Venezia Arti Journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice

open access | peer reviewed

Aims & Scope

Venezia Arti is an Art history journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice. Originally founded in 1987 by Wladimiro Dorigo and Giuseppe Mazzariol, in 2019 the journal inaugurates a new series. Since 2024, the journal has been directed by Matteo Bertelé, Angelo Maria Monaco and Simone Piazza. The journal is open to contributions by Scholars from all fields of the arts. It encourages an interdisciplinary and international outlook, and intends to document events and problems in artistic culture from the Middle Ages to the present day with critical systematicity. Venezia Arti is certified as Scientific Journal by ANVUR (Italian National Agency for the Evaluation of Universities and Research Institutes).

Permalink http://doi.org/10.30687/VA/2385-2720 | e-ISSN 2385-2720 | Periodicity annual | Language en, fr, it

Copyright This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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Latest published issue

33 | 2024
Cross-Pollination: Art, Contamination and Hybridisation from the Middle Ages to the Present
Dec. 9, 2024

16 38
Editoriale
Dec. 18, 2024 | 33 | 2024

21 71
Intorno a Cabiria di Giovanni Pastrone: su Sofonisba come figura di coalescenza
Viviana Triscari
Dec. 10, 2024 | 33 | 2024

15 46
Le cupole più antiche d’Italia s’osservano piane
Stefano Pierguidi
Dec. 10, 2024 | 33 | 2024

25 71
Charting Knowledge: The Situationist Times at the Crossroads of Situationism, Publishing, and Topology
Simone Rossi, Camilla Salvaneschi
Dec. 10, 2024 | 33 | 2024

27 82
Lo scardinamento dei ruoli e dello stereotipo sociale nella ricerca del Collettivo Donne Fotoreporter di Milano alla fine degli anni Settanta
Irene Boyer, Valentina Rossi
Dec. 10, 2024 | 33 | 2024

16 74
Learning from “The East”: Mark Tobey’s “White Writing” and the Shaping of American Abstract Expressionism
Phyllis Zhong
Dec. 10, 2024 | 33 | 2024

29 65
La linea d’acqua: sulla stamperia Pasquali come laboratorio d’incisione di Canaletto e Visentini
Camilla Pietrabissa
Dec. 9, 2024 | 33 | 2024

44 96
Interscambi e circolarità di modelli: il caso delle pitture rupestri tardomedievali nel santuario micaelico alle Grottelle di Padula
Eleonora Chinappi
Dec. 9, 2024 | 33 | 2024

15 49
La libertà del dilettante
Giulia Cocconi
Dec. 9, 2024 | 33 | 2024

21 69
Dall’imago clipeata alla Theotokos Platytera
Michele Celentano
Dec. 9, 2024 | 33 | 2024

14 54
Fine Technology Dialogue Across the Eastern Mediterranean in Giovanni Fontana's Bellicorum Instrumentorum Liber
Adriana De Miranda
Dec. 9, 2024 | 33 | 2024

24 117
Raccontare il miracolo italiano nel 1994. The Italian Metamorphosis 1943-1968
Silvia Maria Sara Cammarata
Dec. 20, 2023 | 32 | 2023

14 113
Gore ot uma di Olga Tobreluts: la metamorfosi di un classico
Maria Redaelli
Dec. 20, 2023 | 32 | 2023

27 116
Identità in (tras)formazione: Marina il monaco, ovvero storia di una Santa ‘mascherata’ e del suo culto a Venezia tra Medioevo ed Età Moderna
Giulia Anna Bianca Bordi
Dec. 20, 2023 | 32 | 2023

53 124
Mostruose metamorfosi: sull’ibridazione iconografica del basilisco
Valentina Borniotto
Dec. 20, 2023 | 32 | 2023

16 107
The Visual Afterlife of les gueules cassées: Artistic Reception from the Interbellum to documenta 13
Alexandra Timonina
Dec. 20, 2023 | 32 | 2023

42 137
The Beast Within, the Beast Without
Francesca Borgo
Dec. 20, 2023 | 32 | 2023

18 89
From Triton Neptvni Tubicen to the Glory of Lepanto
Laris Borić
Dec. 20, 2023 | 32 | 2023

25 108
Percorsi metamorfici della natura nel Cinquecento
Emanuela Ferretti
Dec. 20, 2023 | 32 | 2023

16 113
Transformation as an Artistic Strategy in the Work of the Artist Anwar Saeed
Simone Wille
Dec. 20, 2023 | 32 | 2023

17 68
«Nudi trasfigurati da una strana metamorfosi»
Emanuele Greco
Dec. 20, 2023 | 32 | 2023

27 77
Editoriale
Silvia Burini, Giovanni Maria Fara
Dec. 20, 2022 | 31 | 2022

29 122
A Matter of Attitude
Sabine Peinelt-Schmidt
Dec. 20, 2022 | 31 | 2022

16 116
William Congdon e Fred Licht
Giuseppe Barbieri
Dec. 20, 2022 | 31 | 2022

30 137
Architettura e frammentismo, o lo stile tardo di Giuliano da Sangallo
Dario Donetti
Dec. 20, 2022 | 31 | 2022

45 140
«Signori, la festa è finita». Le ‘ultime’ opere di Maurizio Cattelan tra continuità e citazione
Giulia Zompa
Dec. 20, 2022 | 31 | 2022

20 131
Il lungo Cinquecento nelle volte dell’aristocrazia
Francesca Casamassima
Dec. 20, 2022 | 31 | 2022

38 151
«Chi si aspetterebbe un Pordenone a Gallipoli?»
Floriana Conte
Dec. 20, 2022 | 31 | 2022

