Learning objectives
The fundamental objective is to explain how to study the main artistic
movements, which requires multiple approaches and different methods
of analysis, although in constant respect for the unity of history (2nd
descriptor). The student must: know how to use the evaluation of mature
knowledge (3rd descriptor); start mastering the correct use of the
disciplinary terminology (4th descriptor); it has been studied in an
autonomous and original way to connect phenomena and to read the
complexity of the history of art (5th descriptor)
Prerequisites
There is no mandatory propedeuticity
Course unit content
The course illustrates the methodology used to study the history of art
and the evolution of artistic language between the twelfth and twentieth centuries
Full programme
History of art from the Middle Ages to the Contemporary: Instructions for
use:
Italian art: Giotto di Bondone
The Florentine Renaissance: Brunelleschi and Donatello
Masaccio's painting
Why Renaissance?
The historical - artistic labels
The Florentine perspective
Shape and iconography
The representation of space
Contemporary: why?
Classic and Neoclassical
Realism
Symbolism
The avant-gardes of the twentieth century and beyond
Bibliography
testo di riferimento:
• Antonio Pinelli, La Storia dell’arte. Istruzioni per l’uso, Bari GLF editori Laterza, 2009.
• Allo studio del libro di Pinelli andrà affiancata quella di UNO a scelta fra i seguenti testi e saggi in elenco:
Alessandro Conti, “L’evoluzione dell’artista”, in Storia dell’arte italiana. Questioni e metodi, a cura di Giovanni Previtali, parte prima Materiali e problemi, vol. II, L’artista e il pubblico, Torino (Giulio Einaudi Editore) 1979, pp. 115-263;
Giovanni Previtali, “La periodizzazione della storia dell’arte italiana”, in Storia dell’arte italiana. Questioni e metodi, a cura di Giovanni Previtali, parte prima Materiali e problemi, vol. I, Questioni e metodi, Torino (Giulio Einaudi Editore) 1979, pp. 3-95;
Enrico Castelnuovo e Carlo Ginzburg, “Centro e periferia”, in Storia dell’arte italiana. Questioni e metodi, a cura di Giovanni Previtali, parte prima Materiali e problemi, vol. I, Questioni e metodi, Torino (Giulio Einaudi Editore) 1979, pp. 283-352;
L. Bellosi, La pecora di Giotto, Milano Abscondita 2015;
L. Bellosi, La rappresentazione dello spazio, in Storia dell’arte italiana,, I. Materiali e problemi,4.Ricerche spaziali e tecnologiche, a cura di Giovan-ni Previtali, Einaudi, Torino 1979pp.
A. Pinelli, Il Neoclassicismo nell'arte del Settecento, Carocci Roma 2005;
A. Pinelli, Primitivismi nell'arte dell'Ottocento, Roma Carocci editore 2005;
L. Nochlin, Realism, Harmondsworth, Penguin Books, 1971 (Il realismo. La pittura in Europa nel XIX secolo, trad. it. di G. Scattone, Torino, Einaudi, 1979, 1989)
M.G. Messina, Le muse d'oltremare. Esotismo e primitivismo dell'arte contemporanea, Torino, Einaudi, 1993
V. Farinella, S. Panichi, L’eco dei marmi. Il Partenone a Londra: un nuovo canone di classicità, Milano Donzelli 2003
M.C.Bandera – E. Fadda (a cura di), R. Longhi – G. Prezzolini, Lettere (1909 – 1927), Parma Mup, 2011
Assessment methods and criteria
The assessment will take place through an oral exam lasting about 20-30
minutes. During the examination, images and reference texts can be
shown. Students will have the texts adopted with them.The evaluation
will consist of an oral test, inherent specifically i
topics covered in the course and those included in the recommended
bibliography. A question will be on a topic chosen by the candidate. A fail
is determined by the lack of an understanding of the minimum content of
the course, the inability to express oneself adequately, by a lack of
autonomous preparation, the inability to solve problems related to
information retrieval and the decoding of complex texts, as well as an
inability to make independent judgments. A pass (18-23/30) is
determined by the student’s possession of the minimum, fundamental
contents of the course, an adequate level of autonomous preparation and
ability to solve problems related to information retrieval and the decoding
of complex texts, as well as an acceptable level of ability in making
independent judgments. Middle-range scores (24-27/30) are
assigned to the student who produces evidence of a more than sufficient
level (24-25/30) or good level (26-27/30) in the evaluation indicators
listed above. Higher scores (from 28/30 to 30/30 cum laude) are awarded
on the basis of the student’s demonstration of a very good or excellent
level in the evaluation indicators listed above
