Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/004
Laris Borić
The paper discusses early modern reconstructions of a first-century Roman arch preserved in the eastern Adriatic town of Zadar, at the time part of Venetian Dalmatia. Its reconstructions of the 1430s and the 1570s are contextualized within complex cultural and historical references. The Quattrocento renovation is associated with the reinterpretation of civic imagery through authentication of its classical roots, while that of the late Cinquecento is inscribed within the broader political and cultural context of contemporary Venetian promotion of Romanitas.
{"title":"From Triton Neptvni Tubicen to the Glory of Lepanto\u0000 The Early Modern Rebirth(s) of a Roman Arch in Zadar","authors":"Laris Borić","doi":"10.30687/va/2385-2720/2023/01/004","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/004","url":null,"abstract":"The paper discusses early modern reconstructions of a first-century Roman arch preserved in the eastern Adriatic town of Zadar, at the time part of Venetian Dalmatia. Its reconstructions of the 1430s and the 1570s are contextualized within complex cultural and historical references. The Quattrocento renovation is associated with the reinterpretation of civic imagery through authentication of its classical roots, while that of the late Cinquecento is inscribed within the broader political and cultural context of contemporary Venetian promotion of Romanitas.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/001
Valentina Borniotto
The paper aims to highlight the centrality of a late process of metamorphosis, which has unequivocally conditioned the image of the basilisk, radically transforming its appearance from a simple snake to a monster with the body of a rooster and a snake’s tail. The basilisk described in the classical sources corresponded to a small snake but was characterized by an extraordinary poisonous power. With the passage to the Middle Ages and the influence of Christianity, the basilisk took on new monstrous meanings, transforming its iconography into a rooster-snake hybrid, based on theories that believed it was generated from a rooster’s egg. The Renaissance and Early Modern Age inherited the medieval basilisk, which continued to be prominently depicted in emblematic literature; in parallel, however, the new scientific literature began to exclude excessively legendary meanings, preferring to return to descriptions of the classical era and thus depict the basilisk as a snake.
{"title":"Mostruose metamorfosi: sull’ibridazione iconografica del basilisco","authors":"Valentina Borniotto","doi":"10.30687/va/2385-2720/2023/01/001","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/001","url":null,"abstract":"The paper aims to highlight the centrality of a late process of metamorphosis, which has unequivocally conditioned the image of the basilisk, radically transforming its appearance from a simple snake to a monster with the body of a rooster and a snake’s tail. The basilisk described in the classical sources corresponded to a small snake but was characterized by an extraordinary poisonous power. With the passage to the Middle Ages and the influence of Christianity, the basilisk took on new monstrous meanings, transforming its iconography into a rooster-snake hybrid, based on theories that believed it was generated from a rooster’s egg. The Renaissance and Early Modern Age inherited the medieval basilisk, which continued to be prominently depicted in emblematic literature; in parallel, however, the new scientific literature began to exclude excessively legendary meanings, preferring to return to descriptions of the classical era and thus depict the basilisk as a snake.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139168640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/005
E. Ferretti
Sixteenth-century literary correspondences have been the subject of renewed interest in recent years, with including significant digitization projects. The two documents that are analysed in this essay (Caro’s letter to Guidiccioni and Tolomei’s letter to Grimaldi), have been repeatedly analysed by historiography as a privileged source for a new sensibility for fountains and water features that was emerging in the first decades of the sixteenth century. The present study highlights the ecphrastic abilities displayed by the two authors in portraying the metamorphic aspects of water, from the point of view of a peculiar valorization of the technical aspects underlying water plays and fountains.