22 124
Altersstil novecentesco di Ettore Tito
Anna Mazzanti
Dec. 20, 2022 | 31 | 2022

30 265
Antonio Guardi’s “copies-works of art”
Chiara Bombardini
Dec. 21, 2021 | 30 | 2021

64 354
Between Originals and Copies: Notes on Ottoman Portraits from the Giovio Collection
Ilenia Pittui
Dec. 21, 2021 | 30 | 2021

31 117
Editorial
Silvia Burini, Giovanni Maria Fara
Dec. 21, 2021 | 30 | 2021

28 186
From the Copy to the Fake to the ‘Second Original’
Laura Lombardi
Dec. 21, 2021 | 30 | 2021

39 257
Multiplied Works, Open Work
Marta Previti
Dec. 21, 2021 | 30 | 2021

47 247
Originals and copies in the Letter of Filippo Baldinucci to Vincenzo Capponi
Elena Fumagalli
Dec. 21, 2021 | 30 | 2021

29 225
The Figure of the Collector Daniele Farsetti in the Letters
Ilaria Serati
Dec. 21, 2021 | 30 | 2021

46 255
Titian and Callisto’s Double Metamorphosis
Alessandro Rossi
Dec. 21, 2021 | 30 | 2021

29 279
Fake or Fortune? Alexander Dorner and the Weimar Reproductions Debate
Camilla Balbi
Dec. 21, 2021 | 30 | 2021

58 271
Recreated Subjects, Reconstructed Copies: Considerations on the Photographic Process
Grischka Petri
Dec. 21, 2021 | 30 | 2021

42 324
The Original – ‘Again’
Margarita Delcheva
Dec. 21, 2021 | 30 | 2021

31 290
Border hacking: An Artistic Conversion of Transnational Borders into the Society of Networks
Paolo Berti
Dec. 11, 2020 | 29 | 2020

89 537
Aesthetics of Infection: From Cyborg to Theriomorph
Roberto Marchesini, Karin Andersen
Dec. 11, 2020 | 29 | 2020

84 450
Books and Prints by the Manfrin House in Venice between the Eighteenth and Nineteenth Centuries. First Considerations
Linda Borean
Dec. 11, 2020 | 29 | 2020

73 373
Computer Art in Italy in the 1980s
Paola Lagonigro
Dec. 11, 2020 | 29 | 2020

55 435
Cornelis De Bie, the Gulden Cabinet and Still Life Painting and Genre Painting in Italy
Luca Fiorentino
Dec. 11, 2020 | 29 | 2020

38 219
Editorial
Silvia Burini, Giovanni Maria Fara
Dec. 11, 2020 | 29 | 2020

31 254
Out-of-Frame Figures
Sarah Munoz
Dec. 11, 2020 | 29 | 2020

58 373
Pastel Painting in European in the Eighteenth Century between Scientific Knowledge and Artistic Practice
Alice Ottazzi
Dec. 11, 2020 | 29 | 2020

21 202
The Diagram on Stage
Catherine Paoletti
Dec. 11, 2020 | 29 | 2020

27 94
The Gelati Academy, the Gessi Family and Edgar Allan Poe
Andrea Gardi
Dec. 11, 2020 | 29 | 2020

38 239
Poussin and Optics: Reflections on the Lake in “a Calm”
Janis Bell
Dec. 11, 2020 | 29 | 2020

59 376
Mikhail Larionov’s Rayonism and the Scientific Mythologies of the Late Nineteenth and Early Twentieth Century
Ekaterina Bobrinskaya
Dec. 11, 2020 | 29 | 2020

81 496
From Vitruvius to the Science Of Drawing
Filippo Camerota
Dec. 11, 2020 | 29 | 2020

174 520
Biopolitical Horizons in the Performative Actions of Marina Abramović and Regina José Galindo
Matteo Valentini
Dec. 11, 2019 | 28 | 2019

53 315
Circulation of Models: Casts from Michelangelo Between Emilia and Veneto, in the Second Half of the Sixteenth Century
Elisabetta Fadda
Dec. 11, 2019 | 28 | 2019

21 166
Editorial
Silvia Burini, Giovanni Maria Fara
Dec. 11, 2019 | 28 | 2019

45 300
From Correggio to Pordenone
Caterina Furlan
Dec. 11, 2019 | 28 | 2019

35 314
Marcantonio Magno’s Emblem: New Considerations
Mino Gabriele
Dec. 11, 2019 | 28 | 2019

80 460
Salvador Dalí, the Hybrid Portraits of the 1920s
Elide Pittarello
Dec. 11, 2019 | 28 | 2019

35 362
The Eclipses of a Star: Anna Moffo Between Opera, Cinema, Television
Paologiovanni Maione
Dec. 11, 2019 | 28 | 2019

168 599
The Female Body in the Artistic Research of the Late Twentieth Century
Arianna Fantuzzi
Dec. 11, 2019 | 28 | 2019

78 366
The Representation of Holiness Between Realism and Devotion in the Polyptych of Montefiore dell’Aso by Carlo Crivelli
Francesco De Carolis
Dec. 11, 2019 | 28 | 2019

25 247
The Second Skin
Maria Ida Biggi
Dec. 11, 2019 | 28 | 2019

70 388
The Electric Body
Nicoletta Misler
Dec. 11, 2019 | 28 | 2019

80 280
Re-visioning St. Sebastian: Nicoletto da Modena’s Reworked Engravings of St. Sebastian
Bryony Bartlett-Rawlings
Dec. 11, 2019 | 28 | 2019

