Teaching code

4S02264

Teacher

Tiziana Franco

Coordinator

Tiziana Franco

Credits

6

Also offered in courses:

• History of Medieval Art (m) [Sede VR] of the course Master’s degree in Historical Studies (interuniversity)
• History of Medieval Art (m) of the course Master’s degree in Tradition and Interpretation of Literary Texts

Language

Italian

Scientific Disciplinary Sector (SSD)

L-ART/01 - HISTORY OF MEDIEVAL ART

Period

CuCi 1 A, CuCi 1 B

Courses Single

Authorized

Lessons timetable Moodle Seminars 0

Learning objectives

The purpose of this course is to discuss and analyze a critical theme relevant to the history of medieval art in order to consolidate the methodological bases and knowledge of the historical/critical presuppositions, with special emphasis on the works themselves in their spatial, historic and cultural context. The syllabus, as well as the skills and expertise that will be gained in this course, are characteristic features of the studies involved in the interuniversity Art degree program.

Prerequisites and basic notions

The general and specific knowledge deriving from having taken the Medieval Art History exam in the three-year degree course and the general and specific skills acquired with it. If this is not the case, please contact the teacher.

Program

The teaching of Medieval Art History has a monographic character; the specific theme changes every year, but the objective is always to critically examine complex topics of medieval artistic culture relating to the Italian and European area.
In relation to the Franciscan anniversaries of these years, the 2024-2025 course will be dedicated to St. Francis and iconographic themes related to the saint between the 13th and early 14th century. Consideration will be given to the earliest representations of his figure and life up to the cycles in the Basilica of Assisi, the last of which is in the lower church in the vaulted ceiling above the altar and above Francis' tomb. Particular attention will also be paid, with inspections, to the testimonies of Franciscan iconography present in Verona, in particular in the church of San Fermo Maggiore, until the beginning of the 19th century belonging to the order of Friars Minor.
The detailed programme and indications on how to find the bibliography will be provided at the beginning of the course; please note that some study materials and power points presented in class will be deposited on the e-learning/moodle site. All students, both those attending and those not attending, must therefore register on the university moodle platform in order to access the teaching site and take the exam.
Programme of readings
Grado Giovanni Merlo, Nel nome di Francesco. Storia dei frati Minori e del francescanesimo sino agli inizi del XVI secolo, Padova 2003, pp. 7-56 (lettura d’inquadramento storico sulla figura di Francesco)
° Chiara Frugoni, Francesco d’Assisi, santo, in Enciclopedia dell’Arte Medievale, Roma 1995 (scaricabile da internet)
° Donald Cooper, ‘In loco tutissimo et firmissimo’: The Tomb of St. Francis in History, Legend and Art, in The Art of the Franciscan Order in Italy, ed. By W.R. Cook, Leiden 2005, pp. 1-37 (moodle)
° Milvia Bollati, Gloriosus Franciscus. Un’immagine di Francesco tra agiografia e storia, Padova 2015 (moodle)
Milvia Bollati, L’Umbria e l’iconografia francescana delle origini, in Il Maestro di San Francesco e lo stil novo del Duecento umbro, catalogo della mostra (Perugia, marzo – giugno 2024), Cinisello Balsamo 2024, pp. 95-107
° Luciano Bellosi, La barba di San Francesco. Nuove proposte per il ‘problema di Assisi’, in “Prospettiva”, 2006, pp. 143-164
Donald Cooper, J. Robson, The Making of Assisi. The Pope, The Franciscans and the Painting of the Basilica, New Haven – London 2013, pp. 17-33 (Nicholas IV: a Franciscans Pope)
Chiara Frugoni, Quale Francesco? Il messaggio nascosto negli affreschi della Basilica superiore di Assisi, Torino 2015, pp. 216-418
E. Ravaud, L. Pisani, D. Cooper, La stigmatisation de saint François d’Assise, in Giotto e compagni, catalogo della mostra (Paris, Louvre, aprile – luglio 2013), Paris 2013, pp. 76-93
Schede di opere da Il Maestro di San Francesco e lo stil novo del Duecento umbro, catalogo della mostra (Perugia, marzo – giugno 2024), Cinisello Balsamo 2024, pp. 220-227, 234-252

* Study essays, not deposited on moodle or not downloadable from the internet (marked here with °), are available at the Trenta e oltre copy shop in Via Timavo

** For a basic knowledge of Giotto see L. Bellosi, Giotto, Firenze (Scala) 2000
*** Recommended readings:
Henry Thode, Franz von Assisi und die Anfänge der Kunst der Renaissance in Italien, Berlin 1885; 2 ed. ampliata Berlin 1904 (ed italiana Francesco d’Assisi e le origini dell’arte del rinascimento in Italia, a cura di L. Bellosi, Roma 1993)
Chiara Frugoni, Francesco e l’invenzione delle stimmate, Torino 1993 Luciano Bellosi, La pecora di Giotto, Torino 1985, ried. 2015

Bibliography

Didactic methods

The lessons will be held in presence. Attendance, although not mandatory, is recommended. The frontal lessons will be held using powerpoints, which will then be made available in pdf on Moodle. A seminar activity will be organized based on the number of students.

Learning assessment procedures

The exam is oral and focuses on the texts indicated at the beginning of the course and, for those attending, also on the lecture notes. During the interview, constant reference will be made to the images presented in the lecture and available to students and non-students via the pdf power points. uploaded to moodle.

Evaluation criteria

The test consists of an interview aimed at verifying:
- the depth and breadth of the acquired knowledge and the ability to explain it clearly;
- the analytical and argumentative ability;
- the ability to systematically connect knowledge;
- the autonomy of judgment.

Criteria for the composition of the final grade

The final grade is expressed out of thirty.

Exam language

italiano