Teaching code

4S002985

Teacher

Giorgio Fossaluzza

Coordinator

Giorgio Fossaluzza

Credits

6

Language

Italian

Scientific Disciplinary Sector (SSD)

L-ART/02 - HISTORY OF MODERN ART

Period

II semestre (Lingue e letterature straniere) dal Feb 13, 2023 al May 27, 2023.

Lessons timetable Moodle Seminars 0

Learning objectives

The course aims to provide students with art history basic knowledge. Particularly, the art elements of Italian painting tradition, then the European one and finally, in a larger way of speaking, “the Occident’s art history” will be provided. During the course, figurative arts’ main personalities and texts will be analysed, describing the relationships between them and the geographical contexts. The goal is to acquire an analytic methodology to link the great moments of art history with local or regional artistic expressions. Thanks to this, the so-called “cultural tourism” operator can then develop projects on user’s historic and artistic interests, in full autonomy. Part of classes treats rules and notions concerning the national trust or art dedicated institutions, such as museums or private collections. The study of such institutions aims to convey well historic-based notions and the ability to evaluate their managerial and promotional methods.

Prerequisites and basic notions

no specific prerequisites are required

Program

Learning objectives: The operator in the field of the so-called "cultural tourism" is committed to developing a project that gathers the historical-artistic interests of "users," autonomously responding to their requests.
To this end, the goal is, first of all, to make the student acquire the basic knowledge of art history, starting from the Italian tradition and opening up to the European tradition, that is, to a broader vision of the "art history of the West" (in other words, international). The protagonists and fundamental texts of the figurative arts of Europe will be analyzed, with particular attention to case studies describing the relationships between geographical contexts and different cultures.
The aim, moreover, is to acquire an analytical methodology that integrates the "macroscopic" facts of art history with territorial, local or regional episodes.
Basic notions regarding institutions relevant to cultural heritage are added, in the introduction, in relation to the planning skills. Special consideration is given to museum structures, with the aim of acquiring historical knowledge and the ability to evaluate their management and promotion methods. The course is also aimed at acquainting the student with new trends in museography, as they are more relevant to the first stated objective: for example regarding the diffuse museum and the ecological museum in relation to the art of territories.
Program
First Section
Henry Focillon. A point of view on Western art.
1. Premises: fundamentals of early Christian art and Byzantine art. Romanico: meaning, historical context, geography and chronology, tecniques and examples in Italy and Europe. Wiligelmo. Moissac, Conques, Vezelay (portals).
2. Gothic. Reasons. New religious orders and aesthetics (Suger and Bernando di Chiaravalle). Tecniques and examples: ÎLe de France (Saint Denis, Amiens, Wells, Marburg in Germany and Burgos in Spain). Italy (Fossanova, Basilica di San Francesco, Assisi). History and geography of Italy and Europe.
The Chartres cathedral and other fundamental examples of Oltralpe sculpture.
In Italy: Antelami and Pisano.
Duccio, Simone Martini, Lorenzetti.
3.Giotto. Giottismo, Vitale da Bologna and Tommaso da Modena.
4. Late Gothic. Huizinga’s definition. Courts, italian and european centers. Paris, Boemia, Corte Viscontea between Milano and Pavia. Duomo di Milano.
Gentile da Fabriano, Pisanello.
Arco Alpino; Master of Thon; Weicher Stil.
Persistences of Late Gothic in Europe.
5. Flemish painting. Duchy of Burgundy. Sluter's sculptures.
Jan Van Eyck and his main works (Agnello Mistico; Ritratto dell’uomo col turbante rosso; I coniugi Arnolfini; Madonna del Cancelliere Rolin; Pala Van der Paele).
Rogier Van der Weyden.
Flemish painting and italian painting: influences and centers.
Second Section
6. Early Renaissance. Florentine context.
Brunelleschi, Donatello, Masaccio.
Beato Angelico, Paolo Uccello, Andrea del Castagno, Domenico Veneziano (Pala di Santa Lucia de’ Magnoli).
Leon Battista Alberti.
7. Donatello in Padua and first Renaissance in Veneto: protagonists and main works in Padua, Venice, Veron.
Mantegna. Pala di San Zeno, context and patron, structure; spatiality of Cappella Ovetari and Camera degli sposi.
Giovanni Bellini.
8. Renaissance, second part
Piero della Francesca.
Laurentian age: Botticelli, Pollaiolo, Verrocchio.
South Italy: aragonese age (Arco aragonese in Naples). Antonello da Messina, itinerary: Naples and flemish painting, sicilian works, comparison with Piero della Francesca’s style, his sojourn in Venice.