{"title":"Percorsi metamorfici della natura nel Cinquecento L’acqua e le fontane nell’ecfrasi di Annibal Caro e Claudio Tolomei","authors":"E. Ferretti","doi":"10.30687/va/2385-2720/2023/01/005","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/005","url":null,"abstract":"Sixteenth-century literary correspondences have been the subject of renewed interest in recent years, with including significant digitization projects. The two documents that are analysed in this essay (Caro’s letter to Guidiccioni and Tolomei’s letter to Grimaldi), have been repeatedly analysed by historiography as a privileged source for a new sensibility for fountains and water features that was emerging in the first decades of the sixteenth century. The present study highlights the ecphrastic abilities displayed by the two authors in portraying the metamorphic aspects of water, from the point of view of a peculiar valorization of the technical aspects underlying water plays and fountains.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/006
Alexandra Timonina
The article discusses the representation of facial and bodily deformation as both a subject and an expressive means in diverse artistic media throughout the twentieth century until today. First, it wishes to provide a bibliographical overview of the recent research that delves into the problem from diverse methodologies. Second, it aims at tracing a timeline of how the imagery of ‘broken faces’, sometimes not directly related to the gueules cassées, yet persistent and recognisable, changed its use as a trope in the hands of modern and contemporary artists. Their works bear similarities in the dramatic accent on the deformation and decomposition of the body used to narrate collective trauma and a sense of confusion. Finally, the essay wishes to illustrate the complexity of this type of representation by contextualising some artworks within social and ethical contexts.
{"title":"The Visual Afterlife of les gueules cassées: Artistic rRception from the Interbellum to documenta 13","authors":"Alexandra Timonina","doi":"10.30687/va/2385-2720/2023/01/006","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/006","url":null,"abstract":"The article discusses the representation of facial and bodily deformation as both a subject and an expressive means in diverse artistic media throughout the twentieth century until today. First, it wishes to provide a bibliographical overview of the recent research that delves into the problem from diverse methodologies. Second, it aims at tracing a timeline of how the imagery of ‘broken faces’, sometimes not directly related to the gueules cassées, yet persistent and recognisable, changed its use as a trope in the hands of modern and contemporary artists. Their works bear similarities in the dramatic accent on the deformation and decomposition of the body used to narrate collective trauma and a sense of confusion. Finally, the essay wishes to illustrate the complexity of this type of representation by contextualising some artworks within social and ethical contexts.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/007
E. Greco
The essay examines a group of Alberto Viani’s sculptures, created around the mid-1940s, and characterized by a surrealist declination of the theme of ‘metamorphosis’. In this surrealist context, the theme of ‘metamorphosis’ is interpreted as a hybridization of the human figure with the vegetal, animal and mechanical world. Moreover, the essay intends, on one hand to identify the various visual sources used by the sculptor, on the other, it aims to define the importance of the theme of ‘metamorphosis’ itself. In particular it reflects on the interpretations proposed by the different artists studied by the sculptor (such as Hans Arp, Pablo Picasso, André Masson, Renato Birolli), and the role they played on the imaginative freedom, in an abstract sense, of Viani’s oeuvre.
{"title":"«Nudi trasfigurati da una strana metamorfosi» La scultura di Alberto Viani intorno alla metà degli anni Quaranta","authors":"E. Greco","doi":"10.30687/va/2385-2720/2023/01/007","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/007","url":null,"abstract":"The essay examines a group of Alberto Viani’s sculptures, created around the mid-1940s, and characterized by a surrealist declination of the theme of ‘metamorphosis’. In this surrealist context, the theme of ‘metamorphosis’ is interpreted as a hybridization of the human figure with the vegetal, animal and mechanical world. Moreover, the essay intends, on one hand to identify the various visual sources used by the sculptor, on the other, it aims to define the importance of the theme of ‘metamorphosis’ itself. In particular it reflects on the interpretations proposed by the different artists studied by the sculptor (such as Hans Arp, Pablo Picasso, André Masson, Renato Birolli), and the role they played on the imaginative freedom, in an abstract sense, of Viani’s oeuvre.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139168580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/002
G. Bordi
The article aims to provide a brief historical background of the church of Santa Marina in Venice. The church was originally dedicated to San Liberale but underwent changes in both dedication and layout after the arrival of the sacred remains of the virgin monk in the lagoon. The text briefly outlines the hagiographic story of Santa Marina, the circumstances of the translatio of her body to Venice, and how her cult became part of the devotional, cultural, and civic identity of the city. The final section aims to integrate existing knowledge of the church’s layout transformation from the Middle Ages to the Modern Age with new data from unpublished sources. The objective is to reconstruct the interior of the sacred building that no longer exists, but whose external appearance can still be confirmed visually through Jacopo de’ Barbari’s view.
