La temporalidad del canon y su construcción en la historia del arte a través del museo de copias en el siglo XIX

Authors

  • Milena Gallipoli CONICET-UNSAM (Argentina)

DOI:

https://doi.org/10.26754/ojs_historiografias/hrht.2020194547

Abstract

The nineteenth century was witness of a crucial institutionalization in the arts thanks to the foundation of museums of copies of sculptural masterpieces in plaster cast. This article examines in what manner the museum of artistic reproductions visualized, constructed and implemented the canonical account of art. We defend the hypothesis that this institution was the most suitable place to harbour a vision of history which turned out to be a mix between the idea of historia magistra vitae and the modern concept of progress. Through the history of concepts such as canon and classical we shall study the application of these categories to the realm of artistic education.

Keywords

History of art, museum, plaster casts, canon, classical, historical-artistic past.

 

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Author Biography

Milena Gallipoli, CONICET-UNSAM (Argentina)

Milena Gallipoli has a Master in Argentinean and Latin-American Art History at the IDAES-UNSAM. She holds a degree in Art History and a Teacher training degree in Art History from the University of Buenos Aires (UBA) with honorary diploma. Currently she is working for her PhD in History at the UNSAM and has a doctoral grant from the CONICET. Her topic of dissertation focuses on the circulation and functions of plaster cast collections in South America and the establishment of a commercial network of these objects by end of the long nineteenth century.

Published

2020-07-01 — Updated on 2020-07-02

Versions

How to Cite

Gallipoli, M. . (2020). La temporalidad del canon y su construcción en la historia del arte a través del museo de copias en el siglo XIX. Historiografías, (19), 106–121. https://doi.org/10.26754/ojs_historiografias/hrht.2020194547 (Original work published July 1, 2020)

Issue

Section

Varia historiográfica