Venezia Arti Journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice
open access | peer reviewed
Aims & Scope
Venezia Arti is a journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice. It was founded in 1987 by Wladimiro Dorigo and Giuseppe Mazzariol; in 2019 it started a new series, until 2023 directed by Silvia Burini and Giovanni Maria Fara and currently by Matteo Bertelé, Angelo Maria Monaco and Simone Piazza. The journal is open to scholars from all fields of the arts and encourages an interdisciplinary and international outlook, aimed at critically documenting events and problems in artistic culture from the Middle Ages to the present day. The journal is annual, subject to double-blind peer review, recognised as a scientific journal for the areas 08 (Architecture) and 10 (Sciences of Antiquity, Philological-Literary and Historical-Artistic Sciences) by the National Agency for the Evaluation of the University System and Research (ANVUR), and indexed in Scopus. Since 2014 it has been produced in digital format (open access) by Edizioni Ca’ Foscari. It features thematic calls with a miscellaneous section.
Permalink http://doi.org/10.30687/VA/2385-2720 | e-ISSN 2385-2720 | Periodicity annual | Language en, fr, it
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.
Latest published issue
- 33 | 2024
- Cross-Pollination: Art, Contamination and Hybridisation from the Middle Ages to the Present
- Dec. 9, 2024
- 0 download 6 search
- Editoriale
- Dec. 18, 2024 | 33 | 2024
- 0 download 8 search
- Le cupole più antiche d’Italia s’osservano piane
- Stefano Pierguidi
- Dec. 10, 2024 | 33 | 2024
- 4 download 18 search
- Charting Knowledge: The Situationist Times at the Crossroads of Situationism, Publishing, and Topology
- Simone Rossi, Camilla Salvaneschi
- Dec. 10, 2024 | 33 | 2024
- 1 download 14 search
- Learning from “The East”: Mark Tobey’s “White Writing” and the Shaping of American Abstract Expressionism
- Phyllis Zhong
- Dec. 10, 2024 | 33 | 2024
- 8 download 34 search
- Lo scardinamento dei ruoli e dello stereotipo sociale nella ricerca del Collettivo Donne Fotoreporter di Milano alla fine degli anni Settanta
- Irene Boyer, Valentina Rossi
- Dec. 10, 2024 | 33 | 2024
- 3 download 17 search
- Intorno a Cabiria di Giovanni Pastrone: su Sofonisba come figura di coalescenza
- Viviana Triscari
- Dec. 10, 2024 | 33 | 2024
- 0 download 8 search
- Dall’imago clipeata alla Theotokos Platytera
- Michele Celentano
- Dec. 9, 2024 | 33 | 2024
- 3 download 12 search
- Fine Technology Dialogue Across the Eastern Mediterranean in Giovanni Fontana's Bellicorum Instrumentorum Liber
- Adriana De Miranda
- Dec. 9, 2024 | 33 | 2024
- 4 download 16 search
- La linea d’acqua: sulla stamperia Pasquali come laboratorio d’incisione di Canaletto e Visentini
- Camilla Pietrabissa
- Dec. 9, 2024 | 33 | 2024
- 1 download 9 search
- La libertà del dilettante
- Giulia Cocconi
- Dec. 9, 2024 | 33 | 2024
- 3 download 9 search
- Interscambi e circolarità di modelli: il caso delle pitture rupestri tardomedievali nel santuario micaelico alle Grottelle di Padula
- Eleonora Chinappi
- Dec. 9, 2024 | 33 | 2024
- 14 download 74 search
- The Visual Afterlife of les gueules cassées: Artistic Reception from the Interbellum to documenta 13
- Alexandra Timonina
- Dec. 20, 2023 | 32 | 2023
- 14 download 77 search
- Transformation as an Artistic Strategy in the Work of the Artist Anwar Saeed
- Simone Wille
- Dec. 20, 2023 | 32 | 2023
- 17 download 47 search
- «Nudi trasfigurati da una strana metamorfosi»
- Emanuele Greco
- Dec. 20, 2023 | 32 | 2023
- 36 download 94 search
- The Beast Within, the Beast Without
- Francesca Borgo
- Dec. 20, 2023 | 32 | 2023
- 21 download 87 search
- Percorsi metamorfici della natura nel Cinquecento
- Emanuela Ferretti
- Dec. 20, 2023 | 32 | 2023
- 24 download 81 search
- Identità in (tras)formazione: Marina il monaco, ovvero storia di una Santa ‘mascherata’ e del suo culto a Venezia tra Medioevo ed Età Moderna
- Giulia Anna Bianca Bordi
- Dec. 20, 2023 | 32 | 2023
- 16 download 68 search
- From Triton Neptvni Tubicen to the Glory of Lepanto
- Laris Borić
- Dec. 20, 2023 | 32 | 2023
- 18 download 76 search
- Raccontare il miracolo italiano nel 1994. The Italian Metamorphosis 1943-1968
- Silvia Maria Sara Cammarata
- Dec. 20, 2023 | 32 | 2023
- 46 download 96 search
- Mostruose metamorfosi: sull’ibridazione iconografica del basilisco
- Valentina Borniotto
- Dec. 20, 2023 | 32 | 2023
- 14 download 94 search
- Gore ot uma di Olga Tobreluts: la metamorfosi di un classico
- Maria Redaelli
- Dec. 20, 2023 | 32 | 2023
- 27 download 105 search
- Architettura e frammentismo, o lo stile tardo di Giuliano da Sangallo
- Dario Donetti
- Dec. 20, 2022 | 31 | 2022
- 17 download 111 search
- Il lungo Cinquecento nelle volte dell’aristocrazia
- Francesca Casamassima
- Dec. 20, 2022 | 31 | 2022
- 33 download 123 search
- «Chi si aspetterebbe un Pordenone a Gallipoli?»
