- The working title my book is The Reversed Painting in Western Art.
- Victor I. Stoichita, The Self-Aware Image: An Insight into Early Modern Meta-Painting, trans. Anne-Marie Glasheen (Cambridge: Cambridge University Press, 1997), 114.
- Zirka Zarema Filipczac, Picturing Art in Antwerp 1550–1700 (Princeton: Princeton University Press, 1987), 152.
- Svetlana Alpers, The Vexations of Art: Velázquez and Others (New Haven and London: Yale University Press, 2005), 217.
- Ibid.
- See Parole Geleet, ‘Negotiating Identity in the French National Imagery’, UCLA French Studies 23, 2006, 62.
- Indeed, the two paintings were not hung near each other in the recent exhibition, The Conversation Pieces: Scenes of Fashionable Life, at the Queen's Gallery, London. See Desmond Shawe-Taylor, The Conversation Pieces: Scenes of Fashionable Life (London: Royal Collection Enterprises, 2009), 124–37.
- Many paintings of the interior of the Louvre are illustrated and discussed in Copier Créer: De Turner à Picasso: 300 Oeuvres Inspirées par les Maîtres du Louvre (Paris: Editions de la Réunion des Musées, 1993).
- Victor I. Stoichita, The Self-Aware Image, 233.
- See Theodore Reff, ‘Copyists in the Louvre, 1850–1870’, Art Bulletin 46, December 1964, 552–9.
- Brian O'Doherty, Studio and Cube: On the Relationship between Where Art Is Made and Where Art Is Displayed (New York: Temple Hoyne Buel Center, 2007), 31, 33.
- For example, the bottom-right corner of Hubert Robert's Project of Development of the Grand Gallery (1796) shows Robert copying Raphael's Holy Family (1585), but the copy conveys little information for comparison with the original. See Marie-Catherine Sahut, Le Louvre d'Hubert Robert (Paris: Éditions de la Réunion des Musée du Louvre, 1979), 28–30.
- Victor I. Stoichita, The Self-Aware Image, 103.
- Zsuzna Gonda, Pictures within Pictures: Kép a Képben: Mûvesz És Közönség Ôt Évszázad Grafikusmúvészetében Burgmairtól Picassóig (Budapest: Szépmûvészeti Múzeum, 2005), 147.
- While illustrations are necessarily limited, I have attempted to include a good cross-section of those discussed in the paper.
- Examples include A. Hadamart's engraving, The Salon of 1699 (1699); Jacques-Albert Senave's Salles de vente à L'Elysée-Bourbon (1797); and Giuseppe Castiglione's Le Salon Carré, en 1865 (1865). Also in many studio paintings: John Boyne, A Meeting of Connoisseurs (ca. 1807); Sir John Lavery, Daylight Raid from My Studio Window, 7 July 1917 (1917); Giorgio De Chirico, Self-Portrait at the Easel (1927); and Paul Delvaux, Squelette Assis sur la Chaise (1943).
- Donald Preziosi, ‘Brain of the Earth's Body: Museums and the Framing of Modernity’, in The Rhetoric of the Frame: Essays on the Boundaries of the Artwork, ed. Paul Duro (Cambridge: Cambridge University Press, 1996), 100.
- Marie-Catherine Sahut, Le Louvre d'Hubert Robert, 15.
- Margaretha Rossholm Lagerlöf, ‘The Implied Viewer’, in Subjectivity and Methodology in Art History, ed. Margaretha Rossholm Lagerlöf and Dan Karlholm, Eidos 8 (Stockholm: Skrifter fran Konstvetenskapliga insitutionen vid Stockholds universitet, 2003), 164–5.
- Thomas E. Crow, Painters and Public Life in Eighteenth-Century Paris (New Haven and London: Yale University Press, 1985), 38.
- Andrew L. McClellan, ‘The Musée du Louvre as Revolutionary Metaphor during the Terror’, Art Bulletin 70, no. 2, 1988, 310. For Robert's expressions of antagonism towards the Revolution and revolutionaries, however, particularly during his prison year, see Paula Rea Radisich, Hubert Robert: Painted Spaces of the Enlightenment (Cambridge: Cambridge University Press, 1998), 117–39.
- Cited in Donald Sassoon, Mona Lisa: The History of the World's Most Famous Painting (London: Harper Collins, 2001), 47.
- See Martin Warnke, The Court Artist: On the Ancestry of the Modern Artist (Cambridge and New York: Cambridge University Press, 1993), 209–11; and Jean Baudrillard, Simulations, trans. Paul Foss, Paul Patton, and Philip Beithman (New York: Semiotext(e), 1983), 83–90.
- Pierre Georgel and Anne-Marie Lecocq, La Peinture dans la Peinture (Paris: Adam Biro, 1987), 237.
- Here I am loosely borrowing Marie-Anne Dupuy's eloquent phrases from ‘Hubert Robert’, in Copier Créer, 54: ‘L'attachement qu'il portrait aux lieux, à la fois atelier et demeure pour les artistes, transparaît dans ces vues où la distance qui sépare l'imaginaire du reel est parfois très mince.’
- Paul Staiti, ‘American Artists and the July Revolution’, in American Artists: The Louvre, ed. Elizabeth Kennedy and Olivier Meslay (Paris: Hazan, 2006), 64.
