Painted copies and views on authenticity in seventeenth-century Sweden
(2019) Faking it.- Abstract
- The research on forgeries, fakes, copies, replicas, facsimiles,
substitutions, appropriations and imitations in pre-modern
times is now a growing field of research in art history, and as
shown the difference between these concepts is anything but
clear (Heisterberg, Müller-Bechtel & Putzger eds. 2018; Cupperi
ed. 2014; Wood 2008).
The aim of this paper is to look at the artistic production of
painted portrait copies in sventeenth-century Stockholm and
the Svealand area during the seventeenth-century, a period
when Sweden was an economic and political empire, but it
lacked a strong artistic centre. This made it an art historical
periphery even if the inflow of money generated a growing... (More) - The research on forgeries, fakes, copies, replicas, facsimiles,
substitutions, appropriations and imitations in pre-modern
times is now a growing field of research in art history, and as
shown the difference between these concepts is anything but
clear (Heisterberg, Müller-Bechtel & Putzger eds. 2018; Cupperi
ed. 2014; Wood 2008).
The aim of this paper is to look at the artistic production of
painted portrait copies in sventeenth-century Stockholm and
the Svealand area during the seventeenth-century, a period
when Sweden was an economic and political empire, but it
lacked a strong artistic centre. This made it an art historical
periphery even if the inflow of money generated a growing demand
for paintings – including copies and replicas. Copies and
replicas were chiefly commissioned from painters who worked
within the inherited guild system, where copying was considered
manual labour. Previous art historical research has tended
to focus on court painters considered original or as responsible
for importing new stylistic impulses and artistic skills from the
cultural centre in Europe at the time. This paper, however, will
look at the increasing number of less successful, “second-rate”
painters in the seventeenth-century who earned their living
by painting copies. The paper will also take into consideration
questions regarding changing ideas about authenticity and questions
artistic centres and art as imitation in the peripheries.
The paper will present preliminary results from the ongoing
post-doc project “Copies and Replicas in Seventeenth-century
Northern Europe: Image, Medium, and Practice”, combining
theoretical perspectives from media studies and visual studies. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/faff6dc3-90a5-4bfd-aef6-a7b4616784bd
- author
- Krispinsson, Charlotta LU
- organization
- publishing date
- 2019-08-16
- type
- Contribution to conference
- publication status
- unpublished
- subject
- conference name
- Faking it.
- conference location
- Gothenburg, Sweden
- conference dates
- 2019-08-15 - 2019-08-17
- language
- English
- LU publication?
- yes
- id
- faff6dc3-90a5-4bfd-aef6-a7b4616784bd
- date added to LUP
- 2021-01-02 19:02:08
- date last changed
- 2021-01-13 11:45:06
@misc{faff6dc3-90a5-4bfd-aef6-a7b4616784bd, abstract = {{The research on forgeries, fakes, copies, replicas, facsimiles,<br> substitutions, appropriations and imitations in pre-modern<br> times is now a growing field of research in art history, and as<br> shown the difference between these concepts is anything but<br> clear (Heisterberg, Müller-Bechtel & Putzger eds. 2018; Cupperi<br> ed. 2014; Wood 2008).<br> <br> The aim of this paper is to look at the artistic production of<br> painted portrait copies in sventeenth-century Stockholm and<br> the Svealand area during the seventeenth-century, a period<br> when Sweden was an economic and political empire, but it<br> lacked a strong artistic centre. This made it an art historical<br> periphery even if the inflow of money generated a growing demand<br> for paintings – including copies and replicas. Copies and<br> replicas were chiefly commissioned from painters who worked<br> within the inherited guild system, where copying was considered<br> manual labour. Previous art historical research has tended<br> to focus on court painters considered original or as responsible<br> for importing new stylistic impulses and artistic skills from the<br> cultural centre in Europe at the time. This paper, however, will<br> look at the increasing number of less successful, “second-rate”<br> painters in the seventeenth-century who earned their living<br> by painting copies. The paper will also take into consideration<br> questions regarding changing ideas about authenticity and questions<br> artistic centres and art as imitation in the peripheries.<br> <br> The paper will present preliminary results from the ongoing<br> post-doc project “Copies and Replicas in Seventeenth-century<br> Northern Europe: Image, Medium, and Practice”, combining<br> theoretical perspectives from media studies and visual studies.}}, author = {{Krispinsson, Charlotta}}, language = {{eng}}, month = {{08}}, title = {{Painted copies and views on authenticity in seventeenth-century Sweden}}, year = {{2019}}, }