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Caravaggio and his copyists
Alfred Moir
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Frontmatter
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Preface (page ix)
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List of Illustrations (page xv)
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I. When, Where, How, and Why Copies after Caravaggio Came into Being, Who Made Them, and What Happened to Them (page 1)
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II. Copies as a Means of Authentication (page 31)
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III. Copies as a Mark of Taste (page 39)
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IV. Variants (page 47)
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V. Literary Sources (page 53)
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VI. Concluding Remarks (page 59)
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Addenda (page 65)
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Text Notes (page 69)
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Appendix I. Caravaggio's Oeuvre and Its Copies (page 79)
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Part A: Existing Autograph Paintings (page 83)
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Part B: Lost Paintings (page 103)
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Part C: Doubtful Attributions (page 116)
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Part D: Paintings Not by Caravaggio (page 116)
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Part E: Works Not Considered (page 120)
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Notes on Appendix I (page 121)
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Appendix II. Numerical Computations (page 163)
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Appendix III. Scale of Originals; Numbers and Scale of Copies (page 165)
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Bibliography (page 167)
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Illustrations (page 177)
Journal Abbreviation | Label | URL |
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BM | 119.897 (Dec. 1977): 862 | http://www.jstor.org/stable/879047 |
Citable Link
Published: 1976
Publisher: New York University Press
- 9780814754085 (hardcover)