- Floriana Conte
- Dec. 20, 2022 | 31 | 2022
- 26 download 88 search
- A Matter of Attitude
- Sabine Peinelt-Schmidt
- Dec. 20, 2022 | 31 | 2022
- 18 download 105 search
- Altersstil novecentesco di Ettore Tito
- Anna Mazzanti
- Dec. 20, 2022 | 31 | 2022
- 39 download 116 search
- «Signori, la festa è finita». Le ‘ultime’ opere di Maurizio Cattelan tra continuità e citazione
- Giulia Zompa
- Dec. 20, 2022 | 31 | 2022
- 24 download 63 search
- Editoriale
- Silvia Burini, Giovanni Maria Fara
- Dec. 20, 2022 | 31 | 2022
- 15 download 93 search
- William Congdon e Fred Licht
- Giuseppe Barbieri
- Dec. 20, 2022 | 31 | 2022
- 29 download 241 search
- Antonio Guardi’s “copies-works of art”
- Chiara Bombardini
- Dec. 21, 2021 | 30 | 2021
- 60 download 311 search
- Between Originals and Copies: Notes on Ottoman Portraits from the Giovio Collection
- Ilenia Pittui
- Dec. 21, 2021 | 30 | 2021
- 31 download 108 search
- Editorial
- Silvia Burini, Giovanni Maria Fara
- Dec. 21, 2021 | 30 | 2021
- 25 download 168 search
- From the Copy to the Fake to the ‘Second Original’
- Laura Lombardi
- Dec. 21, 2021 | 30 | 2021
- 37 download 231 search
- Multiplied Works, Open Work
- Marta Previti
- Dec. 21, 2021 | 30 | 2021
- 44 download 225 search
- Originals and copies in the Letter of Filippo Baldinucci to Vincenzo Capponi
- Elena Fumagalli
- Dec. 21, 2021 | 30 | 2021
- 28 download 205 search
- The Figure of the Collector Daniele Farsetti in the Letters
- Ilaria Serati
- Dec. 21, 2021 | 30 | 2021
- 43 download 223 search
- Titian and Callisto’s Double Metamorphosis
- Alessandro Rossi
- Dec. 21, 2021 | 30 | 2021
- 27 download 251 search
- Fake or Fortune? Alexander Dorner and the Weimar Reproductions Debate
- Camilla Balbi
- Dec. 21, 2021 | 30 | 2021
- 39 download 277 search
- The Original – ‘Again’
- Margarita Delcheva
- Dec. 21, 2021 | 30 | 2021
- 58 download 255 search
- Recreated Subjects, Reconstructed Copies: Considerations on the Photographic Process
- Grischka Petri
- Dec. 21, 2021 | 30 | 2021
- 29 download 270 search
- Border hacking: An Artistic Conversion of Transnational Borders into the Society of Networks
- Paolo Berti
- Dec. 11, 2020 | 29 | 2020
- 87 download 497 search
- Aesthetics of Infection: From Cyborg to Theriomorph
- Roberto Marchesini, Karin Andersen
- Dec. 11, 2020 | 29 | 2020
- 74 download 403 search
- Books and Prints by the Manfrin House in Venice between the Eighteenth and Nineteenth Centuries. First Considerations
- Linda Borean
- Dec. 11, 2020 | 29 | 2020
- 69 download 339 search
- Computer Art in Italy in the 1980s
- Paola Lagonigro
- Dec. 11, 2020 | 29 | 2020
- 52 download 401 search
- Cornelis De Bie, the Gulden Cabinet and Still Life Painting and Genre Painting in Italy
- Luca Fiorentino
- Dec. 11, 2020 | 29 | 2020
- 38 download 208 search
- Editorial
- Silvia Burini, Giovanni Maria Fara
- Dec. 11, 2020 | 29 | 2020
- 27 download 229 search
- Out-of-Frame Figures
- Sarah Munoz
- Dec. 11, 2020 | 29 | 2020
- 50 download 342 search
- Pastel Painting in European in the Eighteenth Century between Scientific Knowledge and Artistic Practice
- Alice Ottazzi
- Dec. 11, 2020 | 29 | 2020
- 21 download 178 search
- The Diagram on Stage
- Catherine Paoletti
- Dec. 11, 2020 | 29 | 2020
- 27 download 94 search
- The Gelati Academy, the Gessi Family and Edgar Allan Poe
- Andrea Gardi
- Dec. 11, 2020 | 29 | 2020
- 52 download 347 search
- Mikhail Larionov’s Rayonism and the Scientific Mythologies of the Late Nineteenth and Early Twentieth Century
- Ekaterina Bobrinskaya
- Dec. 11, 2020 | 29 | 2020
- 38 download 213 search
- Poussin and Optics: Reflections on the Lake in “a Calm”
- Janis Bell
- Dec. 11, 2020 | 29 | 2020
- 80 download 458 search
- From Vitruvius to the Science Of Drawing
- Filippo Camerota
- Dec. 11, 2020 | 29 | 2020
- 162 download 478 search
- Biopolitical Horizons in the Performative Actions of Marina Abramović and Regina José Galindo
- Matteo Valentini
- Dec. 11, 2019 | 28 | 2019
- 51 download 289 search
- Circulation of Models: Casts from Michelangelo Between Emilia and Veneto, in the Second Half of the Sixteenth Century
- Elisabetta Fadda
- Dec. 11, 2019 | 28 | 2019
- 20 download 160 search
- Editorial
- Silvia Burini, Giovanni Maria Fara
- Dec. 11, 2019 | 28 | 2019
- 41 download 283 search
- From Correggio to Pordenone
- Caterina Furlan
