Journal |
Venezia Arti
Monographic journal issue | 26 | 2017
The Artist’s Signature. Authorship, Self-Consciousness, Identity and Artistic Legacy
open access | peer reviewed
Keywords Genoa • Contemporary Art • Artists’ names • Modern painting • Angilbertus • Romanesque (France) • Photography • Art history • Bacchanal • Essay Film • Volvinus • Gothic Venetian Painting • Epigraphy • Toponym • Torre Astura • Requiescat in Pace Corradinus • Stories of Theodelinda • Found Footage • Annunciation • Byzantine epigraphy • Tiziano • Imperfect • 1968 • Jan van Eyck • Galleria La Salita • Literacy • Parma • Arnolfini • Happening • Medieval Epigraphy • Museo Storico Navale • Invention of the Artist • Memorial • 1972 • Permanence • Archive Footage • Soliani • Devotion • Duplication • Medieval Apulia • Lorenzo Veneziano • Paggi • Illusion • Medieval Artist • Samuel Beckett's Film • Self-staging • Cathedral at Monza • Byzantine artist • Parapet • Morganatic Marriage • Signature • Woodblocks • Authorship • Faciebat • Alighiero Boetti • Rebus • Written culture • Pino Pascali • Andri • Zavattari • Woodcut • Sanatorium • Golden Altar • Clinic • Intellectual • Museum display • Anonymity • Inscription • Art workshops • Edvard Munch • Iconology
Permalink http://doi.org/10.14277/2385-2720/VA-26-17 | Published Dec. 20, 2017 | Language it, en
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.
Introduction
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The ‘Signature’ in the Art
Authorship, Self-Awareness, Identity and Memory of Artists. Introduction - Dec. 20, 2017
Middle Ages
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Artists in North-Central Puglia Between the 11th and 13th Centuries
Artistic Production Between Style, Identity and Self-Awareness - Dec. 20, 2017
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The Artist's Signature in Romanesque France
Problems, Forms, Functions - Dec. 20, 2017
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«De Zavatarijs hanc ornavere capellam»
Historical Details on the Epigraph in the Teodolinda Chapel in the Light of the Restoration Work - Dec. 20, 2017
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Manifestations of Authorship
Artists’ signatures in Byzantium - Dec. 20, 2017
Modern Age
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Why Was Jan van Eyck here?
The Subject, Sitters, and Significance of The Arnolfini Marriage Portrait - Dec. 20, 2017
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Set in Stone
Signing Carlo Crivelli of Venice - Dec. 20, 2017
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Correggio, Anselmi and Rondani
Artist Signatures in the Parma Scuola - Dec. 20, 2017
- Light on Titian's ‘Hidden’ Signature
- Dec. 20, 2017
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Gio. Bapt. Paggius Genuensis F.
The Very Noble Science of Painting by Giovanni Battista Paggi - Dec. 20, 2017
- Signatures of Seventeenth-Century Woodcutters in the Wooden Matrices of the Galleria Estense in Modena
- Dec. 20, 2017
The Twentieth Century
- Edvard Munch’s Toponymic Codes
- Dec. 20, 2017
- Signing merci (Duchamp Against Himself)
- Dec. 20, 2017
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The Artist's Signature in the Context of the happening
Joseph Pascali fecit anno in Pino Pascali’s Requiescat in Pace Corradinus at the Subject Exhibition of the La Salita Gallery - Dec. 20, 2017
Collectanea
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Memories of a Film
Ross Lipman’s Notfilm - Dec. 20, 2017
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The Setting up of the Ancient Seat of the Naval History Museum of Venice
An Unpublished Photo Album - Dec. 20, 2017
