Edizioni Ca' Foscari

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Lingua: en, it

Pubblicato: 21 Dicembre 2021

Keywords

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

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.