Distributed for DIAPHANES
Multiples in Pre-Modern Art
In the art world, replicas are typically thought to be of low value. However skillfully created, they remain in the eyes of many mere copies, pointing toward an original of greater significance. In recent years, however, replicas and multiples have come to occupy a more central position in discussions about ancient, medieval, and early modern art.
Multiples in Pre-Modern Art looks at the production and reception of replicas and multiples before the nineteenth century. A wide variety of media are considered, including metal, marble, terra cotta, textiles, plaster, porcelain, canvas, wood, and wax. Through a series of questions—What happens if a copy purposely points not to an original but to another copy? What does it matter that some serially made multiples are not identical?—many of the works are reappraised as significant art forms in their own right.
Multiples in Pre-Modern Art looks at the production and reception of replicas and multiples before the nineteenth century. A wide variety of media are considered, including metal, marble, terra cotta, textiles, plaster, porcelain, canvas, wood, and wax. Through a series of questions—What happens if a copy purposely points not to an original but to another copy? What does it matter that some serially made multiples are not identical?—many of the works are reappraised as significant art forms in their own right.
Table of Contents
Introduction: Never Identical. Multiples in Pre-Modern Art?
Walter Cupperi
In the Roman Empire an Aura was a Breeze
Miranda Marvin (edited posthumously by Rolf Michael Schneider)
Antike Reproduktionsmedien
Siegel und Münze zwischen Serialität und Authentizität
Andreas Grüner
Die Magdeburger Aquamanilien des 12. Jahrhunderts als »Multiples«
Joanna Olchawa
Die Tapisserie
Ein auratischer reproduzierender Bildträger
Wolfgang Brassat
Über die Anfänge der Reproduzierbarkeit von Kleinbronzen in der italienischen Renaissance
Claudia Kryza-Gersch
»You Could Have Cast Two Hundred of Them«
Multiple Portrait Busts and Reliefs at the Court of Charles V of Habsburg
Walter Cupperi
»… Et sia ritratto nella forma medesima«
Das Florentiner Gnadenbild der SS. Annunziata und seine Repliken
Susanne Kubersky-Piredda
»A Certain Livelier Quality of Expression«
Bernini’s Two Versions of the Bust of Scipione Borghese
Stefano Pierguidi
The Same but Different
Baroque Ivories and Reproduction
Marjorie Trusted
Multiples, Authorship and the Eighteen-Century Portrait Bust’s Aura
Malcolm C. Baker
Autorenverzeichnis
Personen- und Ortsregister
Walter Cupperi
In the Roman Empire an Aura was a Breeze
Miranda Marvin (edited posthumously by Rolf Michael Schneider)
Antike Reproduktionsmedien
Siegel und Münze zwischen Serialität und Authentizität
Andreas Grüner
Die Magdeburger Aquamanilien des 12. Jahrhunderts als »Multiples«
Joanna Olchawa
Die Tapisserie
Ein auratischer reproduzierender Bildträger
Wolfgang Brassat
Über die Anfänge der Reproduzierbarkeit von Kleinbronzen in der italienischen Renaissance
Claudia Kryza-Gersch
»You Could Have Cast Two Hundred of Them«
Multiple Portrait Busts and Reliefs at the Court of Charles V of Habsburg
Walter Cupperi
»… Et sia ritratto nella forma medesima«
Das Florentiner Gnadenbild der SS. Annunziata und seine Repliken
Susanne Kubersky-Piredda
»A Certain Livelier Quality of Expression«
Bernini’s Two Versions of the Bust of Scipione Borghese
Stefano Pierguidi
The Same but Different
Baroque Ivories and Reproduction
Marjorie Trusted
Multiples, Authorship and the Eighteen-Century Portrait Bust’s Aura
Malcolm C. Baker
Autorenverzeichnis
Personen- und Ortsregister