|
A survey of Early Christian and Medieval Art in Italy and Western Europe from its origins in the Late Roman Empire through the Fourteenth century, focusing on major monuments, architectures, sculptures, mosaics, paintings, and other manufacts. |
|
There are no formal qualifications required to study this course, except a reading knowledge of Italian language |
|
The main aim of the course is to equip you to understand works of art in their context.
Within it, you’ll explore different methodological approaches, including stylistic, formal and iconographical analysis in order to acquire critical skills. |
|
The course provides a broad survey of the history of art in a period of one thousand years (fourth to fourteenth centuries) from the Early Christian period through the Byzantine, Caroligian, Romanesque and Gothic periods. Attention is given to developments in all aspects of the visual arts, with emphasis on painting, sculpture, architecture; particular attention is given to the 13th-14th Italian painting from Cimabue and Duccio da Buoninsegna through Giotto and his followers. Throughout, monuments and artworks will be placed in their appropriate social, historical and patronal contexts. |
|
P. De Vecchi, E. Cerchiari, Arte nel Tempo. Dalla preistoria al Medioevo, Bompiani editore, Milano 1995 (o ristampe successive), Vol. I (Tomo I: capitoli IV e V – Tomo II: tutto). Other recommended essays: B. Brenk, La simbologia del potere, in I Normanni, popolo d’Europa 1030-1200, catalogo della mostra, (ed. M. D’ONOFRIO), Venezia 1994, pp. 193-98; - M. D’Onofrio, Il panorama dell’architettura religiosa, in I Normanni cit., pp. 199-207; - H.-R. Meier, I palazzi residenziali di Palermo, in I Normanni cit., pp. 221-27; - M. Andaloro, I mosaici siciliani in I Normanni, cit, pp. 255-261; - E. Kitzinger, Mosaic Decoration in Sicily under Roger II and the Classical Byzantine System of Church Decoration, in Italian Church Decoration of the Middle Ages and Early Renaissance. Functions, Forms, and Regional Traditions. Ten Contributions to a Colloquium Held at the Villa Spelman, Florence 1987, a cura di William Tronzo, Bologna 1989, pp. 147-165. |
|
Le esercitazioni proposte sono di due tipi:
a) esercizi di autovalutazione (denominati “esercizi di verifica”) finalizzati alla verifica delle conoscenze acquisite nello studio e nella visione di un gruppo di videolezioni.
b) esercizi sottoposti a valutazione da parte del tutor, finalizzati ad acquisire gli strumenti per la lettura di un’opera e stimolare l’approccio critico alle problematiche affrontate durante il corso attraverso
- la lettura ed analisi di un’opera d’arte
- l’analisi e confronto di due opere d’arte
- la stesura di un elaborato scritto su uno dei temi del corso |