By Seares F. H.
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Extra resources for Absolute Scales of Photographic and Photovisual Magnitude(en)(7s)
In both cases, in fact, the pastiche functions by virtue of this very difference. Just like the copy, it always presents itself as essentially other than its model, and this holds even when – unlike the normal copy – the pastiche challenges the ontological superiority of the original. This is not exactly so with artistic imitations that intend to mystify. This special kind of imitation is the fake’s next of kin: contrary to the copy, to the replica and to the pastiche or parody, it belongs to the dreadful family of simulacra because it means to undermine the viewer’s or the reader’s capacity to discriminate safely between the imitation and the real thing.
According to his own testimony, his first intention had been to disclose the truth after the glorious acceptance of his paintings as major seventeenth-century masterpieces; but, apparently, the lure of money got the better of him and he did not disclose anything before his trial as a 33 Art Forgery suspected traitor to his fatherland. Despite this, his line of defence is relevant, culturally speaking: he said exactly what needed to be said in order to impress the audience while alleviating the charges brought against him.
More on this will follow. 35 Art Forgery A clear picture of the historical question will not appear unless three major requirements are fulfilled: we should start off with a clear definition of our object; we should avoid getting trapped in a web of misleading analogies; and we should be wary of so-called hard facts, such as archaeological evidence. The imitated item can be an actual and definitely identified work (in this case the fake is a fraudulent copy) or only a possible one – either by a known artist or from a known period or civilization, or even from a completely imaginary origin, provided it can be situated on the space-and-time map of art history.
Absolute Scales of Photographic and Photovisual Magnitude(en)(7s) by Seares F. H.