Edizioni Ca' Foscari

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Lingua: en, it

Pubblicato: 21 Dicembre 2021

Keywords

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

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.