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| 3. Can imagery be addressed
in new ways with on-line methods? Can a collective discussion of
imagery produce more scholarly knowledge than just an individual
analysis? Is it possible to analyze electronic images in a scholarly
manner without examining the material object? texture of the paper?
printing technique? style? color? |
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Advantage
of examining the material object Jack Censer, 6-1-03,
3:33 PM |
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the material object Lynn
Hunt, 6-23-03, 10:52 PM |
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RE: Advantage of examining
the material object Vivian Cameron,
7-6-03, 6:28 PM |
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On-line Collaboration Wayne
Hanley, 6-6-03,
9:53 AM |
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On-line Collaboration Barbara
Day-Hickman, 7-1-03,
4:22 PM |
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RE: On-line Collaboration Joan
B. Landes,
7-14-03, 3:28 PM |
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zooming on images Warren
Roberts, 7-2-03, 2:08 PM |
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on-line collaboration Vivian
Cameron, 7-6-03,
6:35 PM |
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on material objects and
digital technology Joan B. Landes,
7-12-03, 5:33 PM |
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Final thoughts Warren
Roberts, 7-19-03, 8:03 AM |
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on-line collaboration Barbara
Day-Hickman,
7-24-03, 4:28 PM |
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| Subject: |
RE: Advantage
of examining the material object |
| Posted
By: |
Vivian Cameron |
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| Date
Posted: |
7-6-03, 6:28
PM |
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Looking at the actual print is obviously better than
looking at a reproduction of it, whether the reproduction
is a photograph or an on-line image. It isn’t just
a question of connoisseurship, that is, identifying
the kind of paper, printing technique and the like,
but also getting additional information such as the
size (very important, colors used, and the like. In
the case of “Supplice du Sieur Foulon,” we
would discover that it is 0.144m x 0.087, as compared
to the Prieur/Berthault print of the same subject,
which is 0.155 x 0.205. In other words, the anonymous
work is a fairly modest-sized print while the Prieur/Berthault
is large. Furthermore, we would note that the anonymous
print has in the left corner a “No. 2” and
in the right “Page 20.” In other words, it
was one of several illustrations to a pamphlet?, a
book?, or what??? In trying to find other illustrations
from this work (both through style and the numbering
system), perhaps we could uncover the political stance
of this anonymous engraver.
In another case the “Prise
de la Bastille,” this reproduction is
possibly a colored drawing for the Thévenin
print, which is black and white and reversed. Or
perhaps it is a contrefaçon
of which there were many in the Revolutionary period
(see La Révolution par la Gravure. Les Tableaux
historiques de la Révolution française).
But it is hard to tell exactly what it is without an
examination at the Carnavalet.
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