There is also the fear, as described by the critic Walter Benjamin in his 1936 essay "The Work of Art in the Age of Mechanical Reproduction," that a piece can lose its aura, or authenticity, when it is reproduced so often that it becomes too familiar — cheapening the "Mona Lisa," for instance.
But after the photo was reproduced so often, it could not help but lose its initial capacity to arouse outrage.
It is the only portrait of Jane Austen which has a rock-solid authentication, but it isn't reproduced very often for two reasons: as a drawing it is inept; and as an image it is virtually useless, since the face doesn't show.
This picture is reproduced much less often than those self- portraits that focus only on Kahlo's face; it shows her full length, with America on her left and Mexico on her right.
In one that has now become famous, because it has been reproduced so often, he's holding a cane that has a skull knob and looking us straight in the eye.
Consequently, it often reproduces a distinction between primary and secondary philosophical work that we might question.
Of the five paintings that have been reproduced in 3-D, four have been printed in limited editions of 260, while one, "Sunflowers," can be reproduced as often as there is a demand for it, said Linda Snoek, a Van Gogh Museum media officer.
Yet research that may not be reproduced often finds its way into well-regarded journals, due to limited resources, human error or, rarely, outright fraud.
It's also a reminder that documents produced or reproduced digitally often carry concealed fingerprints that can reveal to trained examiners a lot more than one might think.
He makes his most persuasive case for the art by reproducing quite a lot of it, often in pointed juxtaposition with Liberman's layouts, which evolved along a similar trajectory, from cool, geometric minimalism to something splashier, messier, and more expressive.
