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Synopsis

Art History and the Reproductible Image


International Chair: Horst Bredekamp,
Humboldt-Universität zu Berlin, DE
Canadian Chair: Bronwen Wilson,
McGill University, Montreal, CA


Art History is strongly linked to image reproduction and projection techniques (serial fabrication, engraving, photography, skioptikon, slide projection). The increasing use of new techniques of communication (digital images, web sites, electronic publications) has a strong impact on research and teaching practices in the discipline. Malraux’s Museum Without Walls is still our principal space of circulation, with image reproduction not only performing an ancillary function but also shaping the very foundations of art history.

Lena Bader, Humboldt-Universität zu Berlin, DE
The revitalisation of the original through photography

Anthony Cutler, Pennsylvania State University, University Park, US
Representing the Face of God: Photography, Historiography and the Pantokrator Mosaic at Daphni

Nicolas Galley, Université de Fribourg, CH
En quête de l’original

Michael Gnehm, Institut für Geschichte und Theorie der Architektur, Eidgenössische Technische Hochschule (ETH), Zürich, CH
« La Gravure triomphe » : Le De ScAlptura, de Louis Doissin (1753)

Lena Johannesson, Göteborgs Universitet, SE
William M. Ivins, Jr. on the Ontology of Reproductive Media

Elisabeth Kieven, Bibliotheca Hertziana - Max-Planck-Institut für Kunstgeschichte, Rome, IT
«Vedutismo» als bauliches Konzept. Zur Analyse bildorientierter Raumvorstellungen mit aktuellen Visualisierungs-Techniken

Juliet Koss, Scripps College, Claremont, US / Humboldt-Universität zu Berlin, DE
Reproduction and the Gesamtkunstwerk: From Wagner and Nietzsche through Brecht to Warhol

Ségolène Le Men, Université Paris X Nanterre / École normale supérieure, Paris, FR
Gravure d’artiste, reproductibilité, marché de l’art : Millet à Barbizon et le tournant de l’eau-forte (1849-1878)

Colin Lemoine, Institut National d’Histoire de l’Art, Paris, FR
Photographie et cinéma chez Henri Focillon : illustrer, sérier, diffuser et enseigner. Le renouvellement d’une discipline

Maria Loh, University College London, GB
The Erotics of Repetition: Homosociality and Titianesque Seriality

Kristine Patz, Freie Universität Berlin / Universität Trier, DE
Original-Cast-Copy. On the History of Nineteenth- and Twentieth-century Collections of Plaster Casts

Rose Marie San Juan, University of British Columbia, Vancouver, CA
Corruptible Bodies and Imperfect Replicas: Duplicating the Dying Body Across Europe and Asia

Claudia Swan, Northwestern University, Evanston, US
Authenticity and Reproduction in Early Modern Empiricism. The Limits of the Scientific Real

Angela Vanhaelen, McGill University, Montréal, CA
The Reformation of the Holy Face in Emanuel de Witte’s Old Church in Amsterdam

Jan von Bonsdorff, Universitetet Tromsø, NO
Visual Argumentation: How Can Digital Imagery Enhance Art-historical Discourse?

Lauren S. Weingarden, Florida State University, Tallahassee, US
The Photographic Subversion: Benjamin, Manet and Art(istic) Reproduction

Claire Zimmerman, City University of New York, US
The Two Surfaces of the Barcelona Pavilion