ABSTRACT

The essay charts the shifting place of Laocoon as an exemplum of translation across the arts of word and image from Pliny to Clement Greenberg. It uncovers a rich history of artistic translation, reproduction, and imitation of Laocoon in Renaissance drawing, painting, prints, decorative arts, and sculpture of every size and material, from plaster casts to table-top porcelains. The paper subsequently follows the changing fate of Laocoon within artistic pedagogies as a study in word-image relations, from a Renaissance teaching model, to the trope of critical theory on the definition of ‘art’. Thus, the term ‘translation’ is used advisedly, to signal acts of artistic transmission predicated on transfer not only between cultures, but across materials and media. The essay concludes by considering the continuing place of Laocoon within art criticism, albeit in radical antagonism to the ideals of art it was once held to embody, to address the contested formation of an art ‘classic’ through the cultural as well as material processes of artistic translation.

摘要

该文章图表的转移地点的拉奥孔作为exemplum翻译的跨语言和图像的艺术来格林伯格从普林尼。它发现了文艺复兴时期绘画，绘画，版画，装饰艺术以及各种尺寸和材料的雕塑（从石膏铸模到台式瓷器）的艺术翻译，复制和仿制Laocoon的悠久历史。该论文随后追随Laocoon命运的变化从文艺复兴时期的教学模式到批判理论对“艺术”的定义的论断，在艺术教学法中研究字-像关系。因此，建议使用“翻译”一词来表示艺术传播的行为，这种行为不仅取决于文化之间的传播，还取决于跨材料和媒体的传播。本文的结论是考虑了Laocoon在艺术批评中的持续地位，尽管它曾一度对它所体现的艺术理想进行了激进的对抗，但通过文化和物质过程来解决艺术“经典”的有争议的形成。艺术翻译。