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	it, en, 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.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	Exhibition set up
dc.subject	Exhibition studies
dc.subject	Exhibitions
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	JR
dc.subject	Jacopo Ligozzi
dc.subject	Kant
dc.subject	Katie Mitchell
dc.subject	Khovanshchina
dc.subject	Khrushchev’s Thaw
dc.subject	Know thyself
dc.subject	La Scala
dc.subject	Land Art
dc.subject	Landscape
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	The image of sport
dc.subject	Theatre
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

IT, EN, RU

ISBN (EBOOK)

978-88-6969-588-9

Keywords

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

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.