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Walter Cupperi: Never Identical: Multiples in Pre-Modern Art
Never Identical: Multiples in Pre-Modern Art
(S. 7 – 30)

Walter Cupperi

Never Identical: Multiples in Pre-Modern Art

PDF, 24 Seiten

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

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Deutsch, Englisch, Französisch

Walter Cupperi

studierte Kunstgeschichte an der Universität Pisa und an der Scuola Normale Superiore di Pisa. Er ist Research Fellow am Kunstgeschichtlichen Institut der Ludwigs-Maximilians-Universität München. Seine Forschungsschwerpunkte sind: Kulturaustausch und transkulturelle Prozesse innerhalb der habsburgischen Herrschaftsgebiete in Europa (1500-1650), Habsburgische Residenzen und Sammlungen, die Rezeption der italienischen Kunst außerhalb Italiens, die Kultur des Portraits sowie das Nachleben der Antike.

Weitere Texte von Walter Cupperi 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.