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Appel à contribution : « Fake News? Fantasy Antiquities », Munich, Zentralinstitut für Kunstgeschichte, 14 février 2025, date limite le 15 septembre 2024

Fake News? – Fantasy Antiquities.
Visualizing Antiquity. On the Episteme of Early Modern Drawings and Prints IV.

The academy project “Antiquitatum Thesaurus: Antiquities in European Visual Sources from the Seventeenth and Eighteenth Centuries”, hosted at the Berlin-Brandenburg Academy of Sciences and Humanities (thesaurus.bbaw.de/en), and the Zentralinstitut für Kunstgeschichte Munich (zikg.eu) are organizing a series of colloquia in 2023–2025 on the topic “Visualizing Antiquity. On the Episteme of Drawings and Prints in the Early Modern Period.” The significance of drawings and prints for ideas, research, and the circulation of knowledge about ancient artifacts, architecture, and images in Europe and neighboring areas from the late Middle Ages to the advent of photography in the mid-19th century will be examined.

The three previous colloquia were dedicated to the topics of the ‘unrepresentable’ properties of the depicted objects and the documentation of various states and contexts of ancient objects from their discovery to their presentation in collection catalogues. The fourth and final event will examine the problem of invented or imitated antiquities.

In fact, all types of objects from the arts and crafts of antiquity – aegyptiaca, coins and gems, statuettes and statues, objects of everyday culture from jewellery to weapons and much more ­– were reproduced as real artefacts and/or in graphic illustrations on all kinds of different occasions over the centuries following antiquity. The father of modern ‘forgeries’ is undoubtedly Giovanni Battista Piranesi (1720–1778), who knew how to create new objects (‘capricci’) from numerous ancient spolia, which were highly sought after, in particular by northern European collectors. But this is not about him.

In addition to the physical ‘fakes’ on the marketplace of the antiquities trade, their pictorial representations or even antiquities ‘invented’ solely on paper often played a decisive role in the dissemination of a partially distorted, tendentious or ‘false’ idea of past cultures and their materiality.

Starting from the counterfeit imitations of the early modern period, our colloquium is interested in a very broad spectrum of ‘fantastic’ antiquities or ‘forgeries’ of antiquities and their motivations.

The following aspects are of particular interest, but other suggestions are also welcome:

  • ‘Forgeries’ of ancient art in drawings and prints.
  • Historical backgrounds, intentions and contexts of the illustrations.
  • Techniques and methods of ‘forgeries’ in drawing and printmaking.
  • The influence of ‘fakes’ on the reception of ancient art.
  • The role of printmaking in the dissemination of ‘fake’ antiquities.
  • The use of images of ‘forgeries’ in certain lines of argumentation.
  • The influence of images on the collective imagination of antiquity.
  • Debates about ‘forgeries’, their quality and value.

Solicited for the fourth colloquium are papers in English, French, German, or Italian, 20 minutes in length, ideally combining case study and larger perspective. Publication in extended form is planned.

Hotel and travel expenses (economy-class flight or train; 2 nights’ accommodation) will be reimbursed according to the Federal Law on Travel Expenses (BRKG).

Place & date: Munich, Zentralinstitut für Kunstgeschichte, 14 February 2025.

Proposals (max. 400 words) can be submitted until 15 September 2024, together with a short CV (max. 150 words) to thesaurus@bbaw.de keyword “Episteme IV”.

Conceived by Antiquitatum Thesaurus (Ulrich Pfisterer, Cristina Ruggero, Timo Strauch)

Source


OpenEdition vous propose de citer ce billet de la manière suivante :
Florence Larcher (16 juillet 2024). Appel à contribution : « Fake News? Fantasy Antiquities », Munich, Zentralinstitut für Kunstgeschichte, 14 février 2025, date limite le 15 septembre 2024. Collectif d'Historiens de l'Art de la Renaissance. Consulté le 17 avril 2025 à l’adresse https://doi.org/10.58079/120uq


Florence Larcher

Florence Larcher est doctorante à l'Université Paris 1 Panthéon-Sorbonne et Fellow à la Bibliotheca Hertziana – Max Planck Institute for Art History. Ses recherches portent sur les saints, leurs images et leurs reliques en Italie du XIVe au XVIIe siècle, à la croisée de l'histoire et de la conservation de l'art.

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