24 217
Remaking the Body Politic Anew through Mob and Gang
David A.J. Murrieta Flores
Dec. 11, 2019 | 28 | 2019

40 386
A Lucky metaphor by Cesare Brandi: The "Crystal Churches" of the Armenians
Marco Ruffilli
Dec. 13, 2018 | 27 | 2018

37 391
The Archaeological and Ethnographic Description of Greater Armenia by the Mkhitarist Fathers of Venice Between Hellenophile and Armenophilia
Benedetta Contin
Dec. 13, 2018 | 27 | 2018

36 398
For Beauty, Nation and God
Alžběta Filipová
Dec. 13, 2018 | 27 | 2018

26 295
Illuminating an Armenian Collection of Manuscripts
Cecilia Riva
Dec. 13, 2018 | 27 | 2018

58 384
Krikor (Grigor) Balakian’s Ruins of Ani
Christina Maranci
Dec. 13, 2018 | 27 | 2018

81 555
Armenian Art and Culture from the Pages of the Historia Imperii Mediterranei
Stefano Riccioni
Dec. 13, 2018 | 27 | 2018

40 363
“The Heritage of Ancestors”
Gohar Grigoryan Savary
Dec. 13, 2018 | 27 | 2018

36 313
From Russia with Love
Ivan Foletti, Pavel Rakitin
Dec. 13, 2018 | 27 | 2018

26 500
Inventing, Transforming and Discovering Southern Caucasus
Ivan Foletti, Stefano Riccioni
Dec. 13, 2018 | 27 | 2018

64 494
Alighiero & Boetti: About the Signature as Identity and Duplication
Stefania Portinari
Dec. 20, 2017 | 26 | 2017

38 326
Artists in North-Central Puglia Between the 11th and 13th Centuries
Marida Pierno
Dec. 20, 2017 | 26 | 2017

42 382
Correggio, Anselmi and Rondani
Elisabetta Fadda
Dec. 20, 2017 | 26 | 2017

21 297
For a Project on the Signed Paintings of Venice in the Gothic and Late Gothic Periods
Stefano Riccioni
Dec. 20, 2017 | 26 | 2017

41 407
Light on Titian's ‘Hidden’ Signature
Marco Tagliapietra
Dec. 20, 2017 | 26 | 2017

12 502
Memories of a Film
Martina Zanco
Dec. 20, 2017 | 26 | 2017

32 289
Signatures of Seventeenth-Century Woodcutters in the Wooden Matrices of the Galleria Estense in Modena
Chiara Travisonni
Dec. 20, 2017 | 26 | 2017

21 285
Signing merci (Duchamp Against Himself)
Nico Stringa
Dec. 20, 2017 | 26 | 2017

40 417
The Artist's Signature in Romanesque France
Emilie Mineo
Dec. 20, 2017 | 26 | 2017

45 567
The Artist's Signature in the Context of the happening
Martina Rossi
Dec. 20, 2017 | 26 | 2017

60 579
The Artist's Signature, the Vasari Myths and Wolvinus magister phaber
Ivan Foletti
Dec. 20, 2017 | 26 | 2017

20 282
The Setting up of the Ancient Seat of the Naval History Museum of Venice
Silvia Peressutti
Dec. 20, 2017 | 26 | 2017

72 428
The ‘Signature’ in the Art
Stefano Riccioni, Giovanni Maria Fara, Nico Stringa
Dec. 20, 2017 | 26 | 2017

38 342
Edvard Munch’s Toponymic Codes
Patricia G. Berman
Dec. 20, 2017 | 26 | 2017

40 313
Manifestations of Authorship
Maria Lidova
Dec. 20, 2017 | 26 | 2017

15 307
«De Zavatarijs hanc ornavere capellam»
Roberta Delmoro, Anna Lucchini
Dec. 20, 2017 | 26 | 2017

38 347
Set in Stone
Amanda Hilliam
Dec. 20, 2017 | 26 | 2017

24 314
Gio. Bapt. Paggius Genuensis F.
Valentina Frascarolo
Dec. 20, 2017 | 26 | 2017

513 1670
Why Was Jan van Eyck here?
Benjamin Binstock
Dec. 20, 2017 | 26 | 2017

38 518
A Memory of Alberto Prandi Always Alive
Sergio Marinelli
Dec. 20, 2016 | 25 | 2016

44 471
About the Edition of the Lettere sopra la pittura grottesca by Pirro Ligorio
Damiano Acciarino
Dec. 20, 2016 | 25 | 2016

14 285
Art and What Remains Out of It
Michael Lüthy, Bernard Schieder
Dec. 20, 2016 | 25 | 2016

17 274
Art as a Gesture: Singular and Shared
Daniele Goldoni
Dec. 20, 2016 | 25 | 2016

71 626
Custodians: From Curators to Guardians
Chiara Piva
Dec. 20, 2016 | 25 | 2016

10 270
Editorial
Carmelo Alberti, Michela Agazzi
Dec. 20, 2016 | 25 | 2016

83 457
For a History of Fashion
Giorgio Riello
Dec. 20, 2016 | 25 | 2016

10 244
Opera Overture and Directorial Commentary: An (un)Happy Abuse?
Fabio Dal Corobbo
Dec. 20, 2016 | 25 | 2016

12 301
Photography, a Matrix for two Exhibitions
Margherita Naim
Dec. 20, 2016 | 25 | 2016

22 320
Reuse of Roman Steles in the Jewish Cemetery of the Lido of Venice
Licia Fabbiani
Dec. 20, 2016 | 25 | 2016

