Please use this identifier to cite or link to this item: https://www.um.edu.mt/library/oar/handle/123456789/70569
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dc.date.accessioned2021-03-08T09:28:57Z-
dc.date.available2021-03-08T09:28:57Z-
dc.date.issued2020-
dc.identifier.citationCasha, S. J. (2020). Imitation, quotation and inventiveness in the oeuvre of Stefano Erardi (1630-1716) (Master's dissertation).en_GB
dc.identifier.urihttps://www.um.edu.mt/library/oar/handle/123456789/70569-
dc.descriptionM.A.HIST.OF ARTen_GB
dc.description.abstractThis dissertation primarily seeks to delve deeper into this aspect of imitation and quotation within Erardi’s practice and its implications on the artist’s inventiveness when such practices are considered within the appropriate intellectual climate of the seventeenth century. The life of the artist, his works and the related archives have been extensively researched and published. It is not the scope of this dissertation to add to the artist’s biography or oeuvre, or to discover unpublished documents. The central subject of the study is rather the uncovering and analysis of Erardi’s sources and inspirations and, perhaps more importantly, his motivations behind them. Archival research, already exhausted by Sciberras and Bernadine Scicluna among others, is thus beyond the study’s remit. This dissertation engages predominantly with secondary sources on Erardi himself and discussions on and around the subject of artistic imitation throughout the progress of art history. Some of the most imperative of the consulted secondary sources played a major role in forming the understanding and therefore the backbone of some of the dissertation’s most essential arguments. Sciberras’s argument that Erardi’s quotation reflected the practices of contemporary classicists was immediately substantiated by two readings of particular importance – Maria H. Loh’s article New and Improved: Repetition and Originality in Italian Baroque Practice and Theory (2004) and Elizabeth Cropper’s publication The Domenichino Affair: Novelty, Imitation and Theft in Seventeenth-century Rome (2005). Both studies excellently argued the markedly different views, as opposed to the general modern perception, that seventeenth-century contemporaries held of artists and artworks which explicitly integrated motifs from the works of other masters within one’s novel compositions. Loh’s discussion on the concept of the ‘double pleasure’, reiterated by Cropper, proved crucial for the intellectual development of this dissertation. Cropper’s arguments on contemporary perceptions of imitation and originality in light of Lanfranco’s accusation of Domenichino’s supposed ‘theft’ and the subsequent controversy were likewise of considerable importance.en_GB
dc.language.isoenen_GB
dc.rightsinfo:eu-repo/semantics/openAccessen_GB
dc.subjectPainting, Malteseen_GB
dc.subjectPainting, Baroque -- Maltaen_GB
dc.subjectErardi, Stefano, 1630-1716 -- Criticism and interpretationen_GB
dc.titleImitation, quotation and inventiveness in the oeuvre of Stefano Erardi (1630-1716)en_GB
dc.typemasterThesisen_GB
dc.rights.holderThe copyright of this work belongs to the author(s)/publisher. The rights of this work are as defined by the appropriate Copyright Legislation or as modified by any successive legislation. Users may access this work and can make use of the information contained in accordance with the Copyright Legislation provided that the author must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the prior permission of the copyright holder.en_GB
dc.publisher.institutionUniversity of Maltaen_GB
dc.publisher.departmentFaculty of Arts. Department of Art and Art Historyen_GB
dc.description.reviewedN/Aen_GB
dc.contributor.creatorCasha, Samuel John (2020)-
Appears in Collections:Dissertations - FacArt - 2020
Dissertations - FacArtHa - 2020

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