{"title":"Identità in (tras)formazione: Marina il monaco, ovvero storia di una Santa ‘mascherata’ e del suo culto a Venezia tra Medioevo ed Età Moderna","authors":"G. Bordi","doi":"10.30687/va/2385-2720/2023/01/002","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/002","url":null,"abstract":"The article aims to provide a brief historical background of the church of Santa Marina in Venice. The church was originally dedicated to San Liberale but underwent changes in both dedication and layout after the arrival of the sacred remains of the virgin monk in the lagoon. The text briefly outlines the hagiographic story of Santa Marina, the circumstances of the translatio of her body to Venice, and how her cult became part of the devotional, cultural, and civic identity of the city. The final section aims to integrate existing knowledge of the church’s layout transformation from the Middle Ages to the Modern Age with new data from unpublished sources. The objective is to reconstruct the interior of the sacred building that no longer exists, but whose external appearance can still be confirmed visually through Jacopo de’ Barbari’s view.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/008
Silvia Maria Sara Cammarata
In 1994, The Italian Metamorphosis 1943-1968 opened at the Guggenheim Museum in New York presenting, in addition to artworks, design, fashion and cinema fixed in the American collective imagination as typically Italian, even evoking clichés about Italian style. The objects, the chronological span and the curatorial discourses were functional to an American narrative and resumed choices and formulas used since the post-war period to promote Italian products in the United States. This article intends to give an account of the exhibition and its feedbacks, contextualising it and hypothesizing the reasons for recalling narratives from almost fifty years earlier, in 1994.
{"title":"Raccontare il miracolo italiano nel 1994. The Italian Metamorphosis 1943-1968","authors":"Silvia Maria Sara Cammarata","doi":"10.30687/va/2385-2720/2023/01/008","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/008","url":null,"abstract":"In 1994, The Italian Metamorphosis 1943-1968 opened at the Guggenheim Museum in New York presenting, in addition to artworks, design, fashion and cinema fixed in the American collective imagination as typically Italian, even evoking clichés about Italian style. The objects, the chronological span and the curatorial discourses were functional to an American narrative and resumed choices and formulas used since the post-war period to promote Italian products in the United States. This article intends to give an account of the exhibition and its feedbacks, contextualising it and hypothesizing the reasons for recalling narratives from almost fifty years earlier, in 1994.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138954179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/003
Francesca Borgo
Drawing on and accentuating classical motifs, the surfaces of Renaissance armour are inhabited by an impressive variety of animal exuviae: leonine protomes and paws, ram’s horns, shells, tails, beaks, and wings. This essay examines the role of zoomorphic armour around the period of the Italian wars (1494-1559) and brings into focus early modern ideas about the behavioural and morphological proximity of living beings, illustrating the period’s fluid perception of the human-animal divide. It argues for the centrality of ornament in military material culture and concludes by establishing armour as the period’s main figurative stage for experimenting with the permeability of bodily boundaries, and the mixing of human and animal forms.
