{"id":20930,"date":"2021-05-09T08:00:21","date_gmt":"2021-05-09T06:00:21","guid":{"rendered":"https:\/\/char.hypotheses.org\/?p=20930"},"modified":"2021-05-09T16:53:19","modified_gmt":"2021-05-09T14:53:19","slug":"colloque-immaterial-michelangelo-toward-a-visual-historiography-of-sculpture-between-reproduction-and-art-historical-enquiry-rome-bibliotheca-hertziana-25-mai-2021","status":"publish","type":"post","link":"https:\/\/char.hypotheses.org\/20930","title":{"rendered":"Colloque : (Im)material Michelangelo: Toward a Visual Historiography of Sculpture \u2013 Between Reproduction and Art-Historical Enquiry, Rome, Bibliotheca Hertziana, 25 mai 2021"},"content":{"rendered":"
Reproducing, representing, copying, or recording an artwork is the inevitable result of an interpretation, which can reveal some neglected aspects of the original model, as well as disguise or change many others. This is due both to the intentions of those involved in making or in requesting the copy or the reproduction and to the intrinsic difficulties of the \u2018translation\u2019 process from one medium to another.<\/div>\n
\n

These problems are shared by \u2018artistic\u2019 copies as much as by documentary or scientific reproductions. For these reasons, reproductions of an artwork (independently of the medium used) could become a useful source for reconstructing the historiographic path of the work itself, something we could define as \u2018visual historiography\u2019; they can document how a specific artwork has been observed and interpreted over time, sometimes in close connection with the textual sources of art literature and art criticism, while at other times actively influencing their very formation.<\/p>\n

Considering these general and methodological premises, the conference will examine the reproductions and copies, through different media, of Michelangelo Buonarroti\u2019s sculptural works, exploring and investigating them as evidence of the artist\u2019s \u2018visual historiography\u2019, from the 16th century to today. If representing sculpture in another medium is often a great challenge, due to its three-dimensionality and its intrinsic relationship with space, in the case of Michelangelo’s works this has raised additional problems because of his particular way of dealing with the material, exposing overtly the traces of the working process, the uneven treatment of the surfaces and the use of fragmented or sketched elements, according to the well-known poetics of the non finito. The \u2018translation\u2019 of these aspects usually led to a necessary \u2018remediation\u2019 between original and copies. Thanks to Michelangelo\u2019s uninterrupted legacy and the wide-range of visual documentation relating to his sculptures, now found all over the globe, the conference will consider the continuous mutations and transformations of the reception of Michelangelo\u2019s plastic works over time: from 16th century graphic and pictorial copies by artists such as Tintoretto, to the diffusion of plasters in the ateliers at the time of Rodin; from the engravings published in 19th century journals to the \u2018scientific\u2019 photographic illustrations in books by Heinrich W\u00f6lfflin, Sigmund Freud and Erwin Panofsky; from video shootings in films by Luigi Moretti, Carlo Ludovico Ragghianti, and Michelangelo Antonioni to the worldwide exhibitions devoted to the Vatican Piet\u00e0. These, among others, will be the subjects of thirteen conference talks given by Valentina Balzarotti (Bibliotheca Hertziana, Roma); Tommaso Casini (Universita\u0300 IULM, Milano); Camilla Colzani (Fondazione 1563, Torino); Ilenia Falbo (Universita\u0300 della Calabria); Emily Fenichel (Florida Atlantic University); Joris van Gastel (Universita\u0308t Zu\u0308rich); Marc Michael Moser (Universita\u0308t Wien); Rosalia Pagliarani (Musei Vaticani); Lucia Simonato (Scuola Normale Superiore, Pisa); Giovanna Targia (Kunsthistorisches Institut, Firenze); Jose\u0301phine Vandekerckhove (Universiteit Gent); Sara Vitacca (Universite\u0301 Paris 1 – Panthe\u0301on Sorbonne); Karolina Zgraja (Universita\u0308t Zu\u0308rich).<\/p>\n

International conference organized by Giulia Daniele and Daniele Di Cola<\/i>
\nIn collaboration with the Bibliotheca Hertziana, promoted by the Rome Art History Network (https:\/\/www.romearthistorynetwork.com).<\/p>\n

Source<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Reproducing, representing, copying, or recording an artwork is the inevitable result of an interpretation, which can reveal some neglected aspects of the original model, as well as disguise or change many others. This is due both to the intentions of those involved in making or in requesting the copy or the reproduction and to the intrinsic difficulties of the \u2018translation\u2019 process from one medium to another. These problems are shared by \u2018artistic\u2019 copies as much...<\/p>\n","protected":false},"author":29934,"featured_media":20931,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_license":"","publish_to_discourse":"0","publish_post_category":"0","wpdc_auto_publish_overridden":"","wpdc_topic_tags":"","wpdc_pin_topic":"","wpdc_pin_until":"","discourse_post_id":"","discourse_permalink":"","wpdc_publishing_response":"","wpdc_publishing_error":"","footnotes":""},"categories":[22,5362],"tags":[889101],"ppma_author":[3615618],"class_list":["post-20930","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualite-de-la-recherche-en-histoire-de-lart-de-la-renaissance","category-colloques-et-journees-detude","tag-michel-ange"],"authors":[{"term_id":3615618,"user_id":29934,"is_guest":0,"slug":"fiammettacampagnoli","display_name":"Fiammetta Campagnoli","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/9dc955126555194048bcc9742b792a0ea919b3351247ffa34984bebaf912f379?s=96&d=mm&r=g","1":"","2":"","3":"","4":"","5":"","6":"","7":"","8":""}],"_links":{"self":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts\/20930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/users\/29934"}],"replies":[{"embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/comments?post=20930"}],"version-history":[{"count":3,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts\/20930\/revisions"}],"predecessor-version":[{"id":21056,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/posts\/20930\/revisions\/21056"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/media\/20931"}],"wp:attachment":[{"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/media?parent=20930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/categories?post=20930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/tags?post=20930"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/char.hypotheses.org\/wp-json\/wp\/v2\/ppma_author?post=20930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}