception of them as identical?
This collection of essays explores different forms of interaction between the making of artifacts in more than one specimen and their reception before the nineteenth century. It addresses media such as metal, wax, plaster, terracotta, textiles, marble, ivory, porcelain, canvases and tables in an attempt to re-assess the current identification of the mediality of prints with that of pre-modern ›multiples‹ in general.