Behind the Image, Beyond the Image

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Campo DC	Valore
dc.identifier	ECF_book_534
dc.creator	Argan Giovanni
dc.creator	Gigante Lorenzo
dc.creator	Kozachenko-Stravinsky Anastasia
dc.title	Behind the Image, Beyond the Image
dc.type	Miscellanea
dc.language.iso	en, it, ru
dc.description.abstract	The volume includes papers presented at the III International Conference of PhD students of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice and the State Institute for Art Studies of Moscow (Venice, 22-24 September 2021). The word ‘image’ derives from the Latin imago, a word that has many different meanings that go from ‘portrait’ to ‘ghost’, from ‘idea’ to ‘dream’, from ‘memory’ to ‘reflection’. We most commonly associate the word ‘image’ with a picture, but its etymology keeps reminding us of its infinite conceptual potential. In his famous book Behind the Image: The Art of Reading Paintings, Federico Zeri argues that there are infinite ways to observe the work of art as an image. But since the image is something that goes beyond its mere material and physical form and refers to the categories of perception and thought, the expression “beyond the image” encourages new formulations related to this polyvalent concept. The image, the imagination and the imaginable are the transversal categories that the papers collected in this volume aim to explore, inquiring the concept of image as a metaphor, a model, a method, a representation, a tool for a new understanding of reality.
dc.relation.ispartof	Quaderni di Venezia Arti
dc.identifier.doi	10.30687/978-88-6969-588-9
dc.publisher	Edizioni Ca’ Foscari - Venice University Press, Fondazione Università Ca’ Foscari
dc.issued	2022-05-13
dc.identifier.uri	http://edizionicafoscari.unive.it/it/edizioni4/libri/978-88-6969-589-6/
dc.identifier.eissn	2784-8868
dc.identifier.isbn
dc.identifier.eisbn	978-88-6969-588-9
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	no
dc.subject	1962
dc.subject	Activation
dc.subject	Aesthetics
dc.subject	Allison Stewart
dc.subject	Animals
dc.subject	Architecture
dc.subject	Architecture exhibition
dc.subject	Architecture representation
dc.subject	Architecture theory
dc.subject	Art and power
dc.subject	Art criticism
dc.subject	Art in public space
dc.subject	Art in public space
dc.subject	Art market
dc.subject	Banksy
dc.subject	Baroque
dc.subject	Black Lives Matter
dc.subject	Bologna
dc.subject	Boris Asafyev
dc.subject	Boris Godunov
dc.subject	Burov
dc.subject	Chinese Contemporary art
dc.subject	Christiane Jatahy
dc.subject	Cinema
dc.subject	City of 20th century
dc.subject	Collecting in Rome
dc.subject	Constructivism
dc.subject	Contemporary art
dc.subject	Cultural tradition
dc.subject	Curatorial studies
dc.subject	Dionysus
dc.subject	Diplomatic gift
dc.subject	Drawing
dc.subject	Drawing
dc.subject	Ecclesiology
dc.subject	Engagement
dc.subject	Entropy
dc.subject	Epidemic
dc.subject	Epiphany
dc.subject	European art
dc.subject	Exhibitions
dc.subject	Exhibition set up
dc.subject	Exhibition studies
dc.subject	Fifteenth century
dc.subject	France
dc.subject	Franciscanism
dc.subject	Giorgio Vasari
dc.subject	Giovanni Baglione
dc.subject	Grand Tour
dc.subject	Hagiography
dc.subject	Hagiography
dc.subject	Heidegger
dc.subject	Historiography
dc.subject	History of collections
dc.subject	Holy fool
dc.subject	Hudinilson Jr
dc.subject	Iconoclasm
dc.subject	Iconology
dc.subject	Iconotext
dc.subject	Igor Stravinsky
dc.subject	Image
dc.subject	Image
dc.subject	Image theory
dc.subject	Informal art
dc.subject	Intermediality
dc.subject	Italian postwar art
dc.subject	Italy
dc.subject	Jacopo Ligozzi
dc.subject	JR
dc.subject	Kant
dc.subject	Katie Mitchell
dc.subject	Khovanshchina
dc.subject	Khrushchev’s Thaw
dc.subject	Know thyself
dc.subject	Land Art
dc.subject	Landscape
dc.subject	La Scala
dc.subject	Liu Yonggang
dc.subject	Lombardy
dc.subject	Madonna del Fuoco
dc.subject	Mary Tibaldi Chiesa
dc.subject	Masculinity
dc.subject	Media
dc.subject	Memory
dc.subject	Memory
dc.subject	Miraculous images
dc.subject	Mirror
dc.subject	Miss Julie
dc.subject	Modest Musorgsky
dc.subject	Monuments
dc.subject	Morazzone
dc.subject	Moscow Olympic Games
dc.subject	Multidisciplinary
dc.subject	Music
dc.subject	Myth
dc.subject	Myth
dc.subject	Narcissus
dc.subject	National identity
dc.subject	Nikolay Rimsky-Korsakov
dc.subject	Oil sketches
dc.subject	Painting of souvenirs
dc.subject	Paintings
dc.subject	Participation
dc.subject	Pavel Lamm
dc.subject	Performative Languages
dc.subject	Philosophy
dc.subject	Photographic display
dc.subject	Photography in public space
dc.subject	Pimenov
dc.subject	Plato
dc.subject	Politics
dc.subject	Pseudomorphosis
dc.subject	Re-iconocity of characters
dc.subject	Religious metaphor
dc.subject	Response
dc.subject	Return to USSR
dc.subject	Ri-mediation
dc.subject	Robert Craft
dc.subject	Robert Smithson
dc.subject	Rome
dc.subject	Russian European
dc.subject	Russian opera
dc.subject	Russian opera in Italy
dc.subject	Saint Sebastian
dc.subject	Sam Durant
dc.subject	Screen
dc.subject	Sculpture
dc.subject	Sedimentation
dc.subject	Self-image
dc.subject	Seventeenth century
dc.subject	Site-specific
dc.subject	Situation
dc.subject	Sketch
dc.subject	Small-sized paintings
dc.subject	Socially engaged art
dc.subject	Society of Easel Painters
dc.subject	Soviet animation
dc.subject	Soviet art theory
dc.subject	Soviet caricatures
dc.subject	Soviet criticism
dc.subject	Sport
dc.subject	Sport animation
dc.subject	Stage
dc.subject	Steve McQueen
dc.subject	Theatre
dc.subject	The image of sport
dc.subject	Theology
dc.subject	Time
dc.subject	Toppled Monuments Archive
dc.subject	Violin
dc.subject	Visual
dc.subject	Visual Culture Studies
dc.subject	Vittorio Gui
dc.subject	Woodcut
dc.subject	Word-picture relationship
dc.subject	Xenia Stravinsky
dc.subject	Xerox Actions
dc.subject	Zeitbild
dc.subject	刘永刚
dc.subject	当代艺术

