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Condemned to Invisibility? Antonio C...

Pinto, Paula Cristina Parente Vieira.

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Condemned to Invisibility? Antonio Canova and the Impact of Photographic Reproduction on the History of Art.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Condemned to Invisibility? Antonio Canova and the Impact of Photographic Reproduction on the History of Art./
作者:	Pinto, Paula Cristina Parente Vieira.
面頁冊數:	560 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.
Contained By:	Dissertation Abstracts International78-03A(E).
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10179032
ISBN:	9781369291476

Condemned to Invisibility? Antonio Canova and the Impact of Photographic Reproduction on the History of Art.
Pinto, Paula Cristina Parente Vieira.

Condemned to Invisibility? Antonio Canova and the Impact of Photographic Reproduction on the History of Art. - 560 p.

Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.

Thesis (Ph.D.)--University of Rochester, 2016.

Antonio Canova was aware of the importance of reproduction in the dissemination of his work, but, at his Roman studio, production and reproduction were parallel and interchangeable operations. Canova's three-dimensional plaster casts and his compilation of two-dimensional engravings forestalled photography's capacity to create a "contemporary catalogue" of his work. While the engraved catalogue allowed Canova's sculptures to circulate internationally as reproductions, the display of his plasters within the Canovian Gipsoteca at Possagno offered a true representation of his body of work. Through time, different approaches were used to represent and reproduce Antonio Canova's work. His work would be at the origins of photography, but it was the interdependency of different means of reproduction that was critical to the early technical and conceptual development of photography.

ISBN: 9781369291476Subjects--Topical Terms:

2122701
Art history.

Condemned to Invisibility? Antonio Canova and the Impact of Photographic Reproduction on the History of Art.
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245 1 0 $a Condemned to Invisibility? Antonio Canova and the Impact of Photographic Reproduction on the History of Art.
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500 $a Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.
500 $a Adviser: Paul Duro.
502 $a Thesis (Ph.D.)--University of Rochester, 2016.
520 $a Antonio Canova was aware of the importance of reproduction in the dissemination of his work, but, at his Roman studio, production and reproduction were parallel and interchangeable operations. Canova's three-dimensional plaster casts and his compilation of two-dimensional engravings forestalled photography's capacity to create a "contemporary catalogue" of his work. While the engraved catalogue allowed Canova's sculptures to circulate internationally as reproductions, the display of his plasters within the Canovian Gipsoteca at Possagno offered a true representation of his body of work. Through time, different approaches were used to represent and reproduce Antonio Canova's work. His work would be at the origins of photography, but it was the interdependency of different means of reproduction that was critical to the early technical and conceptual development of photography.
520 $a As the collapse of the nineteenth-century system of copying involved teaching reforms that devalued repetition as a studio practice, the cultural debate surrounding reproduction also lost pertinence. Furthermore, the pervasiveness of photography-based mechanical reproduction in the printed press through its "technological supremacy," led to the loss of artistic status of traditional forms of reproduction. The means of reproduction lost their own and parallel histories. Photography might have gained technological autonomy and institutional recognition as an art form, but it was at the expense of its own critical history as a form of visual representation.
520 $a This dissertation focuses on the recovery of the history of photography as a reproductive practice. Stefano Serafin's World War I photographs of Antonio Canova's bombed casts have a particular impact on both the history of photographic reproductions of artworks and the history of the art objects themselves. His photographs emphasize the very process of history. Serafin used Canova's marbles to recover the plasters, confusing their historical materiality and identities as models that preceded the final sculptures. In doing so, he recalled the complexity of the reproductive process developed by Canova and its relation to tradition. His photographs portrayed the destruction of the work, while the work's continuous restorations endeavored to preserve its original image. On the verge of disappearance, Serafin's glass negatives are irreplaceable documentation of Antonio Canova's original artifacts.
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