- Dec. 11, 2019 | 28 | 2019
- 33 download 289 search
- Marcantonio Magno’s Emblem: New Considerations
- Mino Gabriele
- Dec. 11, 2019 | 28 | 2019
- 75 download 418 search
- Salvador Dalí, the Hybrid Portraits of the 1920s
- Elide Pittarello
- Dec. 11, 2019 | 28 | 2019
- 31 download 339 search
- The Eclipses of a Star: Anna Moffo Between Opera, Cinema, Television
- Paologiovanni Maione
- Dec. 11, 2019 | 28 | 2019
- 143 download 545 search
- The Female Body in the Artistic Research of the Late Twentieth Century
- Arianna Fantuzzi
- Dec. 11, 2019 | 28 | 2019
- 76 download 348 search
- The Representation of Holiness Between Realism and Devotion in the Polyptych of Montefiore dell’Aso by Carlo Crivelli
- Francesco De Carolis
- Dec. 11, 2019 | 28 | 2019
- 23 download 234 search
- The Second Skin
- Maria Ida Biggi
- Dec. 11, 2019 | 28 | 2019
- 23 download 199 search
- Remaking the Body Politic Anew through Mob and Gang
- David A.J. Murrieta Flores
- Dec. 11, 2019 | 28 | 2019
- 76 download 262 search
- Re-visioning St. Sebastian: Nicoletto da Modena’s Reworked Engravings of St. Sebastian
- Bryony Bartlett-Rawlings
- Dec. 11, 2019 | 28 | 2019
- 66 download 364 search
- The Electric Body
- Nicoletta Misler
- Dec. 11, 2019 | 28 | 2019
- 39 download 363 search
- A Lucky metaphor by Cesare Brandi: The "Crystal Churches" of the Armenians
- Marco Ruffilli
- Dec. 13, 2018 | 27 | 2018
- 34 download 359 search
- The Archaeological and Ethnographic Description of Greater Armenia by the Mkhitarist Fathers of Venice Between Hellenophile and Armenophilia
- Benedetta Contin
- Dec. 13, 2018 | 27 | 2018
- 53 download 357 search
- Krikor (Grigor) Balakian’s Ruins of Ani
- Christina Maranci
- Dec. 13, 2018 | 27 | 2018
- 35 download 369 search
- For Beauty, Nation and God
- Alžběta Filipová
- Dec. 13, 2018 | 27 | 2018
- 79 download 528 search
- Armenian Art and Culture from the Pages of the Historia Imperii Mediterranei
- Stefano Riccioni
- Dec. 13, 2018 | 27 | 2018
- 35 download 342 search
- “The Heritage of Ancestors”
- Gohar Grigoryan Savary
- Dec. 13, 2018 | 27 | 2018
- 34 download 296 search
- From Russia with Love
- Ivan Foletti, Pavel Rakitin
- Dec. 13, 2018 | 27 | 2018
- 26 download 283 search
- Illuminating an Armenian Collection of Manuscripts
- Cecilia Riva
- Dec. 13, 2018 | 27 | 2018
- 26 download 469 search
- Inventing, Transforming and Discovering Southern Caucasus
- Ivan Foletti, Stefano Riccioni
- Dec. 13, 2018 | 27 | 2018
- 59 download 469 search
- Alighiero & Boetti: About the Signature as Identity and Duplication
- Stefania Portinari
- Dec. 20, 2017 | 26 | 2017
- 36 download 314 search
- Artists in North-Central Puglia Between the 11th and 13th Centuries
- Marida Pierno
- Dec. 20, 2017 | 26 | 2017
- 40 download 370 search
- Correggio, Anselmi and Rondani
- Elisabetta Fadda
- Dec. 20, 2017 | 26 | 2017
- 20 download 283 search
- For a Project on the Signed Paintings of Venice in the Gothic and Late Gothic Periods
- Stefano Riccioni
- Dec. 20, 2017 | 26 | 2017
- 39 download 389 search
- Light on Titian's ‘Hidden’ Signature
- Marco Tagliapietra
- Dec. 20, 2017 | 26 | 2017
- 12 download 472 search
- Memories of a Film
- Martina Zanco
- Dec. 20, 2017 | 26 | 2017
- 28 download 263 search
- Signatures of Seventeenth-Century Woodcutters in the Wooden Matrices of the Galleria Estense in Modena
- Chiara Travisonni
- Dec. 20, 2017 | 26 | 2017
- 21 download 272 search
- Signing merci (Duchamp Against Himself)
- Nico Stringa
- Dec. 20, 2017 | 26 | 2017
- 36 download 398 search
- The Artist's Signature in Romanesque France
- Emilie Mineo
- Dec. 20, 2017 | 26 | 2017
- 45 download 544 search
- The Artist's Signature in the Context of the happening
- Martina Rossi
- Dec. 20, 2017 | 26 | 2017
- 58 download 546 search
- The Artist's Signature, the Vasari Myths and Wolvinus magister phaber
- Ivan Foletti
- Dec. 20, 2017 | 26 | 2017
- 19 download 270 search
- The Setting up of the Ancient Seat of the Naval History Museum of Venice
- Silvia Peressutti
- Dec. 20, 2017 | 26 | 2017
- 68 download 393 search
- The ‘Signature’ in the Art
- Stefano Riccioni, Giovanni Maria Fara, Nico Stringa
- Dec. 20, 2017 | 26 | 2017
- 36 download 321 search
- Edvard Munch’s Toponymic Codes
- Patricia G. Berman
- Dec. 20, 2017 | 26 | 2017
- 23 download 292 search
- Gio. Bapt. Paggius Genuensis F.