Miscellanea
open access

a cura di

Giovanni Argan Università Ca’ Foscari Venezia, Italia

Lorenzo Gigante Università Ca’ Foscari Venezia, Italia

Anastasia Kozachenko-Stravinsky Università Ca’ Foscari Venezia, Italia

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abstract

The volume includes papers presented at the III International Conference of PhD students of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice and the State Institute for Art Studies of Moscow (Venice, 22-24 September 2021). The word ‘image’ derives from the Latin imago, a word that has many different meanings that go from ‘portrait’ to ‘ghost’, from ‘idea’ to ‘dream’, from ‘memory’ to ‘reflection’. We most commonly associate the word ‘image’ with a picture, but its etymology keeps reminding us of its infinite conceptual potential. In his famous book Behind the Image: The Art of Reading Paintings, Federico Zeri argues that there are infinite ways to observe the work of art as an image. But since the image is something that goes beyond its mere material and physical form and refers to the categories of perception and thought, the expression “beyond the image” encourages new formulations related to this polyvalent concept. The image, the imagination and the imaginable are the transversal categories that the papers collected in this volume aim to explore, inquiring the concept of image as a metaphor, a model, a method, a representation, a tool for a new understanding of reality.

Pubblicato

13 Maggio 2022

Lingua

EN, IT, RU

ISBN (EBOOK)

978-88-6969-588-9

Keywords

Politics • Sculpture • Art in public space • Holy fool • Russian European • Masculinity • Heidegger • JR • Boris Asafyev • Epidemic • Exhibition set up • Multidisciplinary • Kant • Ri-mediation • Woodcut • Sport • Photographic display • Vittorio Gui • 刘永刚 • City of 20th century • Modest Musorgsky • Franciscanism • European art • Image • Ecclesiology • Activation • Banksy • Grand Tour • Epiphany • Boris Godunov • Art market • Pimenov • Robert Smithson • Return to USSR • Iconoclasm • Igor Stravinsky • Participation • Cinema • Music • National identity • Nikolay Rimsky-Korsakov • Dionysus • Miraculous images • Architecture exhibition • Time • Chinese Contemporary art • History of collections • Bologna • Allison Stewart • Sam Durant • Socially engaged art • Situation • Black Lives Matter • Giorgio Vasari • Soviet art theory • Response • Collecting in Rome • Fifteenth century • Media • Exhibitions • Xerox Actions • Historiography • Cultural tradition • Screen • Steve McQueen • Oil sketches • Constructivism • Landscape • 1962 • Plato • Toppled Monuments Archive • Painting of souvenirs • Land Art • Small-sized paintings • Photography in public space • Soviet animation • Zeitbild • Exhibition studies • Morazzone • Sedimentation • Architecture • Informal art • Italian postwar art • Know thyself • Sketch • Visual Culture Studies • Engagement • Paintings • Violin • Sport animation • La Scala • Self-image • Moscow Olympic Games • Seventeenth century • Curatorial studies • Theology • Mary Tibaldi Chiesa • Hudinilson Jr • Russian opera in Italy • Lombardy • France • Soviet caricatures • Word-picture relationship • Contemporary art • Pavel Lamm • Theatre • Entropy • Christiane Jatahy • Narcissus • Katie Mitchell • Site-specific • Rome • Pseudomorphosis • Burov • Memory • Re-iconocity of characters • Saint Sebastian • Religious metaphor • Liu Yonggang • 当代艺术 • Diplomatic gift • Iconology • Xenia Stravinsky • Drawing • Italy • Visual • Society of Easel Painters • Art and power • The image of sport • Khrushchev’s Thaw • Robert Craft • Madonna del Fuoco • Intermediality • Myth • Stage • Miss Julie • Architecture representation • Russian opera • Iconotext • Image theory • Animals • Khovanshchina • Baroque • Jacopo Ligozzi • Giovanni Baglione • Performative Languages • Philosophy • Mirror • Aesthetics • Architecture theory • Monuments • Soviet criticism • Art criticism • Hagiography

permalink http://doi.org/10.30687/978-88-6969-588-9

Copyright: © 2022 Giovanni Argan, Lorenzo Gigante, Anastasia Kozachenko-Stravinsky. 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.