36 433
The Fine Arts and Monuments Office of the Superintendency of Trieste (1920-1925)
Beatrice Marangoni
Dec. 20, 2016 | 25 | 2016

20 255
The Thresholds and Guardians of the Arts
Roberta Dreon, Diego Mantoan
Dec. 20, 2016 | 25 | 2016

49 445
«Stupido Guardi!»
Federica Veratelli, Giulio Zavatta
Dec. 20, 2016 | 25 | 2016

76 491
Borders and Border Crossing Between Art Worlds
Diego Mantoan
Dec. 20, 2016 | 25 | 2016

75 473
The Artist-entrepreneur Acting as a Gatekeeper in the Realm of Art
Monica Calcagno, Lisa Balzarin
Dec. 20, 2016 | 25 | 2016

12 334
A Rusty Issue; or, the Strange Case of a Victorian Crane in Venice
Patrizia Pierazzo
Dec. 20, 2016 | 25 | 2016

32 360
A Different Caucasus
Karina Solovyova, Inessa Kouteinikova
Dec. 20, 2016 | 25 | 2016

62 408
Arthur Danto and the Political Re-Enfranchisement of Art
Noël Carroll
Dec. 20, 2016 | 25 | 2016

24 353
Gli intermediari nell’arte contemporanea
Nathalie Heinich
Dec. 20, 2016 | 25 | 2016

30 833
1 + 1 = 1. The Door-Landscape of Nostalghia in Some Tarkovskian Objects
Fabrizio Borin
June 15, 2014 | 24 | 2014

30 605
A Rare Constantinopolitan Sculpture from the Paleological era in Murano
Claudia Barsanti
June 15, 2014 | 24 | 2014

38 370
An Early View of the Grand Canal
Marina Magrini
June 15, 2014 | 24 | 2014

82 767
Biennale 1958: The Golden Lion to Marc Tobey and the Consecration of American-Style Art
Chiara Di Stefano
June 15, 2014 | 24 | 2014

19 415
On the Use of the Harp in Shakespeare's “Fantastic Scene”: Britten's Musical “Dream”
Alessandra Robles
June 15, 2014 | 24 | 2014

23 293
Pasolini and the Mystery of the Scene
Paolo Puppa
June 15, 2014 | 24 | 2014

28 321
Preliminary Considerations on the Art of Delegating. Sol Lewitt and Bruce Nauman at the 1970 Tokyo Biennale: Two Case Studies
Eleonora Charans
June 15, 2014 | 24 | 2014

22 301
Restorations | Recoveries | Inventories
Fabien Benuzzi, Francesca Guidolin, Maria Antonella Bellin, Paola Martinuzzi
June 15, 2014 | 24 | 2014

34 331
Sergio Bettini and the Art Criticism
Arturo Carlo Quintavalle
June 15, 2014 | 24 | 2014

41 383
The Door, the Bridge, the Lintel. The Idea of a Frame in the Performative System
Cristina Gottardi
June 15, 2014 | 24 | 2014

37 462
The Sacristy of the Church of San Bartolomeo di Rialto
Mario Rosso
June 15, 2014 | 24 | 2014

19 318
«Istrioni che si beffano di noi». Chronicles of Italian Theater from the Age of the Great Actor to the Era of the Director
Carmelo Alberti
June 15, 2014 | 24 | 2014

Editors-in-Chief
Matteo Bertelé (sezione Contemporaneo), Università Ca’ Foscari Venezia, Italia
Angelo Maria Monaco (sezione Età Moderna), Università Ca’ Foscari Venezia, Italia
Simone Piazza (sezione Medioevo), Università Ca’ Foscari Venezia, Italia

Editing Supervisors
Stefania Gerevini (sezione Medioevo), Università Bocconi, Milano, Italia
Marco Scotti (sezione Contemporaneo), Università IUAV di Venezia, Italia
Stefania Ventra (sezione Età Moderna), Università Ca’ Foscari Venezia, Italia

Advisory Board
John Bowlt, University of Southern California, USA
Silvia Burini, Università Ca’ Foscari Venezia, Italia
Kosme De Barañano, Universidad Miguel Hernández, Alicante, España
David Freedberg, Columbia University, New York, USA
Giancarlo Gentilini, Università degli Studi di Perugia, Italia
Boris Groys, Staatliche Hochschule für Gestaltung, Karlsruhe,Deutschland
Yoko Hasegawa, Tama Art University, Tokyo, Japan
Michel Hochmann, École Pratique des Hautes Études, Paris, France
Tanja Michalsky, Biblotheca Hertziana-Max-Planck-Institut fuer Kunstgeschichte, Roma
Philippe Morel, Université Paris 1 Panthéon-Sorbonne, Paris, France
Silvia Naef, Université de Genève, Suisse
Alina Payne, Harvard University, Cambridge, USA
Serena Romano, Université de Lausanne, Suisse
Sebastian Schütze, Universität Wien, Österreich
Salvatore Settis, Scuola Normale Superiore di Pisa, Italia
Victor Stoichita, Université de Fribourg, Suisse
Chia-ling Yang, The University of Edinburgh, UK
Alessandro Zuccari, Sapienza Università di Roma, Italia

Editorial Board (section Contemporary)
Maria Bremer, Ruhr-Universität Bochum, Germany
Elisa Caldarola, Università degli Studi di Torino, Italia; The Graduate Center, City University of New York, USA
Miriam De Rosa, Università Ca’ Foscari Venezia, Italia
Susanne Franco, Università Ca’ Foscari Venezia, Italia
Sara Mondini, Ghent University, Belgium
Luca Pietro Nicoletti, Università degli Studi di Udine, Italia
Vincenzina Ottomano, Università Ca’ Foscari Venezia, Italia
Stefania Portinari, Università Ca’ Foscari Venezia, Italia
Camilla Querin, Ohio Wesleyan University, USA
Sabrina Rastelli, Università Ca’ Foscari Venezia, Italia
Clarissa Ricci, Università di Bologna, Italia
Pietro Rigolo, Pinacoteca Agnelli, Torino, Italia

