OVERVIEW

The course of History of Medieval Art aims to offer a synthetic but complete picture of the artistic production in the Italian, European and Mediterranean area between the beginning of the IV and the end of the XIV century (around 313-1401), that is from the age of Constantine up to the international Gothic and the origins of the Florentine Renaissance included.

AIMS AND CONTENT

LEARNING OUTCOMES

The courseof History of Medieval Art aims to provide students with a historical panorama of the arts of Western and Byzantine Europe between the early Christian age and the beginning of the fourteenth century

AIMS AND LEARNING OUTCOMES

The course of History of Medieval Art aims to offer a picture of the artistic production in Western and Byzantine Europe between the beginning of the IV and the end of the XIV century (around 313-1400), that is from the age of Constantine up to the international Gothic, with extensive references to the production of other civilizations, such as the Islamic one, which from the 7th century AD they appeared on the Mediterranean scene.

Main objectives of the course are:

to introduce students to the characters, the typical and specific functions of artistic production over the centuries that are defined as "Middle Ages";

to make them understand the role - specific, irreplaceable and in every particular epoch - that this production has played, also as an instrument of communication and symbolic domination, in the single periods and geographical areas indicated above, as well as its relationship with the other aspects of dialectics political, social, cultural, mentality and religious beliefs and practices.

In addition to this knowledge, the course also aims to promote individual methodological skills in students: analyzing and discussing, decoding, the messages conveyed by the work of art; in reading the material characteristics, iconographic and stylistic techniques of the most varied medieval artistic artefacts.

All with the general cultural purpose of bringing each student to understand these artifacts as documents of history and cut and as communication tools of complex and multi-faceted social, political and institutional settings.

PREREQUISITES

Basic notions of Euro-Mediterranean medieval history, history of literature and philosophy are required as prerequisites within the limits set by upper secondary school programs

TEACHING METHODS

Frontal lessons with use of powerpoints and projections of images and videos;

itinerant lessons in the form of a guided visit to the places and main buildings of medieval Genoa.

Participation in the lessons is strongly recommended.

The material shown in class will be available to students: on the classroom computer where the lessons will take place; at the lecturer, during office hours. Please note that, given the amount (over 4 gigabytes) of the material provided, students will have to verify that they have a fairly large external mobile memory.

All students (even non-attending students), in order to be constantly informed about lectures, laboratories, educational outings, conferences and other cultural initiatives relevant to the specific training purposes of the Course, MUST enroll in aul@web

Enrollment in Aul@Web is particularly useful in case of emergencies or unforeseen events (postponement of student-receptions or initiatives due to force majeure, for example)

SYLLABUS/CONTENT

Program for students who use teaching for 6 credits

Early Christian art: monuments and artistic artefacts. Rome, Milan. Ravenna
Lombard art: Pavia, Castelseprio, Cividale
The art of the Carolingian and Ottonian age
Italy and Europe between the 11th and 12th centuries: monasteries, pilgrimages, roads
Architecture, sculpture and city in Italy in the 12th century
Architecture of the thirteenth century between Europe and Italy
Painting of the thirteenth century in Italy
Sculpture in Italy from Frederick II to the early fourteenth century
Painting and sumptuary arts in the Italian artistic centers between the Two and Three hundred: Rome, Assisi, Florence, Siena
Avignon and the "International Gothic"

Program for students who use teaching for 9 cfu

Early Christian art: monuments and artistic artefacts. Rome, Milan. Ravenna
Lombard art: Pavia, Castelseprio, Cividale
The art of the Carolingian and Ottonian age
Italy and Europe between the 11th and 12th centuries: monasteries, pilgrimages, roads
Architecture, sculpture and city in Italy in the 12th century
Architecture of the thirteenth century between Europe and Italy
Painting of the thirteenth century in Italy
Sculpture in Italy from Frederick II to the early fourteenth century
Painting and sumptuary arts in the Italian artistic centers between the Two and Three hundred: Rome, Assisi, Florence, Siena
Avignon and the "International Gothic"
Between Italy and Europe in the early fifteenth century: sumptuary arts, painting, sculpture

Program for students who use teaching for 12 credits

Early Christian art: monuments and artistic artefacts. Rome, Milan. Ravenna
Lombard art: Pavia, Castelseprio, Cividale
The art of the Carolingian and Ottonian age
Italy and Europe between the 11th and 12th centuries: monasteries, pilgrimages, roads
Architecture, sculpture and city in Italy in the 12th century
Architecture of the thirteenth century between Europe and Italy
Painting of the thirteenth century in Italy
Sculpture in Italy from Frederick II to the early fourteenth century
Painting and sumptuary arts in the Italian artistic centers between the Two and Three hundred: Rome, Assisi, Florence, Siena
Avignon and the "International Gothic"
Between Italy and Europe in the early fifteenth century: sumptuary arts, painting, sculpture
Genoa in the 12th-13th century: urban planning, architecture, sculpture

Participation in the course is open to all students enrolled in the course
Laboratory (25 hours, 1 cfu) of "Sculpture and painting of the Middle Ages: reading and attribution. Methods and exercises",
edited by Dr. Aurora Corio.
Schedule, schedule, timetable and classroom will be announced in one of the first lessons

RECOMMENDED READING/BIBLIOGRAPHY

Bibliography for 6 cfu

Antonio PINELLI, Le ragioni della bellezza. 2. Dalla Tarda Antichità a Giotto, Loescher Editore, Torino, 2012 (EDIZIONE ROSSA)

Bibliography for 9 cfu

FOR ALL:

