Hostname: page-component-76fb5796d-x4r87 Total loading time: 0 Render date: 2024-04-28T12:54:46.428Z Has data issue: false hasContentIssue false
  • English
  • Français

Reproducing Works of Art Held in Museums: Who Pays, Who Profits?

Published online by Cambridge University Press:  28 February 2024

Madeline H. Caviness
Madeline H. Caviness*
Affiliation:
Tufts University
Get access Rights & Permissions [Opens in a new window]

Extract

In keeping with the general theme of the General Assembly of CIPSH in Beijing, 2004, in this article I emphasize the potential of the internet to impact the use of works of art in public and private museums for study and research, and for the publication of research. The possibility exists nowadays of creating a hyper-real ‘musée imaginaire’ or ‘museum without walls’ to use André Malraux's phrase of more than fifty years ago. It is hard to see how it could be anything but a benefit to human knowledge to have images of all works in the public domain (that is, for which the creator's copyright has expired) available on the world wide web. Under US law this year (2006) that would mean all works created before 1911. There are encouraging developments in that direction, but there is also constant legal wrangling. And I have to admit there are sometimes two sides to the question, even if I think one argument is far stronger than the other.

Type
Research Article
Information
Diogenes , Volume 53 , Issue 3 , August 2006 , pp. 45 - 52
Copyright
Copyright © ICPHS 2006

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Baron, Robert (1997) ‘Copyright and Fair Use: The Great Image Debate. Editor’s Introduction, Summary and Analysis’, Visual Resources: An International Journal of Documentation XII (3-4).Google Scholar
Bielstein, Susan M. (2006) Permissions, A Survival Guide: Blunt Talk about Art as Intellectual Property. Chicago: The University of Chicago Press.CrossRefGoogle Scholar
Adams, Brooks et al. (1999) Sensation: Young British Artists From the Saatchi Collection. London: Thames & Hudson.Google Scholar
Caviness, Madeline H. (1994) ‘Learning from Forest Lawn’, Speculum 69–69.CrossRefGoogle Scholar
Caviness, Madeline H. (2001a) Visualizing Women in the Middle Ages: Sight, Spectacle, and Scopic Economy. The Middle Ages Series, ed. Karras, Ruth Mazo. Philadelphia: University of Pennsylvania Press.Google Scholar
Caviness, Madeline H. (2001b) Reframing Medieval Art: Difference, Margins, Boundaries. Medford.Google Scholar
Caviness, Madeline H. (2002) ‘Iconclasme et iconophobie: quatre études de cas historiques’, Diogène 199–199 (juillet-septembre).CrossRefGoogle Scholar
Caviness, Madeline H. (2003) ‘Iconoclasm and Iconophobia: Four Historical Case Studies’, Diogenes 199: 99–114.CrossRefGoogle Scholar
Elkin-Koren, Niva (2004) ‘The Internet and Copyright Policy Discourse’, in Nissenbaum, Helen and Price, Monroe E. (eds), Academy and the Internet, pp. 252–274. New York: Peter Lang.Google Scholar