9. Maniera moderna or Rinascimento maturo. Rome and Florence: republican Florence, Rome and the papacy of Giulio II and Leone X.
Maniera Moderna: the concept starting from Vasari.
Leonardo (along with Bramante in Milan). Michelangelo. Raffaello. Bramante in Rome, the new Basilica di San Pietro.
Maniera moderna in Veneto. Albrecht Dΰrer’s soujorns. Bellini: last period. Giorgione.
Tiziano and his patrons (Carlo V, Filippo II).
10. Mannerism: concept and main artists, first and second generation.
Giulio Romano.
1527: Sack of Rome, artists’ diaspora.
Fontainebleau: Francesco I and his project.
Mannerism in Veneto: Jacopo Sansovino; Tiziano manierista, Tintoretto; Veronese; Jacopo Bassano. Michele Sanmicheli in Veron.
Third Section
11. Protestantism and art. Art of the Counter-Reformation. Carracci: naturalism and classicism, Annibale Carracci and Galleria Farnese.
Caravaggio.
12. Baroque. Main concepts. Bernini. Borromini .
13. 17th century protagonists (caravaggismo, classicism, baroque).
Southern Netherlands: Rubens and Van Dyck.
Northern Netherlands, historical context and characteristics of art collecting: Rembrandt van Rijn, Vermeer.
France: caravaggeschi, Poussin, Lorrain.
England: Inigo Jones and Neo-palladianism.
Spain, Siglo de Oro: Velasquez, Zurbaran, Murillo.
14. Rococo
Main concepts and European centers, the French model in European courts.
18th century in Venice: historical context and patrons.
Rosalba Carriera; Tiepolo, historical painting and his european fortune, Germany and Spain; Canaletto, vedutismo, his fortune in european collections, the soujorn in England.
15. Neoclassicism. Main concepts and characteristics.
Antonio Canova; main patrons: France, England, Germany, Austria.
David, historical painting.
Goya.
Fourth Section
1. Art and Cultural Heritage. Lexicon. Preservation. The FAI Decalogue. Heritage cataloging. The protagonists of conservation and protection. The trades of cultural goods. Take part in the tutelage. The legislation on cultural heritage.
Bibliography: Vivere l’arte. Vol 1. L’antichità e il Medioevo, a cura di C. Fumarco e L. Beltrame, Verona, Bruno Mondadori, 2012, pp. 478-491.
Alternatively or in addition, students are recommended to consult the wikipedia entry BENI CULTURALI, with particular regard to the evolution of the concept, treatises, Ministero (wikipedia entry) composition and structures (Soprintendenze and their name, wikipedia entry).
In this regard, are also requested the following wikipedia entries:
Cultura, Civiltà
Geografia e Geografia culturale o umanistica
Paesaggio.
2. The museum
Bibliography: A. Mottola Molfino, Il libro dei musei, Torino 2003, pp. 129-146: Museologia vs Museografia.
Exemplification: an international famous museum or civic museum, or of local interest, history, identity, management and promotional perspectives.
3. Villa veneta, villa palladiana.
Types, structure and context.
Bibliography: Franco Posocco, La villa e il contesto, in Le ville venete. L’arte e il paesaggio, Vittorio Veneto. Treviso 2008.
Bibliography: entry Domini di Terraferma; entry Storia di Venezia, to learn something more about L’espansione nella Pianura padano-veneta; Guerra della Lega di Cambrai, L’epoca delle ville venete.
Andrea Palladio: his conceptions with examples of his main villas.
Bibliography: Students can find a profile of Palladio in the manual or in other books of their choice.

Bibliography

Didactic methods

frontal lectures

Learning assessment procedures

Assessment: Written text, 7 questions. More specifically:
- 2 questions on two topics chosen by the student among the First Section,
- 2 questions on two topics chosen by the student among the Second Section,
- 2 questions on two topics chosen by the student among the Third Section,
- 1 question on one topic chosen by the student among the Fourth Section. In alternative, attending students can take agreements with the teacher to present an oral paper during the lessons.
The questions on topics chosen by the student will be extracted at the beginning of the exam.
Students can take the exam in the form of a single written test. They can choose to split the exams in several parts, enrolling each time. In this case, the grade will be the average of the individual exams.
It is recommended to study the topics on one of the manuals in the bibliography section.

Evaluation criteria

Assessment criteria: The student's ability to formulate an independent argument on authors, problems and stylistic issues based on the questions delivered in the written test will be assessed. Ability to independently express connections and comparisons between personalities and works to which they belong will be especially evaluated.

Criteria for the composition of the final grade

Composition of the final grade: The final test can be divided into several modules, which will be assigned a partial grade. The average of the partial grades assigned to each part will result in the final grade recorded on the student's transcript

Exam language

italiano