- Valentina Frascarolo
- Dec. 20, 2017 | 26 | 2017
- 37 download 324 search
- Set in Stone
- Amanda Hilliam
- Dec. 20, 2017 | 26 | 2017
- 38 download 298 search
- Manifestations of Authorship
- Maria Lidova
- Dec. 20, 2017 | 26 | 2017
- 491 download 1588 search
- Why Was Jan van Eyck here?
- Benjamin Binstock
- Dec. 20, 2017 | 26 | 2017
- 15 download 284 search
- «De Zavatarijs hanc ornavere capellam»
- Roberta Delmoro, Anna Lucchini
- Dec. 20, 2017 | 26 | 2017
- 37 download 499 search
- A Memory of Alberto Prandi Always Alive
- Sergio Marinelli
- Dec. 20, 2016 | 25 | 2016
- 40 download 437 search
- About the Edition of the Lettere sopra la pittura grottesca by Pirro Ligorio
- Damiano Acciarino
- Dec. 20, 2016 | 25 | 2016
- 13 download 269 search
- Art and What Remains Out of It
- Michael Lüthy, Bernard Schieder
- Dec. 20, 2016 | 25 | 2016
- 14 download 255 search
- Art as a Gesture: Singular and Shared
- Daniele Goldoni
- Dec. 20, 2016 | 25 | 2016
- 69 download 599 search
- Custodians: From Curators to Guardians
- Chiara Piva
- Dec. 20, 2016 | 25 | 2016
- 10 download 260 search
- Editorial
- Carmelo Alberti, Michela Agazzi
- Dec. 20, 2016 | 25 | 2016
- 77 download 427 search
- For a History of Fashion
- Giorgio Riello
- Dec. 20, 2016 | 25 | 2016
- 9 download 233 search
- Opera Overture and Directorial Commentary: An (un)Happy Abuse?
- Fabio Dal Corobbo
- Dec. 20, 2016 | 25 | 2016
- 12 download 283 search
- Photography, a Matrix for two Exhibitions
- Margherita Naim
- Dec. 20, 2016 | 25 | 2016
- 22 download 312 search
- Reuse of Roman Steles in the Jewish Cemetery of the Lido of Venice
- Licia Fabbiani
- Dec. 20, 2016 | 25 | 2016
- 34 download 404 search
- The Fine Arts and Monuments Office of the Superintendency of Trieste (1920-1925)
- Beatrice Marangoni
- Dec. 20, 2016 | 25 | 2016
- 18 download 241 search
- The Thresholds and Guardians of the Arts
- Roberta Dreon, Diego Mantoan
- Dec. 20, 2016 | 25 | 2016
- 47 download 417 search
- «Stupido Guardi!»