Editorial Board (section Early Modern Period)
Giuseppe Capriotti, Università di Macerata, Italia
Daniela Caracciolo, Università del Salento, Italia
Walter Cupperi, Università Ca’ Foscari Venezia, Italia
Corinna T. Gallori, Kunsthistorisches Institut in Florenz - Max-Planck-Institut, Italia
Jasenka Gudelj, Università Ca’ Foscari Venezia, Italia
Rodolfo Maffeis, Politecnico di Milano, Italia
Émilie Passignat, Università Ca’ Foscari Venezia, Italia
Valentina Sapienza, Università Ca’ Foscari Venezia, Italia
Giorgio Tagliaferro, University of Warwick, UK

Editorial Board (section Middle Ages)
Francesco Gangemi, Università degli Studi di Bergamo, Italia
Ruggero Longo, Università degli Studi di Siena, Italia
Giulia Puma, Université Côte d’Azur, France
Elisabetta Scirocco, Bibliotheca Hertziana, Roma, Italia
Nicoletta Usai, Università degli Studi di Cagliari, Italia

Every article published by ECF was accepted for publication by no less than two qualified reviewers as a result of a process of anonymous reviewing (double-blind peer review). The reviewers are independent of the authors and not affiliated with the same institution.

The Journal’s Editor-in-Chief guarantees the proper execution of the peer review process for every article published in the Journal.

Peer review policies for the different sections:

Complete volume/issue: subject to peer review
Monographs/essays/articles: subject to peer review
Introductions, prefaces: no peer review
Reviews: no peer review
Editorials: no peer review

For a complete description of the process, please visit: Scientific certification.

This handbook describes the main editorial guidelines adopted in the journal. For special cases and further indications (such as the list of permitted abbreviations), please refer to the complete editorial guidelines of the Edizioni Ca’ Foscari: Editorial Guidelines.

I. Composition of the text

Formatting the Word file

Limit formatting to what is strictly necessary, adopting 12 characters and avoiding small caps, special styles and line spacing other than 1. A particular case is constituted by long text citations. The use of bold is allowed for titles.

Dates, Numbers, Measures

The numbers must be indicated in abbreviated form omitting the parts that do not change (except for the so-called ‘teens’, 11-19). For example: 1960-65, 270-1, 256-70, 311-18 (n.b.), 1,000, 120 × 240 cm; 5 March-7 May; il Eighteenth Century; the Thirties.

Citations within the text

If less than 10 words in length, they remain in the body of the text in double quotation marks (“ ”). Lines are separated by the sign |. If longer than 10 words, the citations must be:

without quotation marks
detached from the body of the text by means of a simple white line before and one after
indented 1 cm to the left of the main text body
ended with a full stop.

Quotation within quotation: single high quotation marks (‘...’) within double quotation marks (“ ”).

Source citations should be in the original language. The translation of the quoted text, if necessary, follows immediately, in brackets and in round characters.

Omissions in the body of the quotes are marked with ‘[...]’.

Foreign words and translations

If not included in the Treccani dictionary (http://www.treccani.it/vocabolario/), they must be written in italics. Transliterations are also italicized. Relevant translations go between round brackets immediately after the term. Example: Totenmal (funerary monument).

Emphasis

High quotation marks (‘’) can also be used to highlight a ‘concept’, highlight the precise meaning of a ‘term’, signal the ‘idiomatic’, ‘metaphorical’ or ‘improper’ use of a word.

Titles

The titles of literary, pictorial, sculptural, photographic, cinematographic, theatrical, musical, etc. works are italicized with capital letters.

Trait d’union

Use ‘-’ in lists and in cases such as: John Pope-Hennessy, 1960-67, May 2-June 5
Use ‘–’ to introduce parenthesis and bring sentences into direct speech (e.g. in dialogues)
Do not use ‘-’, but use the comma to distinguish the surnames of authors in the Abbreviations in the footnotes, and the semicolon to separate each group Surname-Name in the final Bibliography.

II. Bibliographic references

Abbreviations in the footnotes Write the author’s surname, the year of publication and the page number preceded by a comma only. This abbreviation refers to every occurrence, avoiding the use of idem, ibidem, and similar expressions.

Examples:

Rossi 2010, 25-7

Rossi 2010, 234 fn. 23 [footnote 23]

Rossi, Bianchi 2010 [coauthors]

Rossi, Bianchi, Verdi 2010 [coauthors]

Rossi et al. 2010 [more than three authors]

M. Rossi 2010, G. Rossi 2010 [authors with the same surname]

Rossi 2010a, 2010b [more works by the same author appearing in the same year]

Rossi 2010, 2011 [more works by the same author, but published in different years]

Rossi, s.d., 34 [undated work on the title page and in the imprint]

Rossi, forthcoming [to be published soon]; Bianchi (oral communication)

BSI 1985 [= ‘British Standards Institution’, similar abbreviations are to be found in the final bibliography]

Rossi 2008, 2, 2: 630 fn. 15 [= ‘volume’ 2, ‘tome’ 2: ‘page’ 630, ‘footnote’ 15]

If an edition or a translation of ancient, medieval or early modern texts is cited, at the first occurrence a unique topological reference is provided (e.g. book, chapter, paragraph; song, verse, verse, etc.) and declare the edition or translation used; in subsequent citations the univocal topological reference is sufficient. To indicate in an abbreviated form the edition or translation of similar texts, reference is made to the name of the publisher/translator, rather than that of the author.

