The Repressive Logic of a Profession? On the Use of Reproductions in Art History

Research output: Contribution to journal › Journal article › Research › peer-review

Standard

The Repressive Logic of a Profession? On the Use of Reproductions in Art History. / Dam Christensen, Hans.

In: Konsthistorisk Tidskrift, Vol. 79, No. 4, 2010, p. 200-215.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Dam Christensen, H 2010, 'The Repressive Logic of a Profession? On the Use of Reproductions in Art History', Konsthistorisk Tidskrift, vol. 79, no. 4, pp. 200-215. https://doi.org/10.1080/00233609.2010.509550

APA

Dam Christensen, H. (2010). The Repressive Logic of a Profession? On the Use of Reproductions in Art History. Konsthistorisk Tidskrift, 79(4), 200-215. https://doi.org/10.1080/00233609.2010.509550

Vancouver

Dam Christensen H. The Repressive Logic of a Profession? On the Use of Reproductions in Art History. Konsthistorisk Tidskrift. 2010;79(4):200-215. https://doi.org/10.1080/00233609.2010.509550

Author

Dam Christensen, Hans. / The Repressive Logic of a Profession? On the Use of Reproductions in Art History. In: Konsthistorisk Tidskrift. 2010 ; Vol. 79, No. 4. pp. 200-215.

Bibtex

@article{2cb41bacecad4b8499e57251653d2b99,
title = "The Repressive Logic of a Profession?: On the Use of Reproductions in Art History",
abstract = "  In most discourses of Art History, the art object is only present through representations. Art historians do see a lot of works of art, but when speaking, writing and reading about art and art history, that is, the standard routines for scholars and students, the works of art are absent more often that not. Does it make a difference to scholarship whether the subject of analysis is the original work of art or its reproduction? Three cases discuss this difference from a historiographical point of view. The first case is on Winckelmann and his use of reproductions, the next case on the color problem of Art History, and the third case on two art historians partly different reflections on the use of reproductions during the founding of Art History as a modern academic discipline.",
keywords = "kunsthistoriens historie, Max J. Friedl{\"a}nder, Julius Lange, Winckelmann, reproduktioner, history of art history; reproductions; Winckelmann; Julius Lange; Max J. Friedl{\"a}nder",
author = "{Dam Christensen}, Hans",
year = "2010",
doi = "10.1080/00233609.2010.509550",
language = "English",
volume = "79",
pages = "200--215",
journal = "Konsthistorisk Tidskrift",
issn = "0023-3609",
publisher = "Routledge",
number = "4",

}

RIS

TY - JOUR

T1 - The Repressive Logic of a Profession?

T2 - On the Use of Reproductions in Art History

AU - Dam Christensen, Hans

PY - 2010

Y1 - 2010

N2 -   In most discourses of Art History, the art object is only present through representations. Art historians do see a lot of works of art, but when speaking, writing and reading about art and art history, that is, the standard routines for scholars and students, the works of art are absent more often that not. Does it make a difference to scholarship whether the subject of analysis is the original work of art or its reproduction? Three cases discuss this difference from a historiographical point of view. The first case is on Winckelmann and his use of reproductions, the next case on the color problem of Art History, and the third case on two art historians partly different reflections on the use of reproductions during the founding of Art History as a modern academic discipline.

AB -   In most discourses of Art History, the art object is only present through representations. Art historians do see a lot of works of art, but when speaking, writing and reading about art and art history, that is, the standard routines for scholars and students, the works of art are absent more often that not. Does it make a difference to scholarship whether the subject of analysis is the original work of art or its reproduction? Three cases discuss this difference from a historiographical point of view. The first case is on Winckelmann and his use of reproductions, the next case on the color problem of Art History, and the third case on two art historians partly different reflections on the use of reproductions during the founding of Art History as a modern academic discipline.

KW - kunsthistoriens historie

KW - Max J. Friedländer

KW - Julius Lange

KW - Winckelmann

KW - reproduktioner

KW - history of art history; reproductions; Winckelmann; Julius Lange; Max J. Friedländer

U2 - 10.1080/00233609.2010.509550

DO - 10.1080/00233609.2010.509550

M3 - Journal article

VL - 79

SP - 200

EP - 215

JO - Konsthistorisk Tidskrift

JF - Konsthistorisk Tidskrift

SN - 0023-3609

IS - 4

ER -

ID: 47070399