Cinco copias imposibles
This article discusses, via five case studies, the improbability of copying in the art of painting. The five case studies consider accent, voice, process, truth and error. Considered from the perspective of accent, in other words from that of the distinctive tone that each author imposes on their wo...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universidad de Navarra |
| Repositorio: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Idioma: | español |
| OAI Identifier: | oai:dadun.unav.edu:10171/65350 |
| Acceso en línea: | https://hdl.handle.net/10171/65350 |
| Access Level: | acceso abierto |
| Palabra clave: | Copia original pintura arte arquitectura |
| Sumario: | This article discusses, via five case studies, the improbability of copying in the art of painting. The five case studies consider accent, voice, process, truth and error. Considered from the perspective of accent, in other words from that of the distinctive tone that each author imposes on their work, there can be no such thing as a literal copy. Considering painting as non-voiced poetry, it would be difficult to find the same voice in the copy as in the original. Considered from the perspective of process, every work is an unfinished act, ultimately making the concept of copying meaningless. Considered from the perspective of truth, truth is inexhaustible and unfathomable; it owes nothing nor is owned — there can be no copies. Finally, considered from the perspective of error, copy and original form part of a single, beautiful experiment. These same appreciations can be applied to architecture. |
|---|