Starting in the Renaissance, artists were bound to a canon of
exemplary motifs and forms, something that again and again provoked
counter-reactions. Methods parodying pictures could be used as an
intrinsic artistic critique of authorities and aesthetic norms and
to articulate claims to autonomy and status. Even though such
counter-images were very much present in the early modern period,
they have hitherto only rarely been a focus of research. This
volume addresses this desideratum. The case studies make a
contribution to understanding pre-modern picture parodies from the
perspectives of art history, literary studies, and visual culture
by shedding light on their use in discourses on modernization and
in specific conflict situations.
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