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 scale of the cultural perform of the copying of old artwork. Copies because the basic - the unique? - that says to be the secondary are the motor of various approaches 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 conditions of a possible easy reception of antiquity.

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That the proponents of traditional archaeological Kopienkritik as a rule adhere to a rather pragmatic use of the established terms and concepts in their respective research contexts, which however continue to be used, reveals the current unease concerning the method. See for example Fittschen (2006), 10. Junker/Stähli (2008), 1–5 provide a problem-oriented and structured overview of the history of Kopienkritik without calling the concepts into question (on the distinction between the method and aim of archaeological Kopienkritik, see below p.

In Search of the Greek Bronze Original«, in: The Ancient Art of Emulation. Studies in Artistic Originality and Tradition from the Present to Classical Antiquity, ed. by Elaine K. Gazda, Ann Arbor/Michigan 2002, 99–115. Meixner, Horst, » ›Ein Wald von Statuen‹. Zur Wirkungsgeschichte des Mannheimer Antikensaals«, in: Schiering (1984), 48–62. Michaelis, Adolf, »Römische Skizzenbücher Marten van Heemskerks und anderer nordischer Künstler des XVI. Jahrhunderts, I–II«, in: Jahrbuch des Kaiserlich Deutschen Archäologischen Instituts 6 (1891), 125–172, 218–238.

Copies carried originals into new surroundings and new contexts. This depended on a not-necessarily consciously selective approach to the Antique work of art, which was focussed on the form – in contrast to acts of »spoliation« such as the acquisition of sculptures. Already here, the selective moment of copying reveals itself as a cultural practice. If the marble artefact remained in Italy, its copy rematerialized in another place in an identical or – as in the case of the bronze copies commission by Francis I for Fontainebleau – an even more desirable material.

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