For the citation of works of Greco-Roman antiquity, refer to the abbreviations contained in the dictionaries compiled by Henry George Liddell and Robert Scott (A Greek-English Lexicon. Oxford, 1996, http://stephanus.tlg.uci.edu /lsj/05-general_abbreviations.html) and by Luigi Castiglioni and Scevola Mariotti (Il vocabolario della lingua latina. Turin, 1966 and subsequent editions), italicizing the abbreviation relating to the title of the work.

Examples:

Hist.

Aen.

Mk 1,17 [= the Gospel according to Mark, chapter 1, line 17]

For the items of dictionaries and encyclopedias, the surname of the author of the form and the date of publication are indicated. Example: Rossi 2004, 7. To which in the final bibliography will correspond:

Rossi, M. (2004). s.v. “Bianchi, Antonio”. Enciclopedia degli autori italiani. http://www.enciclopediaautoriintaliani.org/articles/antonio-bianchi.

For manuscripts, the conservation institution and the fund are indicated in abbreviated form. Page numbers are not preceded by abbreviations; the column ones are instead introduced by ‘col./coll.’ and the paper ones by ‘c./cc.’, which is the abbreviation to be adopted if the paper sheet is bound; ‘fol./foll.’ is the abbreviation to be preferred if the sheet is loose. In the latter two cases whether the number of paper or sheet refers to the front and/or the reverse is also indicated. The use of the abbreviation ‘ms’, where superfluous, is omitted. Example: ASV, ASC, numerazione rossa, pratica 614, b. 4235, fasc. 3, cc. 2r-v, 3v [numerazione moderna]; ASV, ASC, b. 4235, s.p. [ma 44].

Final bibliography

Abbreviations relating to bibliographic entries are listed after the text of the article. The items are listed in alphabetical order and, for the same author, from the oldest to the most recent. Each bibliographic entry reports, in the language of the cited publication:

Extended surname of the author or editor. The author’s name must be pointed. Surname and Name must repeated at each occurrence.
Year of publication in round brackets.
Title and subtitle (separated by periods).
Total number of volumes; number of the single volume and its title, if one in particular is mentioned.
Publication data (place of publication only, without publisher), except for periodicals.
Page numbers (for articles in journals and essays in miscellany).
Series (optional).
The additions to the data available within the publication are indicated in square brackets.

Examples:

My Work. A Close Look

Our work

Our Work

The Thousand and One Nights

Translations

The work can be indexed by referring to the name of the Translator (especially in the case of classics) or, alternatively, to that of the Author, provided that the choice is consistent with the criteria adopted for the bibliographic abbreviations in the note.

Aeneid

My Work

Mon oeuvre

Opera in multiple volumes and essay in opera in multiple volumes

Essays on Art

Anthology of Mario Rossi's writings

History of Publishing

Digital Publishing

Edited book

L’opera di Giotto

Commentaires

Contribution in edited work

The title and subtitle of the contribution are shown in low brackets. After a point, the surname and name of the editor are indicated followed by '(edited by)' or similar expressions, and a comma; follows the title of the collection in italics.

The Gothic in the 19th Century

Online editions

For electronic publications, the DOI (to be preferred, if available) or the URL are used. The DOI codes, which can be deduced from the https://search.crossref.org/search/references site, are cited as: https://doi.org/10.xxxx/xxxxx.

My Work

Bernini in France

Edited Works and Essays = Conference Proceedings

Reviews

Smith, P. (2019). Review of My Work, by Black, J. Journal of Contemporary Art, 23(4), 24-7.

III. Captions

Follow these guidelines:

Title

IV. Figures

Send tiff files, in colour or in black and white, numbered in coherence with the captions, with a resolution of at least 300 ppi.

V. Checklist

Verify that the article:

indicates the author’s affiliation and email
is accompanied by bibliography, abstracts (in English), five or more keywords (in English), captions with indication of credits, and images in digital format
the file is made anonymous for the double-blind peer review.

For information and clarifications, please contact the Edizioni Ca’ Foscari editorial staff at ecf@unive.it.

Call for papers Venezia Arti 2025, vol. 34

Thematic call: Soglia / Threshold

and ALIA ITINERA miscellaneous section

In medieval art, the theme of the threshold, as the passage from one dimension to another, is crucial from a symbolic point of view and involves both spatiality and temporality (T. Bawden, Die Schwelle im Mittelalter, 2014). The definition that Christ gives of himself in the Gospel had great resonance in the realm of the sacred: “I am the door; if anyone enters through me, he will be saved” (Jn 10:9). Hence the high significance that Christianity attributes to the boundary between the human and the transcendent, between sin and salvation. Within the domain of representation, this message is conveyed both on a figurative level and in instances where lines of demarcation are drawn between the earthly world and the hereafter (P. Florenskij, Iconostasis, 1996). It is expressed also in architecture, as witnessed by the density of inscriptions and artistic expressions at the entrances to places of worship (M. Pastoureau, Tympans et portails romans, 2014) and, within them, between the space reserved for the faithful and the presbytery. The concept of the threshold is also linked to the temporal structuring of festivities, from the anxious anticipation on the eve to the celebration itself. A prime example of this can be found in the rite of baptism and the significance attributed to the spaces in which it takes place (R.M. Jensen, Living Water, 2011). These spaces are meticulously constructed and embellished with great creative effort, with multisensory mises-en-scène playing a pivotal role in the experience. The monumentalisation of entrances, rites of passage, and liminal zones exerts an influence on the secular world, manifesting in the form of urban infrastructure, such as city walls, as well as in the entrances to princely residences and military fortresses. Nor, on the other hand, would it be fair to separate the secular dimension from the religious one: suffice it to consider the fact that in Byzantium Iconoclasm began in 726 with the order - given by Leo III the Isauric - to remove the effigy of Christ on the Chalke, the gate of the imperial palace in Constantinople.

