Abstract This article examines the emergence and transformation of the ‘copy’ as a category of image in sixteenth-century Netherlandish art and art-writing. It attends to a vocabulary that existed before, and then coexisted alongside, the arrival of the word kopie (from the French copie) in an incipient vernacular discourse on Netherlandish art. When the painter and poet Lucas d’Heere introduced the term kopie into Dutch in relation to Michiel Coxcie’s copy of the Van Eyck brothers’ Ghent Altarpiece in a poem of c.1559, he highlighted the novelty of this self-conscious replica. For d’Heere, Coxcie’s copy aligned closely with his own project to evaluate the history of Netherlandish art from its perceived origins in the work of the Van Eycks to its modern development in print publishing houses and large studios such as that of his master, the painter Frans Floris. By considering the roles that copies played in cultures of artistic creation and collecting, this article draws attention to the institutionalization of the copy and the formation of artistic canons. It addresses the secularization of images as well as the advent of new artistic categories in response to the rise of printed multiples and the art market.

中文翻译：

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从nabeeld到kopie：早期现代荷兰艺术中的残像和复制品

摘要本文探讨了“复制”作为一种图像类别在16世纪荷兰艺术和艺术创作中的出现和转化。它使用的词汇是kopie（来自法国copie）一词出现在荷兰艺术的早期话语之前，然后与之共存。当画家和诗人卢卡斯·德·赫尔（Lucas d'Heere）在约1559年的一首诗中，将米比尔·考克斯（Michiel Coxcie）的范·艾克兄弟（Van Eyck Brothers）的根特祭坛篇（Gent Hal Altarpiece）的副本引入kopie一词时，他强调了这种自觉复制品的新颖性。对于d'Heere，Coxcie的副本与他自己的项目紧密吻合，以评估荷兰艺术的历史，从其在范艾克斯作品中的起源到在印刷出版社和他的主人等大型工作室的现代发展，画家弗朗斯·弗洛里斯（Frans Floris）。通过考虑复制在艺术创作和收藏文化中所扮演的角色，本文提请注意复制的制度化和艺术经典的形成。它解决了图像的世俗化以及随着印刷品和艺术品市场的兴起而出现的新艺术类别的问题。