Teaching code

4S010513

Teacher

Giorgio Fossaluzza

Coordinator

Giorgio Fossaluzza

Credits

6

Language

Italian

Scientific Disciplinary Sector (SSD)

L-ART/02 - HISTORY OF MODERN ART

Period

CuCi 2 A, CuCi 2 B

Courses Single

Authorized

Lessons timetable Moodle Seminars 0

Learning objectives

The aim of the course is to improve the ability of independent analysis and develop a mature mastery of the critical tools of the discipline in relation to specific aspects of the history of modern art.

Prerequisites and basic notions

Review of the general notions of Italian art history of the second half of the fifteenth century and of Modern Manner with reference to the secondary school textbook

Program

Course Topic
Giovanni Bellini: personality, style and contexts
Teaching objectives
This optional course is of a specialised nature for students of History of Modern Art and is considered ‘monographic’ with respect to the first ‘compulsory’ course indicated of a general nature. It therefore proposes to deal with specific themes of the utmost importance for modern art from a philological point of view. Their investigation makes it possible to recognise their implications in the contexts of artistic capitals and peripheral centres. In this way, the course will offer as an integration some moments of study ‘in front of the work of art’, with the direct intervention of the students.
The formative intent is to reaffirm the primacy of the stylistic investigation of the work of art in its evaluative complexity, starting for example with the technical and executive ones and according to comparative criteria. Together with the obligation to address the ‘contexts’ and contents, such as iconographic and iconological, from a historical, philosophical, political and theological perspective.
Moments and works:
Jacopo Bellini and the education of his sons Giovanni and Gentile.
Giovanni's first independent phase: relations with Andrea Mantegna and the Donatello's bequest, interests in Flemish art. Light colour, nature, environments.
The polyptych of San Vincenzo Ferreri in the Basilica dei Santi Giovanni e Paolo in Venice. Historiographical issues and the relationship with Piero della Francesca. The maturation of the 1960s. Perspective syntheses of form, light and colour, humanistic content.
The Pesaro altarpiece. The question of relations with Antonello da Messina. Independent paths and artists compared at the juncture of the 1970s. Perspective structures and unitary spatial solutions.
‘Genres’ and typologies: the portrait, the theme of the Madonna and Child, declination of the sacred conversations.
Reading of pivotal works: The Resurrection of Christ, Berlino, Staatliche Museen, Gemäldegalerie;St. Francis’ Stigmata, New York, Frick Collection; Transifuguration, Napoli, Gallerie nazionali di Capodimonte; San Giobbe Altarpiece; Venezia , Gallerie dell’Accademia; Barbarigo Altarpiece, Murano, chiesa di San Pietro Martire; the Restello di Vincenzo catena, Venezia, Gallerie dell’Accademia; The Frari Triptych, Venezia, Basilica of Santa Maria Gloriosa dei Frari; Sacred Allegory, Firenze, Gallerie degli Uffizi.
Early 16th century: Baptism of Christ, Vicenza, church of Santa Corona; Scipio’s Continence, Washington, National Gallery; The Scuola Grande di San Marco, the programme and the Preaching of St. Mark in Alexandria, Milano, Pinacoteca di Brera; Vision of the Virgin and Eight Saints, from Murano, church of Santa Maria degli Angeli; San Zaccaria Altarpiece, church of San Zavvaria
Encounters and conjunctures: Bellini and the comprimari, Alvise Vivarini, Carpaccio and Cima; Giovanni Bellini and Dürer, Giovanni Bellini and Giorgione; Giovanni Bellini and Titian on the project for Alfonso d'Este's Alabaster Camerino.
The recognition of the last phase and the historiographical problem: The Drunkenness of Noah of Besançon.
The direct analysis of the work of art is considered as an integral part of the course. Several visits are planned: Verona, Museo di Castelvecchio; Vicenza, Church of Santa Corona; Venice, study day at the Gallerie dell'Accademia, and the Basilica dei Frari; Florence, Opificio delle Pietre Dure for the restoration of the altarpiece of Santa Maria degli Angeli.
The planned visits see the students as protagonists who are given more control over the communication aspects of the knowledge acquired. This is also the aim of the written examination.
The specific bibliography for the course will be indicated during the lectures and also made known in the notices.
The indicated texts, or parts thereof, will be made available at the Replay copy shop or uploaded to the e-learning page.
The specific bibliography of the course will be indicated during the lessons and published online. The texts indicated will be made available at the Replay copy shop.

Bibliography

Didactic methods

Lectures and study visits.
The direct analysis of the work of art is considered as an integral part of the course. Several visits are planned: Verona, Museo di Castelvecchio; Vicenza, Church of Santa Corona; Venice, study day at the Gallerie dell'Accademia, and the Basilica dei Frari; Florence, Opificio delle Pietre Dure for the restoration of the altarpiece of Santa Maria degli Angeli.
The planned visits see the students as protagonists who are given more control over the communication aspects of the knowledge acquired. This is also the aim of the written examination.

Learning assessment procedures

The examination takes place in written form with five open questions (duration 4 hours). It also includes the production of a short ‘dissertation’ on a topic that can be chosen from those presented during the lessons. The topic must be agreed upon before the written test takes place, by e-mail. The student may attach the ‘dissertation’ to the written exam; in this case, he/she must submit a short autographed abstract.
For attending students, the lectures given on the planned study visits will be assessed for the final exam grade.

Evaluation criteria

The evaluation concerns the contents of the written test, the connections between the topics covered in class and in the study visits, and active participation in the study visits.

Criteria for the composition of the final grade

Consisting of the average of the results obtained in the individual items indicated in the evaluation criteria

Exam language

italiano

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