In the Early modern period until the Enlightenment, the European cultural universe has expanded and transformed beyond the borders of the Pillars of Hercules (F.A. Yates, Astrea. The Imperial Theme in the Sixteenth Century, 1975). The introduction of unprecedented objects, naturalia and mirabilia to the European continent, as evidenced by a prolonged process extending throughout the 17th century, significantly influenced the prevailing mentalities of the era, thereby facilitating new forms of experimentation and figurative elaboration. The dissemination of knowledge from unknown civilisations, as exemplified by renowned Jesuits such as the geographer, mathematician and cartographer Matteo Ricci of Macerata and later Athanasius Kircher, who pioneered a form of Egyptology, resulted in the generation of new ways of contamination and unprecedented cross-fertilisation at the intersection of the ‘imaginary’ and the ‘imagined’ East. The encounter with the ‘other’ thus becomes a crucial interpretative framework, imbued with political and propagandistic connotations, and alternative forms of knowledge that are articulated through diverse media (an example of this is the encounter/clash with the infidels of the faith, in a paradigm where the image of the Turk become a symbol of the evil, following the political instability of the Mediterranean region - see for example, Images in the Borderlands, eds I. Čapeta Rakić, G. Capriotti, 2022). In this sense, the concept of threshold can be considered as a flexible framework that can be applied at will when exploring the ‘history’ of a cultural product in the broadest sense, as the outcome of a process of double-edged correspondence between one civilisation and another. Early modern period is in itself a season in which crossing a threshold becomes crossing a limit, whether geographical or cultural and esthetical as well, towards a “new unexplored worlds”. This development was significantly furthered by the revolution that followed the scientific discoveries of Galileo (1564-1642). Once considered insurmountable and as a limit (be it for political, religious, philosophical or technological reasons), the threshold is transformed, metaphorically speaking, into a springboard towards the globalised world (T. Brook, Vermeer’s Hat. The Seventeenth Century and the Dawn of the Global World, 2006).

In more recent times, the out-of-frame device has prompted a heated debate in the arts, spanning from painting (V. Stoichita, A Short History of the Shadow, 1997) to cinema (A. Bazin, What is Cinema?, 1967; D. Morgan, The Lure of the Image, 2021). In the context of the ongoing development of virtual, immersive and interactive spaces, the distinction between image and reality is increasingly blurring (P. Conte, Unframing Aesthetics, 2020; A. Pinotti, Alla soglia dell'immagine, 2021). At the same time, the vanishing boundary between human contribution and generative development is the object of studies investigating the historical, aesthetical and ethical ramifications of artificial intelligence (R. Pedrazzi, Futuri possibili, 2021; M. Pasquinelli, The Eye of the Master, 2023; L. Manovich, E. Arielli, Artificial Aesthetics, 2024). In the context of the Cultural Cold War Studies, the concept of the threshold comes into play by questioning an alleged impenetrability of the Iron Curtain, whose points of contact are instead probed as generators of cultural, artistic and exhibition practices. Thresholds is the title of the exhibition hosted in the German pavilion at the Venice Art Biennale in 2024 as the debut, in the history of German participation, of a venue outside Giardini, in line with that ‘expanded format’ to multiple possibilities - physical or virtual - that characterises the format of Biennials on a global scale (C. Jones, The Global Work of Art, 2017). Finally, the concept of trespassing, in the sense of insisting on demarcation lines and on their political, social and cultural implications, is the object of artistic and curatorial practices that can be ascribed to the broader interdisciplinary field of the Border Studies.

As is now customary, the 2025 issue will also welcome a number of contributions outside the monographic theme, in the specific section Alia itinera.

CALL FOR ABSTRACTS:

Abstract of approx. 2000 characters (including spaces), in the language of the article, with a title proposal.

Only proposals from scholars holding a Ph.D may be considered.

ABSTRACT DEADLINES:

Abstracts deadline: 31 March 2025

Notification of accepted abstracts: 14 April 2025

CALL FOR SELECTED PAPERS:

Admissible length: between 30,000 and 40,000 characters, including spaces and footnotes (not included in the final count: abstract, captions, bibliography).

The essay must be written according to the editorial standards of the journal.

The essay must also include

-an abstract in English of approx. 1000 characters including spaces;

-5 keywords in English;

-a final, complete bibliography, written in alphabetical order according to Edizioni Ca' Foscari editorial standards;

-image captions including photo credits.

Illustrations: max 10 images, in Jpeg format, 300 dpi resolution, with specification of credits already paid or authorised.

Languages allowed: Italian, English, French.

DEADLINES FOR ARTICLES

Deadline for the final version: 31 August 2025

FOR FURTHER INFORMATION

Please contact venezia.arti@unive.it.

Go to the upload page

https://peerflow.edizionicafoscari.it/abstracts/form/journal/8/373

➦

DOAJ - Directory of Open Access Journals

ERIH PLUS - European Reference Index for the Humanities

Scopus

WorldCat

Ethical Code of Venezia Arti

Venezia Arti is a peer-reviewed scientific journal whose policy is inspired by the COPE (Committee on Publication Ethics) Ethical Code. See the Best Practice Guidelines for Journal Editors.

