Learning objectives
At the end of the course the student will be familiar with the outline of the History of Contemporary Art from the mid-1800s to the end of the 1900s.
Through the reading of documentary and literary sources, critical texts and supplementary educational activities (guided tours), the student will acquire the basic tools to understand and communicate with specific terminology artistic research offering food as a subject, nutrition as a field of study power, employing edible material as a medium of expression; the student will also be able to understand the evolution of narrative models and the languages adopted in graphic production intended to determine the image of the food industry.
Prerequisites
For the specificity of the topics discussed attendance is strongly recommended, especially to students who come from higher studies in which History of Art is not among the subjects taught.
Course unit content
An outline of the History of Contemporary Art from the mid-1800s to the end of the 1900s.
Identification of artistic expression using images of food and food as a medium of expression.
Through case studies, identification of narrative models and languages adopted in graphic production intended to define the image of the food industry.
Full programme
Realism and Impressionism; Reality in Italy: from sketch to Pointillism; After Impressionism; The Nature of Still Life; Art Nouveau and graphics advertising; Expressionism; Cubism and Le cubisme culinaire of Guillaume Apollinaire, 1913; Futurism and Futurist Cooking; Futurism and advertising: the case Fortunato Depero; Image of food in the advertising tale of Leonetto Cappiello, SEPO (Severo Pozzati), Federico Seneca, Erberto Carboni, Armando Testa; Bauhaus and the culture of the project; from Metaphysics to Surrealism; Europe-America: the Art of World War II; Pop art and the image of food; Daniel Spoerri: from the Trap-pictures to Eat art.
Bibliography
For students who have attended lectures:
• History of Art Manual:
Giulio Carlo Argan, “Cap. II La realtà e la coscienza” (the following parts: “L’Impressionismo”, “La fotografia”, “L’architettura degli ingegneri”; Courbet, Manet, Sisley, Monet, Renoir, Degas) and “Cap. III L’Ottocento in Italia, in Germania, in Inghilterra”, in L’Arte moderna. Dall’Illuminismo ai movimenti contemporanei, Firenze, Sansoni, 1989;
Gillo Dorfles, Angela Vettese, Arti visive. Il Novecento. Protagonisti e movimenti, Vol. III tomo A, Bergamo, Atlas, 2006.
• notes and course materials (slides and texts discussed during the lectures and provided by the lecturer).
For students who haven’t attended lectures:
• History of Art Manual:
Giulio Carlo Argan, “Cap. II La realtà e la coscienza” (the following parts: “L’Impressionismo”, “La fotografia”, “L’architettura degli ingegneri”; Courbet, Manet, Sisley, Monet, Renoir, Degas) and “Cap. III L’Ottocento in Italia, in Germania, in Inghilterra”, in L’Arte moderna. Dall’Illuminismo ai movimenti contemporanei, Firenze, Sansoni, 1989;
Gillo Dorfles, Angela Vettese, Arti visive. Il Novecento. Protagonisti e movimenti, Vol. III tomo A, Bergamo, Atlas, 2006.
• The following texts:
Peter Weiermair (ed. by), La natura della natura morta. Da Manet ai nostri giorni, catalogue of the exhibition, Bologna, Galleria d’Arte Moderna, 1 December 2001 – 24 February 2002, Milano, Electa, 2001 (the following parts: Renato Barilli, “Le metamorfosi della natura morta”, pp. 22-25; Samuel Vitali e Uliana Zanetti, “Rinascite e trasformazioni della natura morta nella contemporaneità. Un itinerario”, pp. 26-49);
Claudia Salaris, Cibo futurista. Dalla cucina nell’arte all’arte in cucina, Roma, Stampa alternativa, 2000;
Daniel Spoerri presents Eat Art, catalogue of the exhibition, Paris, Galerie Fraîch’Attitude, 11 June - 13 November 2004, Paris, Aprifel, 2004;
Federico Seneca, catalogue of the exhibition ed. by Francesco Milesi, Fano, Chiesa di S. Maria del Suffragio, 25 July - 26 September 1998, Fano, Fondazione Cassa di Risparmio di Fano, 1998 (the following part: Arturo Carlo Quintavalle, “Federico Seneca ‘Pittore cubista’ ”, pp. 13-20)
Teaching methods
Lectures for which attendance and active participation of students are recommended; supplementary educational activities (guided tours) useful for deeper knowledge of the topics covered.
Assessment methods and criteria
Written examination consisting of three open-ended questions based on the program. The final score is calculated based on the arithmetic mean of the marks obtained in each answer. For attending students tests are planned in itinere, according to the same mode of verification, with the possibility to split the program into two parts.
