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