In this paper I examine the changing relationship between mechanical reproductions and the original artwork in the context of the Rubens centennials in 1877 and 1977. Drawing on theorists such as Walter Benjamin, Dean MacCannell, Hans Belting and Boris Groys, I argue that the mechanism of copying generates a double logic of image perception: a simultaneous centrifugal and centripetal circulation of images that affects how people perceive art in modern society. I explore this perception dynamic by looking at two photo-exhibitions during the Rubens centennials.
Bonne, Griet. "The Copy & The Real Thing: Changing Perceptions Between the Rubens Centennials in 1877 and 1977." Artl@s Bulletin 10, no. 1 (2021): Article 5.