Antonio PINELLI, Le ragioni della bellezza, 2, Dalla Tarda Antichità a Giotto, Torino, Loescher, 2012 (EDIZIONE ROSSA PER L'UNIVERSITA') ; integrato (per l'ultimo punto del programma) da: Elena CERCHIARI, Pierluigi DE VECCHI, Arte nel tempo, Milano, Bompiani, 1991 (e successive edizioni) , II volume, primo tomo
 

ONE from the following three books:

Enrico CASTELNUOVO, Arte delle città, arte delle corti tra XII e XIV secolo, Einaudi (PBE, ns), Torino, Einaudi,  2009;
Carlo TOSCO, L' architettura medievale in Italia 600-1200, Il Mulino, Bologna, 2016;
Michele TOMASI, L'arte del Trecento in Europa, Einaudi (PBE Arte 4), Torino, Einaudi, 2012.

Bibliografia per gli studenti che utilizzano l'insegnamento per 12 cfu

FOR ALL:

Antonio PINELLI, Le ragioni della bellezza, 2, Dalla Tarda Antichità a Giotto, Torino, Loescher, 2012 (EDIZIONE ROSSA); integrato (limitatamente all'ultimo argomento del programma) da: Elena CERCHIARI, Pierluigi DE VECCHI, Arte nel tempo, Milano, Bompiani 1991 (e successive edizioni), volume I, secondo tomo.

ONE from the following three books:

Enrico CASTELNUOVO, Arte delle città, arte delle corti tra XII e XIV secolo, Einaudi (PBE, ns), Torino 2009;
Carlo TOSCO, L' architettura medievale in Italia 600-1200, Il Mulino, Bologna, 2016;
Michele TOMASI, L'arte del Trecento in Europa, Einaudi (PBE Arte 4), Torino, Einaudi, 2012.

THE FOLLOWING TWO TEXTS

1. Clario DI FABIO, voci Genova; Genova. Architettura; Genova. Scultura, in Enciclopedia dell'Arte Medievale, VI, Roma 1995, pp. 499 -523 (on line: http://www.treccani.it/enciclopedia/genova_%28Enciclopedia-dell%27-Arte-Medievale%29/

2. Genova nel Medioevo. Una capitale del Mediterraneo al tempo degli Embriaci, catalogo della mostra (Genova, Museo di Sant'Agostino) a cura di Clario DI FABIO, Piera MELLI, Loredana PESSA, Genova, Sagep, 2016, pp. 54-69 (only the mentioned pages)

TEACHERS AND EXAM BOARD

Exam Board

GIANLUCA AMERI (President)

CLARIO DI FABIO (President)

FRANCESCA GIRELLI

MARTINA SCHIRRIPA

LESSONS

LESSONS START

Lessons start on Monday, September 16th, 2019, at 4 pm.

Class schedule: Monday, 4 to 6 pm; Tuesday, 4 to 6 pm; Thursday, 9 to 11 am

Class schedule

HISTORY OF MEDIEVAL ART

EXAMS

EXAM DESCRIPTION

The exam is oral.

The student is invited first to present and discuss a topic, a problem, a work of art of his choice (within the programme); the Commission will then invite him to recognise, identify and place chronologically one or more works of art (among those available on manuals and texts in adoption) and/or to treat a theme, a problem, a concept, a phenomenon, an artifact or a typology of artifacts, an artist, a field, always within the programme.

Each student will come to the exam with his/her own manuals and other textbooks, as well as images in USB flash drive)

ASSESSMENT METHODS

The exam is oral and includes the use of textbook images and those used in class, made available to students.
Evaluation concerns knowledge and skills.

The following will occur:

the ability to respond in compliance with and consistency with the proposed question;

the ability to discuss the contents expressing specific linguistic knowledge;

the specific knowledge of the topics covered;

the ability to analyze images; to refer them to an artist and / or an era and to argue the judgment;

the ability to broaden the analysis by correlating artistic products and historical-cultural phenomena, in the broadest sense of the term.

Based on the degree of achievement of this knowledge and skills, grades above the threshold of sufficiency will be assigned.

Regarding the attribution of the votes:

1. To achieve excellence (grades ranging from 28 to 30 with honors), the candidate must reveal excellent general knowledge, comprehension skills of expression: marked ability to analyze the proposed artifacts, with the ability to establish links also of an interdisciplinary nature; availability and aptitude for discussion and deepening, in-depth and organic vision of problems;

2. an acceptable but predominantly mnemonic knowledge, a superficial analysis and a correct but not always appropriate language will lead to a satisfactory evaluation (good marks from 25 to 27 inclusive) and votes (from 23 to 24);

3. a sometimes incomplete knowledge, a superficial understanding, an intermittent ability to analyze, discuss and place chronologically and historically the proposed artistic documents, simplistic or approximate expression modalities can be evaluated sufficient (18-22);

4. obvious and extended gaps in poor knowledge, understanding, analysis, inappropriate language, lack of reference points regarding the historical-formal location of the works and the topics presented in class will be evaluated negatively.

Exam schedule

FURTHER INFORMATION

Please note: Each student will have to carry to the exam his/her own manuals and textbooks, as well as his own image-folders in USB flash drive.
 

Please note: No receptions on Tuesdays and Thursdays where the exam sessions are fixed.
 

Please note: When  - for educational, managerial or scientific commitments, or for cases of force majeure - the teacher could not make the reception, he will communicate this to students by AULAWEB and/or by a notice placed outside the door of access to the professors offices, at Balbi 4, fifth floor.