- Federica Veratelli, Giulio Zavatta
- Dec. 20, 2016 | 25 | 2016
- 61 download 394 search
- Arthur Danto and the Political Re-Enfranchisement of Art
- Noël Carroll
- Dec. 20, 2016 | 25 | 2016
- 24 download 338 search
- Gli intermediari nell’arte contemporanea
- Nathalie Heinich
- Dec. 20, 2016 | 25 | 2016
- 10 download 314 search
- A Rusty Issue; or, the Strange Case of a Victorian Crane in Venice
- Patrizia Pierazzo
- Dec. 20, 2016 | 25 | 2016
- 31 download 333 search
- A Different Caucasus
- Karina Solovyova, Inessa Kouteinikova
- Dec. 20, 2016 | 25 | 2016
- 72 download 465 search
- Borders and Border Crossing Between Art Worlds
- Diego Mantoan
- Dec. 20, 2016 | 25 | 2016
- 73 download 455 search
- The Artist-entrepreneur Acting as a Gatekeeper in the Realm of Art
- Monica Calcagno, Lisa Balzarin
- Dec. 20, 2016 | 25 | 2016
- 28 download 789 search
- 1 + 1 = 1. The Door-Landscape of Nostalghia in Some Tarkovskian Objects
- Fabrizio Borin
- June 15, 2014 | 24 | 2014
- 30 download 565 search
- A Rare Constantinopolitan Sculpture from the Paleological era in Murano
- Claudia Barsanti
- June 15, 2014 | 24 | 2014
- 38 download 344 search
- An Early View of the Grand Canal
- Marina Magrini
- June 15, 2014 | 24 | 2014
- 77 download 721 search
- Biennale 1958: The Golden Lion to Marc Tobey and the Consecration of American-Style Art
- Chiara Di Stefano
- June 15, 2014 | 24 | 2014
- 19 download 394 search
- On the Use of the Harp in Shakespeare's “Fantastic Scene”: Britten's Musical “Dream”
- Alessandra Robles
- June 15, 2014 | 24 | 2014
- 21 download 270 search
- Pasolini and the Mystery of the Scene
- Paolo Puppa
- June 15, 2014 | 24 | 2014
- 27 download 296 search
- Preliminary Considerations on the Art of Delegating. Sol Lewitt and Bruce Nauman at the 1970 Tokyo Biennale: Two Case Studies
- Eleonora Charans
- June 15, 2014 | 24 | 2014
- 21 download 285 search
- Restorations | Recoveries | Inventories
- Fabien Benuzzi, Francesca Guidolin, Maria Antonella Bellin, Paola Martinuzzi
- June 15, 2014 | 24 | 2014
- 32 download 313 search
- Sergio Bettini and the Art Criticism
- Arturo Carlo Quintavalle
- June 15, 2014 | 24 | 2014
- 41 download 371 search
- The Door, the Bridge, the Lintel. The Idea of a Frame in the Performative System
- Cristina Gottardi
- June 15, 2014 | 24 | 2014
- 35 download 444 search
- The Sacristy of the Church of San Bartolomeo di Rialto
- Mario Rosso
- June 15, 2014 | 24 | 2014
- 19 download 306 search
- «Istrioni che si beffano di noi». Chronicles of Italian Theater from the Age of the Great Actor to the Era of the Director
- Carmelo Alberti
- June 15, 2014 | 24 | 2014
- 416 download 1081 search
- 32 | 2023
- Dec. 20, 2023
- 1235 download 814 search
- 31 | 2022
- Dec. 20, 2022
- 1172 download 1164 search
- 30 | 2021
- Dec. 21, 2021
- 398 download 1246 search
- 29 | 2020
- Dec. 11, 2020
- 288 download 1045 search
- 28 | 2019
- Dec. 11, 2019
- 321 download 1354 search
- 27 | 2018
- Ivan Foletti, Stefano Riccioni
- Dec. 13, 2018
- 415 download 1574 search
- 26 | 2017
- Dec. 20, 2017
- 196 download 850 search
- 25 | 2016
- Roberta Dreon, Diego Mantoan
- Dec. 20, 2016
- 161 download 863 search
- 24 | 2014
- June 15, 2014
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Metamorphosis
Dec. 20, 2023 -
Altersstil. Late in the Arts
Dec. 20, 2022 -
Original/Copy
Dec. 21, 2021 -
Art and Science
Dec. 11, 2020 -
The Body of Art
Dec. 11, 2019 -
Discovering the Art of Medieval Caucasus (1801-1945)
Dec. 13, 2018 -
The Artist’s Signature. Authorship, Self-Consciousness, Identity and Artistic Legacy
Dec. 20, 2017 -
25 | 2016
Dec. 20, 2016 -
24 | 2014
June 15, 2014
Matteo Bertelé (sezione Contemporaneo), Università Ca’ Foscari Venezia, Italia
Angelo Maria Monaco (sezione Età Moderna), Università Ca’ Foscari Venezia, Italia
Simone Piazza (sezione Medioevo), Università Ca’ Foscari Venezia, Italia
Editing Supervisors
Stefania Gerevini (sezione Medioevo), Università Bocconi, Milano, Italia
Marco Scotti (sezione Contemporaneo), Università IUAV di Venezia, Italia
Stefania Ventra (sezione Età Moderna), Università Ca’ Foscari Venezia, Italia
Advisory Board
John Bowlt, University of Southern California, USA
Silvia Burini, Università Ca’ Foscari Venezia, Italia
Kosme De Barañano, Universidad Miguel Hernández, Alicante, España
David Freedberg, Columbia University, New York, USA
Giancarlo Gentilini, Università degli Studi di Perugia, Italia
Boris Groys, Staatliche Hochschule für Gestaltung, Karlsruhe,Deutschland
Yoko Hasegawa, Tama Art University, Tokyo, Japan
Michel Hochmann, École Pratique des Hautes Études, Paris, France
Tanja Michalsky, Biblotheca Hertziana-Max-Planck-Institut fuer Kunstgeschichte, Roma
Philippe Morel, Université Paris 1 Panthéon-Sorbonne, Paris, France
Silvia Naef, Université de Genève, Suisse
Alina Payne, Harvard University, Cambridge, USA
Serena Romano, Université de Lausanne, Suisse
Sebastian Schütze, Universität Wien, Österreich
Salvatore Settis, Scuola Normale Superiore di Pisa, Italia
Victor Stoichita, Université de Fribourg, Suisse
Chia-ling Yang, The University of Edinburgh, UK
Alessandro Zuccari, Sapienza Università di Roma, Italia
Editorial Board (section Contemporary)
Elisa Caldarola, Università degli Studi di Torino, Italia; The Graduate Center, City University of New York, USA
Miriam De Rosa, Università Ca’ Foscari Venezia, Italia
Susanne Franco, Università Ca’ Foscari Venezia, Italia
Sara Mondini, Ghent University, Belgium