Publisher’s responsibilities

The Publisher must provide the Journal with adequate resources and the guidance of experts, in order to carry out its role in the most professional way, aiming at the highest quality standard.

The Publisher must have a written agreement that defines the relationship with the owner of the Journal and/or the Editor-in-Chief. The agreement must comply with the Code of Behavior for Publishers of Scientific Journals, as established by COPE.

The relationship among the Editor-in-Chief, the Advisory Board and the Publisher is based on the principle of publishing independence.

Editors’ responsibilities

The Editor-in-Chief and the Advisory Board of Venezia Arti alone are responsible for the decision to publish the articles submitted.

Submitted articles, after having been checked for plagiarism by means of the anti-plagiarism software Compilatio that is used by the University and is made available to us, will be sent to at least two reviewers. Final acceptance presumes the implementation of possible amendments, as required by the reviewers and under the supervision of the Venezia Arti Editor-in-Chief.

The Venezia Arti Editor-in-Chief and Advisory Board must evaluate each submitted paper in compliance with the Journalʼs policy, i.e. exclusively on the basis of its scientific content, without discrimination of race, sex, gender, creed, ethnic origin, citizenship, or the scientific, academic and political position of the Authors.

Allegations of misconduct

If the Venezia Arti Editor-in-Chief and Advisory Board notice (or receive notifications of) mistakes or inaccuracies, conflict of interest or plagiarism in a published article, they will immediately warn the Author and the Publisher and will undertake the necessary actions to resolve the issue. They will do their best to correct the published content whenever they are informed that it contains scientific errors or that the authors have committed unethical or illegal acts in connection with their published work. If necessary, they will withdraw the article or publish a recantation.

All complaints are handled in accordance with the guidelines published by the COPE.

Concerns and complaints must be addressed to the following e-mail ecf_support@unive.it. The letter should contain the following information:

complainant’s personal information;
title, author(s), publication date, DOI;
complaint(s);
declaration that the complainant has no conflict of interest, or declaration of an actual or potential conflict of interest.

Authors’ responsibilities

Stylesheet

Authors must follow the Guidelines for Authors to be downloaded from the Venezia Arti website.

No multiple submissions

Authors must explicitly state that their work is original in all its parts and that the submitted paper has not been previously published, nor submitted to other journals, until the entire evaluation process is completed. Since no paper gets published without significant revision, earlier dissemination in conference proceedings or working papers does not preclude consideration for publication, but Authors are expected to fully disclose publication/dissemination of the material in other closely related publications, so that the overlap can be evaluated by the Venezia Arti Editor-in-Chief.

Authorship

Authors are strongly encouraged to use their ORCID iD when submitting a manuscript. This will ensure the authors’ visibility and correct citation of their work.

Authorship must be correctly attributed; all those who have given a substantial contribution to the design, organisation and accomplishment of the research the article is based on, must be indicated as Co-Authors. Please ensure that: the order of the author names is correct; the names of all authors are present and correctly spelled, and that affiliations are up-to-date.

The respective roles of each co-author should be described in a footnote. The statement that all authors have approved the final version should be included in the disclosure.

Conflicts of interest and financing

Authors, under their own responsibility, must avoid any conflict of interest affecting the results obtained or the interpretations suggested. The Venezia Arti Editor-in-Chief will give serious and careful consideration to suggestions of cases in which, due to possible conflict of interest, an Author’s work should not be reviewed by a specific scholar. Authors should indicate any financing agency or the project the article stems from.

Quotations

Authors must see to it that all works consulted be properly quoted. If works or words of others are used, they have to be properly paraphrased or duly quoted. Quotations between “double quotes” (or «angled quotation marks» if the text is written in a language other than English) must reproduce the exact wording of the source; under their own responsibility, Authors should carefully refrain from disguising a restyling of the source’s wording, as though it was the original formulation.

Any form of excessive, inappropriate or unnecessary self-citation, as well as any other form of citation manipulation, are strongly discouraged.

Ethical Committee

Whenever required, the research protocols must be authorised in advance by the Ethical Committee of Ca’ Foscari University of Venice.

Emendations

When Authors find a mistake or an inaccuracy in their own article, they must immediately warn the Venezia Arti Editor-in-Chief, providing all the information needed to make the due adjustments.

Reviewers’ responsibilities

Goal

By means of the peer-review procedure, reviewers assist the Venezia Arti Editor-in-Chief and Advisory Board in taking decisions on the articles submitted. They are expected to offer the Authors suggestions as to possible adjustments aimed at improving their contribution submission.

Timing and conflicts of interest

If a reviewer does not feel up to the task of doing a given review, or if she/he is unable to read the work within the agreed schedule, she/he should notify the Venezia Arti Editor-in-Chief. Reviewers must not accept articles for which there is a conflict of interest due to previous contributions or to a competition with a disclosed author (or with an author they believe to have identified).

Confidentiality

The content of the reviewed work must be considered confidential and must not be used without explicit authorisation by the Author, who is to be contacted via the editor-in-chief. Any confidential information obtained during the peer review process should not be used for other purposes.

Collaborative attitude

Reviewers should see themselves not as adversaries but as advocates for the field. Any comment must be done in a collaborative way and from an objective point of view. Reviewers should clearly motivate their comments and keep in mind the Golden Rule of Reviewing: “Review for others as you would have others review for you”.

Plagiarism

Reviewers should report any similarity or overlapping of the work under analysis with other works known to them.

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Venezia Arti Journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice

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