Isbn: 9780801444609 - the deceivers: art forgery and identity in the nineteenth century (22 resultados)

Condición: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.…

Condición: New.

Hardback. Condición: New. The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adopted a language of art forgery to articulate a link between the making of fakes and the making of selves. The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity. Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. "Copying," a benign occupation when undertaken by a woman, became "forgery," laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities-both authentic and fake-that emerged from the Victorian culture of forgery.…

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: new. Hardcover. The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adopted a language of art forgery to articulate a link between the making of fakes and the making of selves. The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity.Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists."Copying," a benign occupation when undertaken by a woman, became "forgery," laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities-both authentic and fake-that emerged from the Victorian culture of forgery. The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condición: new.

Condición: New.

Hardback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: New. In English.

Condición: New. Num Pages: 256 pages, 10. BIC Classification: ABK; DSBF. Category: (G) General (US: Trade). Dimension: 229 x 152 x 22. Weight in Grams: 542. . 2006. 1st Edition. Hardcover. . . . .

Condición: As New. Unread book in perfect condition.

hardcover. Condición: New. In shrink wrap. Looks like an interesting title.

Condición: New. Num Pages: 256 pages, 10. BIC Classification: ABK; DSBF. Category: (G) General (US: Trade). Dimension: 229 x 152 x 22. Weight in Grams: 542. . 2006. 1st Edition. Hardcover. . . . . Books ship from the US and Ireland.

Hardcover. Condición: Brand New. 1st edition. 272 pages. 9.00x6.25x1.00 inches. In Stock.

Condición: New. The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions.

Hardback. Condición: New. The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adopted a language of art forgery to articulate a link between the making of fakes and the making of selves. The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity. Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. "Copying," a benign occupation when undertaken by a woman, became "forgery," laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities-both authentic and fake-that emerged from the Victorian culture of forgery.…

Hardcover. Condición: new. Hardcover. The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adopted a language of art forgery to articulate a link between the making of fakes and the making of selves. The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity.Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists."Copying," a benign occupation when undertaken by a woman, became "forgery," laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities-both authentic and fake-that emerged from the Victorian culture of forgery. The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Buch. Condición: Neu. Neuware.

xi, 243 S., mit 10 Abb., Orig.-Leinen, Orig.-Schutzumschlag. - Zustand: Vorsatzblatt vorn herausgetrennt, sonst sehr gut.

Hardcover. Condición: Brand New. 1st edition. 272 pages. 9.00x6.25x1.00 inches. In Stock. This item is printed on demand.

Hardback. Condición: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.