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Ten years after completing his work 'The Last Communion of Saint Jerome, 'Bolognese painter Domenichino was accused by his rival Giovanni Lanfranco of stealing the idea for the painting from an altarpiece crafted by Lanfranco's teacher, Agostino Carracci. The resulting scandal reverberated through the centuries, drawing responses by artists and critics from Poussin and Malvasia to Fuseli and Delacroix. Why was Domenichino attacked in this way when other related paintings& including Raphael's 'Marriage of the Virgin 'and Perugino's painting of the same subject& aroused no such negative response? In this fast-paced book, Elizabeth Cropper investigates the Domenichino affair and addresses the perennial debate regarding the precise nature of originality and of imitation. She offers close readings of the paintings involved in the story, detailed analysis of attitudes toward imitation, emulation, and plagiarism, and a fascinating discussion of what Domenichino's plight signifies in art history.

Painting --- Aesthetics of art --- Domenichino --- Jerome --- Carracci, Agostino --- Rome --- Imitatie in de kunst --- Imitation dans l'art --- Imitation in art --- Imitation in art. --- Painting, Renaissance --- Domenichino, --- Carracci, Agostino, --- Jerome, --- Authorship. --- Art --- Pictures --- Appropriation (Art) --- Mimesis in art --- Reproduction --- Copying --- Carrache, Augustin, --- Caracci, Agostino, --- Gerolamo, --- Gérome, --- Gerónimo, --- Girolamo, --- Heronimos, --- Hieronim, --- Hieronymus, Eusebius, --- Hieronymus, --- Hieronymus, Sophronius Eusebius, --- Hieronymus, Stridonensis, --- Ieronim, Stridonskiĭ, --- Iheronimus, --- Jerónimo, --- Jerōnimos, --- Domenico, Zampieri --- Authorship --- Painting [Renaissance ] --- Italy --- Jeronimi,

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Art --- History --- art theory --- kunstliteratuur --- Testa, Pietro

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Alexander --- Ferdinand --- Congresses. --- Congresses. --- Florence (Italy) --- Rome (Italy) --- Civilization --- Congresses. --- Civilization --- Congresses.

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By investigating the important cultural figures who were close to the painter Nicolas Poussin (1594-1665), Elizabeth Cropper and Charles Dempsey allow the reader to enter not only the Rome where he lived but also the Rome of antiquity, which he admired and tried to reconstruct. The authors argue that Poussin's works were structured by his friendships, as well as by his study of ancient history and early Christian archaeology, his exploration of the poetry and mystery of ancient places, and his conception of his paintings as gifts rather than commercial objects. By looking into this rich background, they also show how Poussin introduced into his theory and practice of painting a new concept of the inherent expressiveness of form that was quite different from the then prevailing conventions for depicting the passions and affections.

Poussin, Nicolas --- Painting, French --- Peinture française --- Poussin, Nicolas, --- Criticism and interpretation. --- Friends and associates. --- Peinture française --- Pusan, Niḳolah, --- Pussen, Nikola, --- Criticism and interpretation --- Friends and associates --- Poussin, Nicolas, - 1594?-1665 - Criticism and interpretation. --- Poussin, Nicolas, - 1594?-1665 - Friends and associates.

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