- Morse to family members, 1832, cited in ibid., 66.
- See Paul J. Saiti, ‘The Gallery of the Louvre’, in Samuel F. B. Morse (Cambridge: Cambridge University Press, 1989), 175–206, for a full explanation of Morse's nationalist strategy and historical information about the painting used in my account.
- Paul Duro, ‘Copyists in the Louvre in the Middle Decades of the Nineteenth Century’, Gazette des Beaux Arts 3, 1988, 250. For background on Morse's painting, see note 21; and Paul Staiti, ‘American Artists and the July Revolution’, 54–71.
- See Geoffrey M. Muller, ‘Rubens's Theory and Practice of the Imitation of Art’, Art Bulletin 64, no. 2, 1982, 239–40.
- Julian Bell, ‘Look Me in the Eye’, London Review of Books 31, no. 19, 8 October 2009, 26.
- Geoffrey M. Muller, ‘Rubens's Theory’, 232.
- Beth Fowkes Tobin, Picturing Imperial Power: Colonial Subjects in Eighteenth-century British Painting (Durham and London: Duke University Press, 1999), 209.
- Paul Duro corrects this misapprehension in ‘Copyists in the Louvre’, 252.
- Paul Duro, ‘The “Demoiselles à Copier” in the Second Empire’, Women's Art Magazine 7, no. 1, 1986, 1.
- Ibid., 28.
- Jean-Marie Roland cited Donald Sassoon, Mona Lisa, 47.
- Examples of still greater congestion are illustrated in Paul Duro, ‘Copyists in the Louvre in the Middle Decades’.
- Stephen Bann, Parallel Lines: Printmakers, Painters and Photographers in Nineteenth-Century France (New Haven and London: Yale University Press, 2001), 15–41.
- Ibid., 37.
- See the fascinating commentary on Boëtius a Bolswert and Théodore Galle's engravings in Ralph Dekoninck, ‘Ut pictura meditatio’, in Ad Imaginem: Status, Fonctions et Usage de l'Image Dans la Littérature Spritiuelle Jésuite du XVIIe Siècle (Geneva: Libraire Droz, 2005), 186–208, especially 192–6 and figs. 12–5.
- Hillel Schwart, The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles (New York: Zone Books, 1996), 225.
- My translations of A. Bourrut Lacouture and G. P. Weisberg, ‘Delphine Bernard au Louvre en 1847 ou la rencontre du sacré et du profane dans l'oeuvre de Jules Breton (1827–1906)’, Gazette des Beaux Arts 108, 1986, 31–7.
- Paul Duro, ‘The “Demoiselles à Copier”’, 2.
- The Louvre had been closed for six years.
- Guy Cogeval, ‘The Hedonist and the Psychologist (1918–28)’, in Vuillard: The Inexhaustible Glance: Critical Catalogue of Paintings and Pastels, vol. 3 (Milan and Paris: Skira and Wildenstein Institute, 2003), 1295.
- Marie-Anne Dupuy, ‘Édouard Vuillard’, in Copier Créer, 68–71.
- Marie-Anne Dupuy, ‘Norbert Goeneutte’, in Copier Créer, 65.
- Ibid.
- When criticism became as necessary as copies to ensure the mass dissemination of collections, artists responded either by depicting common people entranced before reversed paintings—free from the mediating power of critics—or by replacing copies in galleries by critics in galleries whose plagiarised remarks are presented as the utmost degradation of originals: copies of copies in the form of mere words.
- Maurice Berger writing on the artist Robert Morris, cited in Branden W. Joseph, Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (New York: Zone Books, 2008), 132.
- In this regard, see Richard Brettell's witty, devastating, and convincing indictment of David Carrier's scholarly judgment, ‘Reframing Museum Skepticism’, History: Reviews of New Books 35, no. 1, 2006, 13–6.
- Examples include Lucas Samaras, Paper Bag (1962); Daniel Buren, Within and Beyond the Frame (1973); Michael Hurson, Corner of a Studio/View of an Exhibition (1973); Bruce Nauman, Dream Passage and Outside View (1983); Claude Rutault, 88 Canvases (1984–8); Imants Tillers, The Bridge of Reversible Destiny (1990); and Richard Artschwager, Archipelago (1993). My thanks to Robert Leonard for drawing my attention to a robust revival of Teniers’ tradition of gallery painting in Pazé's A Collection (2009) covering the walls of the Casa Triàngolo, Sao Paulo, Brazil.
- I am grateful to Russell Hays, MD, for explanations of the medical term ‘diastolic’ and lively discussions about applying it to art.
- See Theodore Reff, ‘Copyists in the Louvre, 1850–1870’ for an intensive study that includes many artists whose works reached the Louvre some years after the artists had copied there in the 1850s and 1860s.
- The classic formulation is Nöel Burch, Theory of Film Practice (Princeton, NJ: Princeton University Press, 1981), 17–31.
- Giulio Paolini cited by Angela Vettese, ‘The Authentic Work’, in Giulio Paolini, ed. Mario Botta et al. (Milan: Edizioni Charta, 2003), 37. My analysis is gratefully indebted to this essay.
- Ibid.
Australian and New Zealand Journal of Art
Volume 10, 2009 - Issue 1: The Conference Issue