{"id":{"repo_id":"vcu","oai_identifier":"oai:scholarscompass.vcu.edu:etd-1810"},"canonical_url":"https://search.dev.ndltd.org/etd/vcu/oai:scholarscompass.vcu.edu:etd-1810","repository":{"repo_id":"vcu","name":"Virginia Commonwealth University","base_url":"https://scholarscompass.vcu.edu/do/oai/"},"display":{"title":"Pietro Perugino (1450-1523) and the Practice of Reuse: Redefining Imitazione in the Italian Renaissance","abstract":"Pietro Perugino's oeuvre is characterized by the reappearance of figures and motifs replicated through the reuse of cartoons. Perugino's deliberate self-plagiarism, despite being rooted in quattrocento compositional methods, exhibits an exploitation of the reproductive nature of the cartoon. While this practice allowed him to develop an efficient design process, the results of this imitation endowed Perugino's work with a formulaic quality, as was first noted by Giorgio Vasari in his Lives of the Most Eminent Painters, Sculptors and Architects (1568). Significantly, in the sixteenth century, theorists revised the concept of imitation to incorporate not only the notion of replication, but emulation as well. An examination of Perugino's reproductive practices alongside this revised view of imitation elucidates the nature of Vasari's criticism, ultimately revealing why the critic placed him among artists of the quattrocento, rather than that of the cinquecento.","abstract_html":"Pietro Perugino's oeuvre is characterized by the reappearance of figures and motifs replicated through the reuse of cartoons. Perugino's deliberate self-plagiarism, despite being rooted in quattrocento compositional methods, exhibits an exploitation of the reproductive nature of the cartoon. While this practice allowed him to develop an efficient design process, the results of this imitation endowed Perugino's work with a formulaic quality, as was first noted by Giorgio Vasari in his Lives of the Most Eminent Painters, Sculptors and Architects (1568). Significantly, in the sixteenth century, theorists revised the concept of imitation to incorporate not only the notion of replication, but emulation as well. An examination of Perugino's reproductive practices alongside this revised view of imitation elucidates the nature of Vasari's criticism, ultimately revealing why the critic placed him among artists of the quattrocento, rather than that of the cinquecento.","abstract_has_math":false,"creators":["Goodman, Kelly A."],"institution":null,"degree_name":"Master of Arts","degree_level":"Thesis","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["Dr. Fredrika Jacobs"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2006,"date_issued":"2006-01-01T08:00:00Z","date_published":"2006-01-01T08:00:00Z","updated_at":"2026-07-24T05:54:21Z","subjects":["emulation","cartoon","symmetry","Arts and Humanities"],"languages":[],"rights":["© The Author"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarscompass.vcu.edu/etd/811"],"render_values":[{"text":"https://scholarscompass.vcu.edu/etd/811","href":"https://scholarscompass.vcu.edu/etd/811","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.25772/7X1R-KH20","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Dr. Fredrika Jacobs"]},{"key":"dc:creator","label":"Author","values":["Goodman, Kelly A."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2014-07-09T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["emulation","cartoon","symmetry","Arts and Humanities"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© The Author"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.25772/7X1R-KH20","https://scholarscompass.vcu.edu/etd/811"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Pietro Perugino's oeuvre is characterized by the reappearance of figures and motifs replicated through the reuse of cartoons. Perugino's deliberate self-plagiarism, despite being rooted in quattrocento compositional methods, exhibits an exploitation of the reproductive nature of the cartoon. While this practice allowed him to develop an efficient design process, the results of this imitation endowed Perugino's work with a formulaic quality, as was first noted by Giorgio Vasari in his Lives of the Most Eminent Painters, Sculptors and Architects (1568). Significantly, in the sixteenth century, theorists revised the concept of imitation to incorporate not only the notion of replication, but emulation as well. An examination of Perugino's reproductive practices alongside this revised view of imitation elucidates the nature of Vasari's criticism, ultimately revealing why the critic placed him among artists of the quattrocento, rather than that of the cinquecento."]},{"key":"dc:title","label":"Title","values":["Pietro Perugino (1450-1523) and the Practice of Reuse: Redefining Imitazione in the Italian Renaissance"]}]}],"canonical_facts":{"dc:contributor":["Dr. Fredrika Jacobs"],"dc:creator":["Goodman, Kelly A."],"dc:date.available":["2014-07-09T07:00:00Z"],"dc:description.abstract":["Pietro Perugino's oeuvre is characterized by the reappearance of figures and motifs replicated through the reuse of cartoons. Perugino's deliberate self-plagiarism, despite being rooted in quattrocento compositional methods, exhibits an exploitation of the reproductive nature of the cartoon. While this practice allowed him to develop an efficient design process, the results of this imitation endowed Perugino's work with a formulaic quality, as was first noted by Giorgio Vasari in his Lives of the Most Eminent Painters, Sculptors and Architects (1568). Significantly, in the sixteenth century, theorists revised the concept of imitation to incorporate not only the notion of replication, but emulation as well. An examination of Perugino's reproductive practices alongside this revised view of imitation elucidates the nature of Vasari's criticism, ultimately revealing why the critic placed him among artists of the quattrocento, rather than that of the cinquecento."],"dc:identifier":["https://doi.org/10.25772/7X1R-KH20","https://scholarscompass.vcu.edu/etd/811"],"dc:rights":["© The Author"],"dc:subject":["emulation","cartoon","symmetry","Arts and Humanities"],"dc:title":["Pietro Perugino (1450-1523) and the Practice of Reuse: Redefining Imitazione in the Italian Renaissance"],"thesis:degree_discipline":["Art History"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts"]},"updated_at":"2026-07-24T05:54:21Z"}