The Art of Copying Art

Beschreibung

This book is a study of the history, role and significance of copying art. Copies have enjoyed a different status from authentic artworks and though often acknowledged, very rarely have they been considered collectively as a genre in their own right. This volume showcases a variety of examples—from copies of famous artworks made and used as props in movies to those made innocently by student artists as part of their training. Examining the motivations for making copies, and reflecting on the reception of copies, is central to this book. Copies have historically filled voids in collections, where some sadly languish, and have become a curatorial burden. In other cases, having a copy assists in conservation projects and fills the place of a lost work. Ultimately by interrogating a copy’s role and intent we might ask ourselves if viewing a copy changes our experience and perception of an artwork.
Penelope Jackson is a former public artgallery curator and director. Jackson is the chair of the New Zealand Art Crime Research Trust. She is the author of Art Thieves, Fakers & Fraudsters: The New Zealand Story (2016), Females in the Frame: Women, Art, and Crime (Palgrave, 2019) and has contributed to Art Crime and its Prevention (2016) and the Journal of Art Crime. In 2020 she was the recipient of a University of Auckland/Michael King Writers Centre Residency.

This book is a study of the history, role and significance of copying art. Copies have enjoyed a different status from authentic artworks and though often acknowledged, very rarely have they been considered collectively as a genre in their own right. This volume showcases a variety of examples—from copies of famous artworks made and used as props in movies to those made innocently by student artists as part of their training. Examining the motivations for making copies, and reflecting on the reception of copies, is central to this book. Copies have historically filled voids in collections, where some sadly languish, and have become a curatorial burden. In other cases, having a copy assists in conservation projects and fills the place of a lost work. Ultimately by interrogating a copy’s role and intent we might ask ourselves if viewing a copy changes our experience and perception of an artwork.

Autor*in

Penelope Jackson

Themen in »The Art of Copying Art«

Art Collecting Art Curation Conservation Critical Reception Lost Artwork

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“This is a hard book to put down. She makes a strong case for the better appreciation of copies. She points out that copies tell their own stories, and add to our appreciation of copies. She points out that copies tell their own stories, and add to our appreciation of the rich complexity and knowledge of art. Her style of writing is appealing to non-art aficionados.” (Rod Thomas, ARCA, art-crime.blogspot.com, February 21, 2023)

“This is a surprisingly diverting read with opportunities on nearly every page for the reader to look up and say ‘Did you know that . . . ?’ to their partner. Anyone remotely interested in the subject would be well advised to get themselves a copy.” (North & South Magazine, February, 2023)

"This book brilliantly fills an important gap in art scholarship. The history of art and the story of art forgeries are often covered, but rarely about the art of copying, and its role in the education of artists. Jackson has done it again with this readable, informative volume that will be a welcome addition to the library of anyone interested in art and its history." (Dr. Noah Charney, Adjunct Professor of Art History at the American University of Rome, Italy, and at University of Ljubljana, Slovenia, and best-selling author of The Devil in the Gallery (2021)) 
"Superb! Jackson pioneers and explores a new area of art history, seldom trodden before, and does so clearly and elegantly. Highly recommended!" (Judge Arthur Tompkins, author of Plundering Beauty: A History of Art Crime during War (2018)) 

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