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Electrotypes in science and art

机译:科学与艺术中的电版

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The history of the production of electrotype copies is discussed in the context of the Victorian demand for reproduction of art of all kinds utilizing plaster of Paris, photographs, copies of old prints, as well as electrotypes, predominantly of copper. The philosophical reasons for the valuing or devaluing of electrotype and other copies are discussed. Electrodeposition of metals was used for an extraordinary number of different purposes in the Victorian period, and the general craze for electrotypes made their production very popular, being produced by men and women alike of many different backgrounds. By the Edwardian era, the need had subsided and an art historical reaction to the concept of copies had begun, with photography becoming more common. Examples of the use of electrotypes for photographic tinthotypes, as well as forgeries, discovered during conservation assessment at the Getty Museum on a plain Roman cased mirror which had been augmented by an electrotyped profile head addition, and samples from electropatterns from the collections of the Victoria & Albert Museum in London, are discussed in terms of the range and type of microstructural morphology displayed by electrotype copies.
机译:在维多利亚时代对使用巴黎的石膏,照片,旧版复制品以及主要是铜的复制品进行各种艺术品复制的维多利亚时代需求的背景下,讨论了电版复制品的生产历史。讨论了对电版和其他副本进行估价或贬值的哲学原因。在维多利亚时代,金属的电沉积被用于许多不同的目的,而对电子版的热潮使它们的生产非常受欢迎,男女都有许多不同的背景。到爱德华时代,需求已消退,艺术史上对复制概念的反应已经开始,摄影变得越来越普遍。在盖蒂博物馆在一个普通的罗马箱镜上进行的保存评估期间发现的照相定型版和伪造版的使用电示例,该示例已通过电化轮廓头附加物以及来自维多利亚州收藏的电模式样本进行了补充伦敦的&Albert博物馆就电版复印件显示的微观结构形态的范围和类型进行了讨论。

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