OVERVIEW

The course deals with the perception of the work of art of the modern age through the centuries with an investigation into language, taste and methods of approach through the production of artistic literature and the progressive phenomenon of exhibitions.

AIMS AND CONTENT

LEARNING OUTCOMES

Teaching provides general information on the main methods of historical-artistic research over the centuries. This part will be carried out with a brief theoretical framing and the presentation of examples. The preferred course will be the perception of figurative language, proceeding from the way of reading the work in historiography of Renaissance and Baroque and reaching the applications on the sides of connoisseurship and stylistic analysis within the formalistic and philological tendencies matured in the context of criticism European twentieth century. In particular, the various reading modes will be addressed for the purpose of the recognition of authors, schools and cultural areas, from the use of the notebook to the photographic medium. Lastly, the phenomenon of exhibitions and historical exhibitions will be further explored as a tool for the definition of critical nodes and cognitive contributions and in relation to the evolution of taste between the eighties and the twentieth century, with particular regard to the city of Genoa.

AIMS AND LEARNING OUTCOMES

At the end of the course, the student must:

- know the historiographic production of the authors treated in class

- know the evolution of the phenomenon of art exhibitions

- understand the basic dynamics of the critical approach to the work of art over the centuries

- apply knowledge and understanding by reading a critical text of medium difficulty

PREREQUISITES

A fundamental requirement will be knowledge of the main dynamics of the history of modern art acquired through high school studies.

TEACHING METHODS

The course includes:

- frontal lessons with the help of PowerPoint presentations (or PDF).

- reading and commenting, within the lessons, of parts of historiographical texts

Participation in the lessons is highly recommended.

It is also recommended to register for the course on aul @ web to receive information and to download the teaching material viewed during the lessons.

SYLLABUS/CONTENT

The teaching aims to provide an overview of the critical perception of the work of art of the modern age from the Renaissance to the twentieth century.

Therefore, through the succession of periodizations, some 'reading paths' will be faced in search of the point of view of contemporaries.

We will insist on the artistic nomenclature, on the formula of biographic medallions, on the typology of periegetics, on the Baroque and Enlightenment literature, on the use of notebooks by connoisseurs to reach, between the nineteenth and twentieth centuries, the practice of connoisseurship with its prominent representatives .

The phenomenon of the exhibitions of the early twentieth century will constitute the final 'path' of reading the work of art. Genoese figurative culture will often be used to exemplify some of the issues addressed.

RECOMMENDED READING/BIBLIOGRAPHY

The following are elements of study for the preparation for the oral examination:

A) FOR ATTENDING STUDENTS

1) the contents of the lessons (viewable through the powerpoints shown in the classroom and uploaded to aulaweb)

2) G.C. Sciolla, Studiare l’arte. Metodo, analisi e interpretazione delle opere e degli artisti, Torino, Utet, 2010

3) F. Haskell, La nascita delle mostre. I dipinti degli antichi maestri e l’origine delle esposizioni d’arte, Milano, Skira, 2008.

4) A text chosen from:

• R. Longhi, Carlo Braccesco, a cura di S. Facchinetti, Parma, Ugo Guanda Editore, 2008.
• M.J. Friedlander, Il conoscitore d’arte, Torino, Einaudi, 1955.
• M. Baxandall, Pittura ed esperienze sociali nell’Italia del Quattrocento, Torino, Einaudi, 1978
• G. Previtali, La fortuna dei Primitivi dal Vasari ai Neoclassici, Torino, Einaudi, 1989.
• B. Agosti, Giorgio Vasari. Luoghi e Tempi delle Vite, Milano, Officina Libraria, 2016.
• C. Gauna, La Storia Pittorica di Luigi Lanzi. Arti, storia e musei nel Settecento, Roma, Leo S. Olschki, 2003.

B) FOR NON ATTENDING STUDENTS

Non-attending students, who have not been able to follow the contents of the lessons, will have to prepare themselves on the following texts:

• La storia delle storie dell’arte, a cura di O. Rossi Pinelli, Torino, Einaudi, 2014. (Le seguenti pagine: pp. 3-19; pp. 20-37; pp. 65-84; pp. 98-126; pp. 131-142; pp. 180-198; pp. 210-215; pp. 244-274; pp. 285-296; pp. 320-381)

• G.C. Sciolla, Studiare l’arte. Metodo, analisi e interpretazione delle opere e degli artisti, Torino, Utet, 2010

• F. Haskell, La nascita delle mostre. I dipinti degli antichi maestri e l’origine delle esposizioni d’arte, Milano, Skira, 2008.

TEACHERS AND EXAM BOARD

Exam Board

DANIELE SANGUINETI (President)

MARCO CASAMURATA

LAURA STAGNO (Substitute)

LESSONS

LESSONS START

- teaching start date: 17 February 2021
- lesson times: Wednesday 9-11 and Thursday 15-17

Class schedule

READING TRAILS OF THE WORK OF ART

EXAMS

EXAM DESCRIPTION

Learning is assessed through an oral test in the form of an interview during which the student will have to demonstrate that he has understood at least three examples (resulting from related questions) of highlights in the history of perception of artistic facts or founding texts of artistic historiography from the fifteenth to the twentieth century.

Then the student will illustrate, by arguing, the deepening consisting of the choice of an essay listed in the appropriate section of the item Texts / Bibliography.

ASSESSMENT METHODS

The assessment method of ascertaining the degree of learning achieved takes into account the following value scale:
in the event that the student, through expressive mastery, will demonstrate that he has deeply understood the periodizations addressed and the topics presented in class through an organic vision, the exam will be assessed with marks between the excellent and the excellent (from 28 to 30 with honors);
exclusively mnemonic knowledge (therefore lacking a deep understanding), superficial analysis and correct but not always appropriate language will lead to an evaluation between good (25-27) and satisfactory (23-24);
an approximate knowledge, a superficial understanding and inappropriate expressive modalities can be considered sufficient (18-22);
training gaps, inappropriate language, lack of orientation within the bibliographic materials and the topics presented in class will be assessed negatively.

Exam schedule