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Nada se cria tudo se copia : o original, a cópia e a réplica na escultura
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This dissertation aims to reflect on the concepts of original, copy and replica and what each can represent in sculpture, with a view to clarifying and understanding the replica as a heritage asset. The meanings of copy and replica are manifested together and are sometimes disconnected in specialized literature, so we were able to ascertain that they are not well defined and, for this reason, are the target of improper uses and associations. In this sense, and as it is not possible to determine these convictions without defining what we consider to be original and what it represents in sculpture, there is a need to consolidate this notion. However, in addition to clarifying the concepts and making them explicit, our aim is also to re-evaluate the way in which artistic society and the scientific community view the replica, since it is often misused in literature in general and is usually associated with something derogatory. The original, the copy and the replica are complex concepts and, while on the one hand the word "original" has appeared several times over the centuries in a convenient, albeit controversial, way, on the other hand, the words "copy" and "replica" have appeared erroneously in an almost indistinct way and are very similar in nature. For these reasons, their distinction, appreciation and art-historical framework will be fundamental to understanding this work and the objective it sets out to achieve. That said, there is a need here to highlight the relevance of replicas as heritage assets, objects of academic content and aid to various areas, but it is also important to clarify the concept of a copy, taking into account its historical and artistic context. The value associated with works of art is directly related to the preservation of the copy and the replica and evidence of this is the growing and observable, but not sufficient, concern that has been expressed for copied and/or replicated works, which are already the object of commercialization and musealization in several countries in Europe and around the world. On the national scene, the situation is even more severe, as we are still waiting for some basic standards for the preservation and enhancement of this type of property, and there are several collections in poor condition with little visibility and accessibility to the public. Even so, we can't help but stress the importance that the art markets, museology, specialized education and conservation and restoration can have in enhancing and understanding the copy and replica, as well as the concern for their preservation. (...)
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Escultura Originalidade Cópia - na arte Réplicas Mercado da arte Ribeiro, Aleixo de Queiroz, 1868-1917 Henriques, Lagoa, 1923-2009 Castro, Machado de, 1731-1822