Interdependencies VII - Seventh international conference of the research project "Interdependencies. Arts and Artistic Techniques" of the Department of Art History, Institute of Art History and Historical Urban Studies, Technical University Berlin
Conception: Magdalena Bushart, Livia Cárdenas, Andreas Huth
Printed pictures and molded pictorial works have one thing in common: they go back to an "original form" to which they stand in a tense/ambivalent/complex relationship. Produced with the help of a (negative) image - a casting mold, a printing block or a printing plate - in a mechanical process, they assert a relationship of resemblance both to an original and to each other. Nevertheless, they are not reproductions that are largely identical to the original. After all, the transfer of the original is done in a different technique than the original and usually in a different material than that of the 'original image' and with the help of a medium that influences the shaping with its technical specifications. Viewed closely, they represent variants rather than precise reproductions of the original in technical, material and formal terms. And even the reproduced works by no means look the same. Although they are based on a common casting or impression mold, they are also subject to the conditions and contingencies of the production process. In addition, the products were often further processed, i.e. "varied". This is particularly true of the 15th and 16th centuries, the period in which the processes of molding and casting were redefined through the innovative use of materials, the opening up of supra-regional markets, and the development of a unique aesthetic: The three-dimensional objects - such as pictorial works made of terracotta or plaster - were reshaped in parts and individually polychromed, while the two-dimensional ones - mainly woodcuts and copper engravings - were colored, trimmed or silhouetted. This raises the question of how the relation between the relationship and the individuality of the artifacts was received: Were the works perceived as individual pieces, as part of a series, as repetitions? Or did the appeal lie precisely in the knowledge of the singularity of the pieces despite their obvious similarities?
The diversity of the multiplied in the art of the 14th to 18th centuries will be the subject of the seventh conference in the series "Interdependencies. The Arts and their Techniques". Instead of looking at the standardizing effect of reproduced pictorial works and images (for example, through the establishment of certain types of images and the standardization of knowledge), we want to ask about the variants and their variances that arise through impression and molding processes or further processing. We are interested, on the one hand, in the differences between the originals and the repetitions, and, on the other hand, in the margins that are opened up by the respective production process, but also by the possibilities of further processing: How do the products relate to the respective starting point and how do they relate to each other? Where are variances the result of conscious interventions, where the result of the production process? What role do the transfer media play? What is the effect of the change in materiality? What forms of further processing can be observed? How can common and singular characteristics of the reproduced works be described? What connects two- and three-dimensional reproductions, how do they differ? And finally: How has the tension between similarity and deviation been received? Did it play a role in the perception of contemporaries or is it passed over in silence?
Vom Finden zum Erfinden:
Zur Rolle des Gipsabgusses in der frühneuzeitlichen Bildhauerwerkstatt. Eine Spurensuche
13. April 2023
18.00 Uhr c.t.
Meeting-ID: 654 0596 0997
Prof. Dr Magdalena Bushart, Dr Henrike Haug
Material and technology are more than the "coefficients of friction within the overall product" that Alois Riegl once wanted to degrade them to; rather, they have had a lasting influence on the history of the arts. Technical innovations not only made new production processes possible, but also always opened up new possibilities of design. At the same time, they had an impact on other techniques, media and genres - think of the role that copperplate engraving played for woodcut and painting in the 15th century or the model function that sculpture assumed for the development and formulation of intaglio printing. Interdependencies of this kind are being investigated by a project on the history of artistic techniques at the Institute of Art History and Historical Urban Studies at the TU Berlin. The aim is to analyse parallel phenomena in the pictorial genres through the centuries, to focus on the innovative potential of different processes and to ask about their significance for transformations in style, iconography and function.