The course is aimed at students of the Bachelor's Degree and wants to provide the methodological tools and the basic knowledge for the study of the history of art in Italy from the beginning of the XIV to the end of the XVIII century. Through a chronological path we intend to provide the lines of development of sculpture painting and architecture in Italy between the eighteenth and eighteenth centuries. The objective is first of all the acquisition by the student of the ability to orientate stylistically and critically between the very important junctions of the history of modern art of the time. At the end of the course the student will also be able to deal with the stylistic and technical analysis of a work and to understand what information can be drawn from the work itself regarding its placement or entry into a museum, its critical history and to its iconography.
teacher profile teaching materials
The knowledge of art and artistic movements in Italy from early Renaissance to Neoclassicism is the aim of the course. This goal can be achieved analyzing the style of the works of art and their history, patronage, meaning in the society in which they were born. Therefore a visive knowledge of paintings and sculptures is strictly requested.
The course will begin with some general lectures about artistic movements and different approaches to history of art. Students are kindly requested to have taken History of Medieval Art exam before attending the course.
Studying the manual is just the first step of preparing for the exam. The knowledge of the complete work of the most important artists is also requested and therefore students can be helpedto get in touch with the whole ouvre of artists by the website (I suggest www.wga.hu). Maestri del Colore or Classici dell’arte Rizzoli can be useful as well. During the course some subjects will be developed and it’s very important to learn them through the slides which can be found at www.bit.ly/dsu-terzaghi at the end of the course.
In any case the most important way of learning visual art is getting in real touch with works of art by visiting them. Therefore there’s a list of monuments in Rome to be visited before the exam, which could be found in the slides.
Students attending the course can take a written exam at mid term and at the end of the term. These two written exams will be part of the final one.
Bibliography for attending and non attending students is the same. The least absolutely need to get the course’s slides which can be found here www.bit.ly/dsu-terzaghi at the end of the course.
1) SUGGESTED MANUAL:
P. DE VECCHI – A. CERCHIARI, ARTE NEL TEMPO, ED. BOMPANI. EDIZIONE BLU PER I LICEI volumi 2.1 e 2.2
https://www.libreriauniversitaria.it/arte-tempo-ediz-blu-scuole/libro/9788845042218
and
https://www.libreriauniversitaria.it/arte-tempo-ediz-blu-scuole/libro/9788845042225
2) READING ONE OF THE FOLLOWING TEXTS IS REQUESTED:
- J. SHEARMAN, ARTE E SPETTATORE NEL RINASCIMENTO ITALIANO. “ONLY CONNECT”, ED.ORIGINALE 1992, ED.IT. MILANO,
JACA BOOK, 1995
- M. BAXANDALL, PITTURA ED ESPERIENZE SOCIALI NELL’ITALIA DEL QUATTROCENTO, TORINO, EINAUDI, 1978
- A. PINELLI, LA BELLA MANIERA. ARTISTI DEL CINQUECENTO TRA REGOLA E LICENZA, TORINO, EINAUDI , 2003
- E. PANOFSKY, STUDI DI ICONOLOGIA. I TEMI UMANISTICI NELL’ARTE DEL RINASCIMENTO, ED. ORIGINALE, 1939, ED.IT.
TORINO, EINAUDI, 1999 (DAL CAPITOLO SECONDO AL CAPITOLO SESTO COMPRESI)
- F. ZERI, DIETRO L’IMMAGINE. CONVERSAZIONI SULL’ARTE DI LEGGERE L’ARTE, MILANO, TEA, 1990 (ESISTE ANCHE
UN’EDIZIONE VICENZA, NERI POZZA, 1998)
- A. BALLARIN, GIORGIONE E LA COMPAGNIA DEGLI AMICI: IL "DOPPIO RITRATTO" LUDOVISI, IN STORIA DELL''ARTE ITALIANA.
PARTE II, VOL. 1. DAL MEDIOEVO AL QUATTROCENTO, TORINO, EINAUDI, 1983, PP.481-541.
- F. ZERI, PITTURA E COTRORIFORMA. L’ARTE SENZA TEMPO DI SCIPIONE DA GAETA, ED. ORIGINALE, EINAUDI 1957, ED. PIÙ RECENTE POZZA 1997.
- F. HASKELL, MECENATI E PITTORI. STUDIO SUI RAPPORTI TRA ARTE E SOCIETÀ ITALIANA NELL’ETÀ BAROCCA, SANSONI, ED. ORIGINALE 1966 (ESISTONO EDIZIONI SUCCESSIVE).
- G. BRIGANTI, PIETRO DA CORTONA O DELLA PITTURA BAROCCA, IN ROMA 1630: IL TRIONFO DEL PENNELLO, CATALOGO DELLA MOSTRA (ROMA), A CURA DI O. BONFAIT, MILANO 1994, PP. 23-52.
- I. LAVIN, VISIBLE SPIRIT: THE ART OF GIAN LORENZO BERNINI, LONDON 2009.