Luca Pietro Nicoletti, Università degli Studi di Udine, Italia
Vincenzina Ottomano, Università Ca’ Foscari Venezia, Italia
Stefania Portinari, Università Ca’ Foscari Venezia, Italia
Sabrina Rastelli, Università Ca’ Foscari Venezia, Italia
Clarissa Ricci, Università di Bologna, Italia
Editorial Board (section Early Modern Period)
Walter Cupperi, Università Ca’ Foscari Venezia, Italia
Corinna T. Gallori, Kunsthistorisches Institut in Florenz - Max-Planck-Institut, Italia
Jasenka Gudelj, Università Ca’ Foscari Venezia, Italia
Rodolfo Maffeis, Politecnico di Milano, Italia
Émilie Passignat, Università Ca’ Foscari Venezia, Italia
Valentina Sapienza, Università Ca’ Foscari Venezia, Italia
Giorgio Tagliaferro, University of Warwick, UK
Editorial Board (section Middle Ages)
Francesco Gangemi, Università degli Studi di Bergamo, Italia
Ruggero Longo, Università degli Studi di Siena, Italia
Giulia Puma, Université Côte d’Azur, France
Elisabetta Scirocco, Bibliotheca Hertziana, Roma, Italia
Nicoletta Usai, Università degli Studi di Cagliari, Italia
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Every article published by ECF was accepted for publication by no less than two qualified reviewers as a result of a process of anonymous reviewing (double-blind peer review). The reviewers are independent of the authors and not affiliated with the same institution.
The Journal’s Editor-in-Chief guarantees the proper execution of the peer review process for every article published in the Journal.
Peer review policies for the different sections:
- Complete volume/issue: subject to peer review
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- Introductions, prefaces: no peer review
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- Editorials: no peer review
This handbook describes the main editorial guidelines adopted in the journal. For special cases and further indications (such as the list of permitted abbreviations), please refer to the complete editorial guidelines of the Edizioni Ca’ Foscari: Editorial Guidelines.
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Quotation within quotation: single high quotation marks (‘...’) within double quotation marks (“ ”).
Source citations should be in the original language. The translation of the quoted text, if necessary, follows immediately, in brackets and in round characters.
Omissions in the body of the quotes are marked with ‘[...]’.
Foreign words and translations
If not included in the Treccani dictionary (http://www.treccani.it/vocabolario/), they must be written in italics. Transliterations are also italicized. Relevant translations go between round brackets immediately after the term. Example: Totenmal (funerary monument).
Emphasis
High quotation marks (‘’) can also be used to highlight a ‘concept’, highlight the precise meaning of a ‘term’, signal the ‘idiomatic’, ‘metaphorical’ or ‘improper’ use of a word.
Titles
The titles of literary, pictorial, sculptural, photographic, cinematographic, theatrical, musical, etc. works are italicized with capital letters.
Trait d’union
- Use ‘-’ in lists and in cases such as: John Pope-Hennessy, 1960-67, May 2-June 5
- Use ‘–’ to introduce parenthesis and bring sentences into direct speech (e.g. in dialogues)
- Do not use ‘-’, but use the comma to distinguish the surnames of authors in the Abbreviations in the footnotes, and the semicolon to separate each group Surname-Name in the final Bibliography.
II. Bibliographic references
Abbreviations in the footnotes Write the author’s surname, the year of publication and the page number preceded by a comma only. This abbreviation refers to every occurrence, avoiding the use of idem, ibidem, and similar expressions.
Examples:
- Rossi 2010, 25-7
- Rossi 2010, 234 fn. 23 [footnote 23]
- Rossi, Bianchi 2010 [coauthors]
- Rossi, Bianchi, Verdi 2010 [coauthors]
- Rossi et al. 2010 [more than three authors]
- M. Rossi 2010, G. Rossi 2010 [authors with the same surname]
- Rossi 2010a, 2010b [more works by the same author appearing in the same year]
- Rossi 2010, 2011 [more works by the same author, but published in different years]
- Rossi, s.d., 34 [undated work on the title page and in the imprint]
- Rossi, forthcoming [to be published soon]; Bianchi (oral communication)
- BSI 1985 [= ‘British Standards Institution’, similar abbreviations are to be found in the final bibliography]
- Rossi 2008, 2, 2: 630 fn. 15 [= ‘volume’ 2, ‘tome’ 2: ‘page’ 630, ‘footnote’ 15]
If an edition or a translation of ancient, medieval or early modern texts is cited, at the first occurrence a unique topological reference is provided (e.g. book, chapter, paragraph; song, verse, verse, etc.) and declare the edition or translation used; in subsequent citations the univocal topological reference is sufficient. To indicate in an abbreviated form the edition or translation of similar texts, reference is made to the name of the publisher/translator, rather than that of the author.
For the citation of works of Greco-Roman antiquity, refer to the abbreviations contained in the dictionaries compiled by Henry George Liddell and Robert Scott (A Greek-English Lexicon. Oxford, 1996, http://stephanus.tlg.uci.edu /lsj/05-general_abbreviations.html) and by Luigi Castiglioni and Scevola Mariotti (Il vocabolario della lingua latina. Turin, 1966 and subsequent editions), italicizing the abbreviation relating to the title of the work.
