Behind the Image, Beyond the Image
open access
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edited by
- Giovanni Argan - Università Ca’ Foscari Venezia, Italia - email
- Lorenzo Gigante - Università Ca’ Foscari Venezia, Italia - email
- Anastasia Kozachenko-Stravinsky - Università Ca’ Foscari Venezia, Italia - email
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.
Keywords Modest Musorgsky • Art market • Violin • Response • Epiphany • Sedimentation • Society of Easel Painters • European art • Informal art • Madonna del Fuoco • Narcissus • Myth • Iconology • Pavel Lamm • Art criticism • Religious metaphor • Site-specific • Boris Asafyev • National identity • Kant • Participation • Sport • Monuments • Landscape • Russian European • Intermediality • 当代艺术 • Image • Constructivism • Moscow Olympic Games • Christiane Jatahy • Jacopo Ligozzi • Toppled Monuments Archive • Multidisciplinary • Art in public space • Mary Tibaldi Chiesa • Seventeenth century • Lombardy • Time • Woodcut • Mirror • Engagement • Khrushchev’s Thaw • Politics • Liu Yonggang • Self-image • Katie Mitchell • Pseudomorphosis • Aesthetics • Rome • Diplomatic gift • 刘永刚 • Return to USSR • Paintings • Drawing • Screen • Memory • Pimenov • Baroque • Entropy • Miss Julie • Painting of souvenirs • Soviet criticism • Theatre • Exhibition studies • Oil sketches • France • Ri-mediation • Iconotext • History of collections • Activation • Historiography • Exhibition set up • Italian postwar art • La Scala • Music • Epidemic • Animals • Heidegger • Zeitbild • City of 20th century • Visual • 1962 • Media • Holy fool • Hudinilson Jr • Russian opera in Italy • Allison Stewart • Contemporary art • Photographic display • Khovanshchina • Soviet caricatures • Chinese Contemporary art • Socially engaged art • Grand Tour • Hagiography • Vittorio Gui • Ecclesiology • Theology • Robert Craft • Italy • Small-sized paintings • Land Art • Miraculous images • Architecture • Sport animation • Black Lives Matter • Sculpture • Image theory • Exhibitions • Giovanni Baglione • Fifteenth century • Iconoclasm • Boris Godunov • Igor Stravinsky • Xenia Stravinsky • Know thyself • Franciscanism • Soviet animation • Steve McQueen • Masculinity • Architecture representation • Architecture theory • Curatorial studies • Architecture exhibition • Xerox Actions • Giorgio Vasari • Robert Smithson • Cinema • Nikolay Rimsky-Korsakov • Performative Languages • Photography in public space • Bologna • Philosophy • Collecting in Rome • Visual Culture Studies • Russian opera • Situation • Cultural tradition • Dionysus • Art and power • Stage • Re-iconocity of characters • JR • Banksy • Morazzone • Burov • Plato • Saint Sebastian • The image of sport • Soviet art theory • Word-picture relationship • Sam Durant • Sketch
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language it, en, ru
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.