Replication in the Long Nineteenth Century 2018
DOI: 10.1515/9781474424868-005
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3. Transatlantic Autograph Replicas and the Uplifting of American Culture

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“…Despite the temporal fluidities generated by studio practices, trajectories of these works demonstrate a curious homogeneity of taste across continents as replicas' subjects commissioned by British industrialists were avidly sought by collectors in other countries who shared a taste for Pre-Raphaelite and aestheticist art. 41 As Sarah Burns points out, the repetitive nature of aesthetic pictures created a branded style that could be reproduced for patrons, such that these works represented collectors' intertwined aesthetic and social identities and interactions. 42 Multiple versions of the same subjects populate American museums: for example, two versions of Burne-Jones's Chant d'Amour are in New York (purchased 1947) and Boston (donor purchased, 1887; donated, 1906).…”
Section: Mapping Trajectories and The Cultural Atlanticmentioning
confidence: 99%
“…Despite the temporal fluidities generated by studio practices, trajectories of these works demonstrate a curious homogeneity of taste across continents as replicas' subjects commissioned by British industrialists were avidly sought by collectors in other countries who shared a taste for Pre-Raphaelite and aestheticist art. 41 As Sarah Burns points out, the repetitive nature of aesthetic pictures created a branded style that could be reproduced for patrons, such that these works represented collectors' intertwined aesthetic and social identities and interactions. 42 Multiple versions of the same subjects populate American museums: for example, two versions of Burne-Jones's Chant d'Amour are in New York (purchased 1947) and Boston (donor purchased, 1887; donated, 1906).…”
Section: Mapping Trajectories and The Cultural Atlanticmentioning
confidence: 99%