- F. HASKELL – N. PENNY, L’ANTICO NELLA STORIA DEL GUSTO: LA SEDUZIONE DELLA SCULTURA CLASSICA 1500-1900, TORINO 1984.
Programme
PAINTING AND SCULPTURE IN ITALY (1400-1700) (12 CFU)The knowledge of art and artistic movements in Italy from early Renaissance to Neoclassicism is the aim of the course. This goal can be achieved analyzing the style of the works of art and their history, patronage, meaning in the society in which they were born. Therefore a visive knowledge of paintings and sculptures is strictly requested.
The course will begin with some general lectures about artistic movements and different approaches to history of art. Students are kindly requested to have taken History of Medieval Art exam before attending the course.
Studying the manual is just the first step of preparing for the exam. The knowledge of the complete work of the most important artists is also requested and therefore students can be helpedto get in touch with the whole ouvre of artists by the website (I suggest www.wga.hu). Maestri del Colore or Classici dell’arte Rizzoli can be useful as well. During the course some subjects will be developed and it’s very important to learn them through the slides which can be found at www.bit.ly/dsu-terzaghi at the end of the course.
In any case the most important way of learning visual art is getting in real touch with works of art by visiting them. Therefore there’s a list of monuments in Rome to be visited before the exam, which could be found in the slides.
Students attending the course can take a written exam at mid term and at the end of the term. These two written exams will be part of the final one.
Bibliography for attending and non attending students is the same. The least absolutely need to get the course’s slides which can be found here www.bit.ly/dsu-terzaghi at the end of the course.
Core Documentation
BIBLIOGRAPHY1) SUGGESTED MANUAL:
P. DE VECCHI – A. CERCHIARI, ARTE NEL TEMPO, ED. BOMPANI. EDIZIONE BLU PER I LICEI volumi 2.1 e 2.2
https://www.libreriauniversitaria.it/arte-tempo-ediz-blu-scuole/libro/9788845042218
and
https://www.libreriauniversitaria.it/arte-tempo-ediz-blu-scuole/libro/9788845042225
2) READING ONE OF THE FOLLOWING TEXTS IS REQUESTED:
- J. SHEARMAN, ARTE E SPETTATORE NEL RINASCIMENTO ITALIANO. “ONLY CONNECT”, ED.ORIGINALE 1992, ED.IT. MILANO,
JACA BOOK, 1995
- M. BAXANDALL, PITTURA ED ESPERIENZE SOCIALI NELL’ITALIA DEL QUATTROCENTO, TORINO, EINAUDI, 1978
- A. PINELLI, LA BELLA MANIERA. ARTISTI DEL CINQUECENTO TRA REGOLA E LICENZA, TORINO, EINAUDI , 2003
- E. PANOFSKY, STUDI DI ICONOLOGIA. I TEMI UMANISTICI NELL’ARTE DEL RINASCIMENTO, ED. ORIGINALE, 1939, ED.IT.
TORINO, EINAUDI, 1999 (DAL CAPITOLO SECONDO AL CAPITOLO SESTO COMPRESI)
- F. ZERI, DIETRO L’IMMAGINE. CONVERSAZIONI SULL’ARTE DI LEGGERE L’ARTE, MILANO, TEA, 1990 (ESISTE ANCHE
UN’EDIZIONE VICENZA, NERI POZZA, 1998)
- A. BALLARIN, GIORGIONE E LA COMPAGNIA DEGLI AMICI: IL "DOPPIO RITRATTO" LUDOVISI, IN STORIA DELL''ARTE ITALIANA.
PARTE II, VOL. 1. DAL MEDIOEVO AL QUATTROCENTO, TORINO, EINAUDI, 1983, PP.481-541.
- F. ZERI, PITTURA E COTRORIFORMA. L’ARTE SENZA TEMPO DI SCIPIONE DA GAETA, ED. ORIGINALE, EINAUDI 1957, ED. PIÙ RECENTE POZZA 1997.
- F. HASKELL, MECENATI E PITTORI. STUDIO SUI RAPPORTI TRA ARTE E SOCIETÀ ITALIANA NELL’ETÀ BAROCCA, SANSONI, ED. ORIGINALE 1966 (ESISTONO EDIZIONI SUCCESSIVE).
- G. BRIGANTI, PIETRO DA CORTONA O DELLA PITTURA BAROCCA, IN ROMA 1630: IL TRIONFO DEL PENNELLO, CATALOGO DELLA MOSTRA (ROMA), A CURA DI O. BONFAIT, MILANO 1994, PP. 23-52.
- I. LAVIN, VISIBLE SPIRIT: THE ART OF GIAN LORENZO BERNINI, LONDON 2009.
- F. HASKELL – N. PENNY, L’ANTICO NELLA STORIA DEL GUSTO: LA SEDUZIONE DELLA SCULTURA CLASSICA 1500-1900, TORINO 1984.
Type of delivery of the course
The course will be held in the secondo term.Type of evaluation
Only the students regularly attending the course could take two written texts during the course. If the students pass the written texts, the program of the final oral exam will regard only the book chosen from the list that could be found in Testi adottati.