Reproducing, representing, copying, or filming an artwork is the inevitable result of an interpretation, which can reveal neglected aspects of the original model, as well as disguise or change others. This is due both to the intentions of those involved in making or in requesting a copy and to the intrinsic difficulties of the translation from one medium to another. Within the frame of these general and methodological premises, the ten essays contained in this book examine reproductions and copies in different media of Michelangelo Buonarroti\u2019s sculptures, exploring and investigating their visual historiography from the 16th century to the present days. Michelangelo\u2019s peculiar way of dealing with materials \u2013 his habit of overtly exposing the traces of his working process, his uneven treatment of the surfaces, and his use of fragmented or sketched elements, as described by the well-known poetics of the non finito \u2013 raised specific problems and made it necessary to \u2018re-mediate\u2019 the originals\u2019 materiality. Because of Buonarroti\u2019s uninterrupted legacy, the volume considers the continuous mutation of his works\u2019 reception over time: from 16th century copies to the miniaturized, decorative, reproductions made in Rodin\u2019s time; from the illustrations of Sigmund Freud\u2019s essay on the Moses to the photographs published by Erwin Panofsky in his studies on Michelangelo; from video footage in films to worldwide exhibitions, where replicas of the Vatican Piet\u00e0 are often displayed and…<\/p>\n","protected":false},"excerpt":{"rendered":"
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