{"title":"The Beast Within, the Beast Without\u0000 Zoomorphic Armour Ornament and the Human-Animal Divide in the Material Culture of Renaissance War","authors":"Francesca Borgo","doi":"10.30687/va/2385-2720/2023/01/003","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/003","url":null,"abstract":"Drawing on and accentuating classical motifs, the surfaces of Renaissance armour are inhabited by an impressive variety of animal exuviae: leonine protomes and paws, ram’s horns, shells, tails, beaks, and wings. This essay examines the role of zoomorphic armour around the period of the Italian wars (1494-1559) and brings into focus early modern ideas about the behavioural and morphological proximity of living beings, illustrating the period’s fluid perception of the human-animal divide. It argues for the centrality of ornament in military material culture and concludes by establishing armour as the period’s main figurative stage for experimenting with the permeability of bodily boundaries, and the mixing of human and animal forms.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/010
Simone Wille
The Pakistani artist Anwar Saeed is best known for his collages, colour-intensive paintings and works of different printing techniques which often explore masculinity and probe the controversial issue of same-sex desire in Muslim South Asia. He is therefore no stranger to self-censorship. Saeed has often had to alter his works so that they could be shown in Pakistan, and has generally learned to tell stories in order to survive. These stories had to be camouflaged, so the motif of the mask along with the complex othering of the self through the staging of animal-human relations entered his artistic iconography and came to play an important role in paintings, collages, drawings, prints and photographs. Many of these works suggest the artist’s concern with conflict between religious and social expectations and gender roles, but they also make a connection with cultural and political identity formation in a country with a short, but very conflicted, history.
{"title":"Transformation as an Artistic Strategy in the Work of the Artist Anwar Saeed","authors":"Simone Wille","doi":"10.30687/va/2385-2720/2023/01/010","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/010","url":null,"abstract":"The Pakistani artist Anwar Saeed is best known for his collages, colour-intensive paintings and works of different printing techniques which often explore masculinity and probe the controversial issue of same-sex desire in Muslim South Asia. He is therefore no stranger to self-censorship. Saeed has often had to alter his works so that they could be shown in Pakistan, and has generally learned to tell stories in order to survive. These stories had to be camouflaged, so the motif of the mask along with the complex othering of the self through the staging of animal-human relations entered his artistic iconography and came to play an important role in paintings, collages, drawings, prints and photographs. Many of these works suggest the artist’s concern with conflict between religious and social expectations and gender roles, but they also make a connection with cultural and political identity formation in a country with a short, but very conflicted, history.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138958572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.30687/va/2385-2720/2023/01/009
M. Redaelli
The contribution proposes an analysis of the transposition of a great classic Russian comedy on screen. We will consider one of the pioneering Russian videoart projects, the Gore ot uma (Woe from Wit) (1994) by Olga Tobreluts. The work presents itself as the representation on the screen of the nineteenth century famous pièce by Alexandr Griboedov. But as the video begins it is suddenly clear it is not just merely a mise en scène. As Bruce Sterling pointed out it results to be more appropriate referring to it as an act of ‘mutation’. The work explores the possibilities of digital collage, mixing various references to different époques, uniting past and present.
这篇论文对俄罗斯经典喜剧在银幕上的移植进行了分析。我们将考虑俄罗斯录像艺术的先驱项目之一，即奥尔加-托布雷茨（Olga Tobreluts）创作的 Gore ot uma（《Woe from Wit》）（1994 年）。该作品将十九世纪亚历山大-格里博耶多夫（Alexandr Griboedov）的名作搬上银幕。但随着视频的开始，我们突然发现这不仅仅是一个场景的模拟。正如布鲁斯-斯特林（Bruce Sterling）所指出的，将其称为 "变异 "行为更为恰当。该作品探索了数字拼贴的可能性，混合了不同时代的各种参考资料，将过去和现在融为一体。
{"title":"Gore ot uma di Olga Tobreluts: la metamorfosi di un classico","authors":"M. Redaelli","doi":"10.30687/va/2385-2720/2023/01/009","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2023/01/009","url":null,"abstract":"The contribution proposes an analysis of the transposition of a great classic Russian comedy on screen. We will consider one of the pioneering Russian videoart projects, the Gore ot uma (Woe from Wit) (1994) by Olga Tobreluts. The work presents itself as the representation on the screen of the nineteenth century famous pièce by Alexandr Griboedov. But as the video begins it is suddenly clear it is not just merely a mise en scène. As Bruce Sterling pointed out it results to be more appropriate referring to it as an act of ‘mutation’. The work explores the possibilities of digital collage, mixing various references to different époques, uniting past and present.","PeriodicalId":36109,"journal":{"name":"Venezia Arti","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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