Examples:
- Tuc., Hist., 7, 3, 18 [= book 7, chapter 3, paragraph 18]; Piccirilli 1985, 107
- Verg., Aen., 1, v. 127 [= book 1, line 127]; Calzecchi Onesti, 20
- Mk 1,17 [= the Gospel according to Mark, chapter 1, line 17]
For the items of dictionaries and encyclopedias, the surname of the author of the form and the date of publication are indicated. Example: Rossi 2004, 7. To which in the final bibliography will correspond:
Rossi, M. (2004). s.v. “Bianchi, Antonio”. Enciclopedia degli autori italiani. http://www.enciclopediaautoriintaliani.org/articles/antonio-bianchi.
For manuscripts, the conservation institution and the fund are indicated in abbreviated form. Page numbers are not preceded by abbreviations; the column ones are instead introduced by ‘col./coll.’ and the paper ones by ‘c./cc.’, which is the abbreviation to be adopted if the paper sheet is bound; ‘fol./foll.’ is the abbreviation to be preferred if the sheet is loose. In the latter two cases whether the number of paper or sheet refers to the front and/or the reverse is also indicated. The use of the abbreviation ‘ms’, where superfluous, is omitted. Example: ASV, ASC, numerazione rossa, pratica 614, b. 4235, fasc. 3, cc. 2r-v, 3v [numerazione moderna]; ASV, ASC, b. 4235, s.p. [ma 44].
Final bibliography
Abbreviations relating to bibliographic entries are listed after the text of the article. The items are listed in alphabetical order and, for the same author, from the oldest to the most recent. Each bibliographic entry reports, in the language of the cited publication:- Extended surname of the author or editor. The author’s name must be pointed. Surname and Name must repeated at each occurrence.
- Year of publication in round brackets.
- Title and subtitle (separated by periods).
- Total number of volumes; number of the single volume and its title, if one in particular is mentioned.
- Publication data (place of publication only, without publisher), except for periodicals.
- Page numbers (for articles in journals and essays in miscellany).
- Series (optional).
- The additions to the data available within the publication are indicated in square brackets.
Examples:
- Bianchi, F. (2016). My Work. A Close Look. Edited by L. Rossi. Venice. Archives of Italian Literature 8.
- Rossi, M.; Verdi, G. (2000). Our work. Venice.
- Rossi, M. (2000). Our Work. Berlin; München; Oxford [multi-location publisher].
- The Thousand and One Nights (1990). Novara [unknown author].
Translations
The work can be indexed by referring to the name of the Translator (especially in the case of classics) or, alternatively, to that of the Author, provided that the choice is consistent with the criteria adopted for the bibliographic abbreviations in the note.
- Spencer, J. (transl.) (1974). Aeneid. London.
- Rossi, M. (2010). My Work. Trad. By A. Bianchi. Venice. Trad. By: Mon oeuvre. Paris, 2000.
Opera in multiple volumes and essay in opera in multiple volumes
- Smith, P. (2016). Essays on Art. 3 vols. London.
- Bianchi, A. (ed.) (2000-). Anthology of Mario Rossi's writings. Venice.
- Lombardi, Massimo (2017). History of Publishing. Vol. 4, Digital Publishing. Venice.
Edited book
- Bianchi, A. (a cura di) (2010). L’opera di Giotto. Venezia: Edizioni Aperte.
- Blanche, A. (éd.) (2010). Commentaires. Paris: Gallimard.
Contribution in edited work
- Bianchi, F. (2016). «The Gothic. Myths.». Ricci, L. (ed.), The Gothic in the 19th Century. Venice, 87-121.
Online editions
For electronic publications, the DOI (to be preferred, if available) or the URL are used. The DOI codes, which can be deduced from the https://search.crossref.org/search/references site, are cited as: https://doi.org/10.xxxx/xxxxx.- Bianchi, F. (2016). My Work. Edited by L. Rossi. Venezia. http://www.edizioniaperte.it.
- Smith, P. (2019). Bernini in France [PhD dissertation]. London.
- Black, J. (unpublished). “My Work”. Johnson, M. (ed.), Edited Works and Essays = Conference Proceedings (Milan, 22 September 2006).
Reviews
Smith, P. (2019). Review of My Work, by Black, J. Journal of Contemporary Art, 23(4), 24-7.III. Captions
Follow these guidelines:
- Figure 1 Author, Title. Year. Technique / support / material, dimensions [the unit of measurement is postponed and separated by a space]. Place, conservation institute, possible origin. Image / copyright source [without full stop]
IV. Figures
Send tiff files, in colour or in black and white, numbered in coherence with the captions, with a resolution of at least 300 ppi.
V. Checklist
Verify that the article:
- indicates the author’s affiliation and email
- is accompanied by bibliography, abstracts (in English), five or more keywords (in English), captions with indication of credits, and images in digital format
- the file is made anonymous for the double-blind peer review.
For information and clarifications, please contact the Edizioni Ca’ Foscari editorial staff at ecf@unive.it.
Ethical Code of Venezia Arti
Venezia Arti is a peer-reviewed scientific journal whose policy is inspired by the COPE (Committee on Publication Ethics) Ethical Code. See the Best Practice Guidelines for Journal Editors.
Publisher’s responsibilities
The Publisher must provide the Journal with adequate resources and the guidance of experts, in order to carry out its role in the most professional way, aiming at the highest quality standard.
