Summary

This study examines painted copies from the sixteenth and seventeenth centuries to gain a richer understanding of the phenomenon of copies and of copying as a common artistic practice. The study findings suggest that copies painted in Sweden in the seventeenth century were, in general, free copies. In that century, the Swedish economy was booming, and a semi-regulated art market had developed, and many of the paintings commissioned by the monarchy and nobility were copies of portraits. This phenomenon is analysed here in light of the new iconology and its focus on image circulation and transformation in and between different media, as well as regarding the increasing interest in the last decades in pre-modern copies within art history and visual studies. Special attention is given to the portraits of Margareta Eriksdotter (Vasa) from 1528, the free copies of her portrait made in the seventeenth century and the copy of The Sun Dog Painting from 1636. Three known portrait multiples are known of Margareta Eriksdotter, and they are thought likely to represent part of the same commission and to have been painted in Lübeck in 1528 by Hans Kemmer, a student of Lucas Cranach the Elder. The phenomenon of free copies painted in the seventeenth century is interpreted as combining artistic alterations and improvements, while the visual content that was considered significant for preservation from the previous image had to be copied faithfully.

概括

本研究考察了 16 世纪和 17 世纪的彩绘复制品，以更深入地了解复制品现象以及将复制品作为一种常见的艺术实践。研究结果表明，17 世纪在瑞典绘制的复制品通常是免费复制品。那个世纪，瑞典经济蓬勃发展，形成了半规范的艺术市场，许多君主和贵族委托的画作都是肖像的复制品。鉴于新的图像学及其对不同媒体之间和之间的图像流通和转换的关注，以及过去几十年对艺术史和视觉研究中对前现代复制品的兴趣日益增加，本文对这一现象进行了分析。特别注意 1528 年玛格丽塔·埃里克多特（瓦萨）的肖像，她在 17 世纪制作的肖像的免费副本和 1636 年的太阳犬画的副本。已知三幅已知的肖像多幅是 Margareta Eriksdotter，它们被认为可能代表同一委员会的一部分，并被绘制于吕贝克于 1528 年由老卢卡斯·克拉纳赫 (Lucas Cranach) 的学生汉斯·凯默 (Hans Kemmer) 创作。十七世纪绘画的免费复制现象被解释为结合了艺术修改和改进，而被认为对保存先前图像具有重要意义的视觉内容必须忠实地复制。他们被认为可能代表同一个委员会的一部分，并于 1528 年由老卢卡斯·克拉纳赫的学生汉斯·凯默在吕贝克绘制。十七世纪绘画的免费复制现象被解释为结合了艺术修改和改进，而被认为对保存先前图像具有重要意义的视觉内容必须忠实地复制。他们被认为可能代表同一个委员会的一部分，并于 1528 年由老卢卡斯·克拉纳赫的学生汉斯·凯默在吕贝克绘制。十七世纪绘画的免费复制现象被解释为结合了艺术修改和改进，而被认为对保存先前图像具有重要意义的视觉内容必须忠实地复制。