传真、艺术品和实物

IF 0.2 2区 艺术学 0 ART METROPOLITAN MUSEUM JOURNAL Pub Date : 2021-01-01 DOI:10.1086/718038
Rebecca Capua
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引用次数: 0

摘要

19世纪末和20世纪初的藏品,主要是由于照相印刷工艺的发展,并与第一次世界大战后美国和欧洲博物馆承担的进步使命保持一致。与此同时,保守派对艺术民主化趋势的批评引发了关于在展览中使用仿制品的相当大的争议。近年来,学术界一直关注石膏模型在这一时期许多博物馆形成过程中的作用。较少被检查的是纸上的传真作品,它在大都会艺术博物馆的早期藏品中占了很大一部分,以及传真、艺术品和实物中无法获得的其他作品复制品
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Facsimiles, Artworks, and Real Things
collections in the late nineteenth and early twentieth centuries, largely due to developments in photomechanical print processes, and in keeping with the progressive mission assumed by museums in the United States and Europe after the First World War. At the same time, conservative criticism of that democratizing tendency in the arts fomented considerable controversy over the inclusion of facsimiles in exhibitions. In recent years, scholarly attention has been paid to the role of plaster casts in the formation of many of the museums of this period. Less examined are facsimile works on paper, which made up a significant portion of The Metropolitan Museum of Art’s early collection, along with other reproductions of works that were unattainable in the Facsimiles, Artworks, and Real Things
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