Copy (painting)

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The graphic representation shows, based on the original , the many possible forms of copy from replica to reproduction. The early forms of copying in particular were and are often used by skilled forgers to create forgeries. As a rule, these cannot be demonstrated as such using scientific methods, but only with the help of style criticism.

The copy is the closest possible imitation of a painting by an artist or layperson.

structure

The various forms of copy are divided into: replica or repetition, workshop copy, contemporary copy, late copy, modern copy, partial copy, pasticcio and reproduction .

  • A replica or repetition is a painting that was copied by the manufacturer of the original.
  • In the case of the second version , the manufacturer of the original changes the image composition of the prototype while copying, that is, he develops it further and / or improves it.
  • A workshop copy or school copy is a painting that has been copied by a workshop employee from a work by the master.
  • A contemporary copy is a painting that was made by a painting contemporary in the original style epoch of the copied work of art.
  • A late copy is a copy that was not made by a painting contemporary or in our time, but by a member of the intervening generation of artists.
  • A modern copy is a painting that was made in the present based on a model.
  • A reproduction is a copy of a painting that has been produced using a photographic or printing process, usually in larger editions.

proof

Copies can usually be recognized as such by comparison with the original or original paintings by the artist ( style criticism ; painting technique ). The methods of scientific painting examination can be crucial to identify a painting as a late copy and a modern copy. Replicas, second versions, workshop copies and contemporary copies can usually not be proven as such with this method, since the copyists had the same materials ( image carrier , pigment , binding agent ) at their disposal as the artist.

If the original is lost, lost or unknown to the buyer, every copy can become a forgery through art fraud or falsification (wrong signature, wrong expertise).

literature

  • Theodor von Frimmel: Handbook of painting. Leipzig 1920.
  • Knut Nicolaus: DuMont's handbook of painting . Cologne 2003, ISBN 3-8321-7288-2 .

Individual evidence

  1. ↑ Knut Nicolaus: DuMont's picture lexicon for determining paintings . DuMont Buchverlag, Cologne 1982, ISBN 3-7701-1243-1 , p. 119 ff .