Studying at the University of Verona
Here you can find information on the organisational aspects of the Programme, lecture timetables, learning activities and useful contact details for your time at the University, from enrolment to graduation.
Study Plan
This information is intended exclusively for students already enrolled in this course.If you are a new student interested in enrolling, you can find information about the course of study on the course page:
Laurea magistrale in Storia delle Arti - Enrollment from 2025/2026The Study Plan includes all modules, teaching and learning activities that each student will need to undertake during their time at the University.
Please select your Study Plan based on your enrollment year.
1° Year
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1 module among the following1 module among the following2° Year It will be activated in the A.Y. 2025/2026
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4 modules among the following| Modules | Credits | TAF | SSD |
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1 module among the following1 module among the following| Modules | Credits | TAF | SSD |
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4 modules among the following| Modules | Credits | TAF | SSD |
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Legend | Type of training activity (TTA)
TAF (Type of Educational Activity) All courses and activities are classified into different types of educational activities, indicated by a letter.
History of Modern Art: personalities, styles and contests (2024/2025)
Teaching code
4S010513
Teacher
Coordinator
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
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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