Edizioni Ca' Foscari

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Lingua: it, en

Pubblicato: 21 Dicembre 2021

Keywords

Gradenigo, Pietro • Muletti, Sebastiano • Punctum/studium • Contemporary art • Paintings collecting • History of collecting • Guardi, Antonio • Programmed art • Ottoman Sultans • Museum Studies • Diana and Callisto • Copyright law • Open work • Fake • Italian art literature • Visual semiotics • Theory • Copy • Postmodern dance • Multiples • Collective work • Medici’s dynasty • Score • Geometric dance • Paolo Giovio • ‘Second original’ • Theory of art • Originals/Copies • Seriality • Copying • Hamburger Faksimile-Streit • Rubens • Alexander Dorner • Eighteenth century • Originality • Letters • Performance • Dance • Farsetti, Daniele • Race • Re-enactment • Details • Weimar Art Theory • Painting • Museum • Reconstruction • Filippo Baldinucci • Ovid’s Metamorphoses • Photography • Farsetti Collection • Portraits • Titian • Contemporary dance • Copy/original • Ephemerality • Aura • Art copies • Original • Venice • Collecting • Daniel Arasse

permalink http://doi.org/10.30687/VA/2385-2720/2021/07

Copyright: © 2021 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.