Imitation (art)

Imitation is the doctrine of artistic creativity according to which the creative process should be based on the close imitation of the masterpieces of the preceding authors. This concept was first formulated by Dionysius of Halicarnassus in the first century BCE as imitatio, and has since dominated for almost two thousand years the Western history of the arts and classicism;[1] in the 18th century, Romanticism reversed it with the creation of the institution of romantic originality.[1] In the 20th century, the modernist and postmodern movements in turn discarded the romantic idea of creativity, and heightened the practice of imitation, copying, plagiarism, rewriting, appropriation and so on as the central artistic device.

Notes
  1. Shroder (1972) p.282 quote:
    The doctrine of imitation, to which Nodier indirectly refers, had of course dominated classicism from its inception, when Du Bellay recommended it in the Defense et illustration de la langue francaise. The rejection of that doctrine was a basic tenet of romanticism; as Hugo put it in his preface to the 1826 edition of Odes et ballades, 'celui qui imite un poete romantique devient necessairement classique, puisqu'il imite.'
gollark: No.
gollark: My alt.
gollark: Yes. When I go mountain climbing and I need to recharge my phone, instead of messing with a solar panel or something I simply find a pebble and connect some leads to it.
gollark: Suuuure.
gollark: Arguably quite a lot are. Depending on things, you may end up suffering more overhead trying to split up work, merge your parts back together, maintain multiple copies of things, communicate, and that sort of thing, than you would just doing all of it yoursel.

References
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