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Pastiches votifs à Rome. Du Pasquin à "Ex voto fecit"

Abstract : Modern means of reproduction have facilitated the manipulation of images : the number of copies, retouches, pastiches, parodies and caricatures is currently experiencing a vertiginous increase. However, the success of a pastiche is not based on a technical manipulation, but on a game with a code that the public must know intimately. We will then understand the success of the votive pastiche in Rome, in solidarity with the miraculous image/ex-voto couple, of which Rome remains the epicenter: a miraculous image, often a Marian one, visible in the urban space, is surrounded by objects and texts testifying to the power of intercession of its prototype. An anonymous Pasquin engraving dating back to the middle of the 16th century, and the contemporary posters of the street artist Ex-Voto divert the same code more than 450 years apart. Surrounded by texts and objects presented as votive gifts, Pasquin intercedes with the heavens. Our Lady of the Round Balloon, the Blessed Virgin of the Schoolchildren and the Good Mother of Hospitality are located as ex-votos in significant places, according to the news, and are surrounded by ex-votos. Their ends are primarily political, at a time when politics is - oh so - religious (the Rome of the Pope - King), and ours where it is less. As always, pastiche provokes strong reactions. The engraving was both collected and censored. The posters of Ex-Voto have been both venerated (as art and as sacred images) and vandalized.
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Contributor : Béatrice Coquet <>
Submitted on : Friday, January 10, 2020 - 4:31:21 PM
Last modification on : Thursday, October 15, 2020 - 9:52:08 AM


  • HAL Id : halshs-02435244, version 1


Anne Lepoittevin. Pastiches votifs à Rome. Du Pasquin à "Ex voto fecit". Techniques et culture, Éditions de la Maison des sciences de l'homme 2018, pp.220-239. ⟨halshs-02435244⟩



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