Nada se cria tudo se copia : o original, a cópia e a réplica na escultura

Amargar, Luana Vieira

Publication

Nada se cria tudo se copia : o original, a cópia e a réplica na escultura

2023-12-15Master thesis

datacite.subject.fos	Humanidades::Artes	pt_PT
dc.contributor.advisor	Frade, Marta Costa
dc.contributor.advisor	Moncada, Miguel Cabral
dc.contributor.author	Amargar, Luana Vieira
dc.date.accessioned	2024-11-21T12:09:08Z
dc.date.available	2024-11-21T12:09:08Z
dc.date.issued	2023-12-15
dc.description.abstract	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. (...)	pt_PT
dc.identifier.tid	203468309	pt_PT
dc.identifier.uri	http://hdl.handle.net/10400.5/95499
dc.language.iso	por	pt_PT
dc.subject	Escultura	pt_PT
dc.subject	Originalidade	pt_PT
dc.subject	Cópia - na arte	pt_PT
dc.subject	Réplicas	pt_PT
dc.subject	Mercado da arte	pt_PT
dc.subject	Ribeiro, Aleixo de Queiroz, 1868-1917	pt_PT
dc.subject	Henriques, Lagoa, 1923-2009	pt_PT
dc.subject	Castro, Machado de, 1731-1822	pt_PT
dc.title	Nada se cria tudo se copia : o original, a cópia e a réplica na escultura	pt_PT
dc.type	master thesis
dspace.entity.type	Publication
rcaap.rights	openAccess	pt_PT
rcaap.type	masterThesis	pt_PT
thesis.degree.name	Dissertação de Mestrado em Ciências da Conservação, Restauro e Produção de Arte Contemporânea, Universidade de Lisboa, Faculdade de Belas Artes, 2023	pt_PT