The Publisher must have a written agreement that defines the relationship with the owner of the Journal and/or the Editor-in-Chief. The agreement must comply with the Code of Behavior for Publishers of Scientific Journals, as established by COPE.
The relationship among the Editor-in-Chief, the Advisory Board and the Publisher is based on the principle of publishing independence.
Editors’ responsibilities
The Editor-in-Chief and the Advisory Board of Venezia Arti alone are responsible for the decision to publish the articles submitted.
Submitted articles, after having been checked for plagiarism by means of the anti-plagiarism software Compilatio that is used by the University and is made available to us, will be sent to at least two reviewers. Final acceptance presumes the implementation of possible amendments, as required by the reviewers and under the supervision of the Venezia Arti Editor-in-Chief.
The Venezia Arti Editor-in-Chief and Advisory Board must evaluate each submitted paper in compliance with the Journalʼs policy, i.e. exclusively on the basis of its scientific content, without discrimination of race, sex, gender, creed, ethnic origin, citizenship, or the scientific, academic and political position of the Authors.
Allegations of misconduct
If the Venezia Arti Editor-in-Chief and Advisory Board notice (or receive notifications of) mistakes or inaccuracies, conflict of interest or plagiarism in a published article, they will immediately warn the Author and the Publisher and will undertake the necessary actions to resolve the issue. They will do their best to correct the published content whenever they are informed that it contains scientific errors or that the authors have committed unethical or illegal acts in connection with their published work. If necessary, they will withdraw the article or publish a recantation.
All complaints are handled in accordance with the guidelines published by the COPE.
Concerns and complaints must be addressed to the following e-mail ecf_support@unive.it. The letter should contain the following information:
- complainant’s personal information;
- title, author(s), publication date, DOI;
- complaint(s);
- declaration that the complainant has no conflict of interest, or declaration of an actual or potential conflict of interest.
Authors’ responsibilities
Stylesheet
Authors must follow the Guidelines for Authors to be downloaded from the Venezia Arti website.
Authors must explicitly state that their work is original in all its parts and that the submitted paper has not been previously published, nor submitted to other journals, until the entire evaluation process is completed. Since no paper gets published without significant revision, earlier dissemination in conference proceedings or working papers does not preclude consideration for publication, but Authors are expected to fully disclose publication/dissemination of the material in other closely related publications, so that the overlap can be evaluated by the Venezia Arti Editor-in-Chief.
Authorship
Authors are strongly encouraged to use their ORCID iD when submitting a manuscript. This will ensure the authors’ visibility and correct citation of their work.
Authorship must be correctly attributed; all those who have given a substantial contribution to the design, organisation and accomplishment of the research the article is based on, must be indicated as Co-Authors. Please ensure that: the order of the author names is correct; the names of all authors are present and correctly spelled, and that affiliations are up-to-date.
The respective roles of each co-author should be described in a footnote. The statement that all authors have approved the final version should be included in the disclosure.
Conflicts of interest and financing
Authors, under their own responsibility, must avoid any conflict of interest affecting the results obtained or the interpretations suggested. The Venezia Arti Editor-in-Chief will give serious and careful consideration to suggestions of cases in which, due to possible conflict of interest, an Author’s work should not be reviewed by a specific scholar. Authors should indicate any financing agency or the project the article stems from.
Quotations
Authors must see to it that all works consulted be properly quoted. If works or words of others are used, they have to be properly paraphrased or duly quoted. Quotations between “double quotes” (or «angled quotation marks» if the text is written in a language other than English) must reproduce the exact wording of the source; under their own responsibility, Authors should carefully refrain from disguising a restyling of the source’s wording, as though it was the original formulation.
Any form of excessive, inappropriate or unnecessary self-citation, as well as any other form of citation manipulation, are strongly discouraged.
Ethical Committee
Whenever required, the research protocols must be authorised in advance by the Ethical Committee of Ca’ Foscari University of Venice.
Emendations
When Authors find a mistake or an inaccuracy in their own article, they must immediately warn the Venezia Arti Editor-in-Chief, providing all the information needed to make the due adjustments.
Reviewers’ responsibilities
Goal
By means of the peer-review procedure, reviewers assist the Venezia Arti Editor-in-Chief and Advisory Board in taking decisions on the articles submitted. They are expected to offer the Authors suggestions as to possible adjustments aimed at improving their contribution submission.
Timing and conflicts of interest
If a reviewer does not feel up to the task of doing a given review, or if she/he is unable to read the work within the agreed schedule, she/he should notify the Venezia Arti Editor-in-Chief. Reviewers must not accept articles for which there is a conflict of interest due to previous contributions or to a competition with a disclosed author (or with an author they believe to have identified).
Confidentiality
The content of the reviewed work must be considered confidential and must not be used without explicit authorisation by the Author, who is to be contacted via the editor-in-chief. Any confidential information obtained during the peer review process should not be used for other purposes.
Collaborative attitude
Reviewers should see themselves not as adversaries but as advocates for the field. Any comment must be done in a collaborative way and from an objective point of view. Reviewers should clearly motivate their comments and keep in mind the Golden Rule of Reviewing: “Review for others as you would have others review for you”.
Plagiarism
Reviewers should report any similarity or overlapping of the work under analysis with other works known to them.
