26025 - Women Painters In Western History Of Arts

Learning outcomes

The class is intended to deepen the knowledge of themes, protagonists and events of European painting from the fifteenth to the end of the eighteenth centuries. By the end of the class, the students should have improved their abilities to read an artwork in formal, stylistic, iconographic and technical terms, and to understand its relationship with the historical, religious and cultural context.

Course contents

The course will consider the Emilian Modern painting. The course consists of two teaching modules: the first one, taught by Prof. Daniele Benati, will examine the Emilian Renaissance painting, the second one, taught by Dr. Irene Graziani, will analyse the Bolognese painting from the Bentivoglio age to the Counter-Reformation period.

Course start: February 1, 2017 (second module: March 6, 2017)

Course timetable

First module (Daniele Benati)

Wednesday, 15-17

Thursday, 15-17

Friday, 15-17

Second module (Irene Graziani)

Monday, 9-11

Tuesday, 9-11

Wednesday, 9-11

The program of the course Women painters in Western History of Arts of GEMMA Master can be found on the teacher’s web site, in the section useful contents.

Readings/Bibliography

A) Institutional part (for both 12 and 6 CFU)

Students has to know the chapters of an Art History textbook from the fifteenth to the eighteenth centuries (from Late Gothic to Neoclassicism). The following textbooks are recommended:

• Giuliano Briganti, Carlo Bertelli, and Antonio Giuliano, Storia dell'arte italiana, Milan, Electa, 1986 (and reprints)
• P. De Vecchi, E. Cerchiari, Arte nel tempo, Milan, Bompiani, 1991 (and reprints)

If you would like to use other textbooks, please contact the teacher.

For 12 CFU: you should add to A) two books for each module (B1 and B2: three books).

B) Monographic part:

B1) «The Emilian Renaissance painting» (two books)

The following book:

§ Francesco Arcangeli, Corpo, azione, sentimento, fantasia. Naturalismo ed espressionismo nella cultura artistica emiliano-bolognese: lezioni 1967-1970, a cura di Vanessa Pietrantonio, con un’introduzione di Vera Fortunati, Bologna, Il mulino, 2015 (essay by Vera Fortunati and lessons by Francesco Arcangeli concerning artists from Amico Aspertini to Ludovico Carracci; it is recommended to include the lessons concerning Giuseppe Maria Crespi).

One book chosen from the following:

§ M. Lucco, La pittura a Bologna e in Romagna nel secondo Quattrocento, in La pittura. Il Quattrocento, a cura di F. Zeri, Electa, Milano, 1987, pp. 240-255, e A. Bacchi, Francesco del Cossa, Soncino 1991

§ C. Volpe, Tre vetrate ferraresi e il Rinascimento a Bologna, in “Arte antica e moderna”, 1, 1958, pp. 23-37, e D. Benati, Un Rinascimento rustico e fiero. Il Quattrocento a Bologna, in Da Bononia a Bologna. Percorsi d’eccellenza nell’arte bolognese, a cura di G. Pellinghelli, Allemandi, Torino, 2012, pp. 77-83 (N.B.: entrambi questi testi sono reperibili tra i Materiali didattici del Modulo);

§ Amico Aspertini, 1474-1552: artista bizzarro nell'età di Dürer e Raffaello, exhibition catalogue (Bologna 2008), edited by Andrea Emiliani, Daniela Scaglietti Kelescian, Milano 2008

B2) «The Bolognese painting from the Bentivoglio age to the Counter-Reformation period» (two books)

The following book:

§ Francesco Arcangeli, Corpo, azione, sentimento, fantasia. Naturalismo ed espressionismo nella cultura artistica emiliano-bolognese: lezioni 1967-1970, a cura di Vanessa Pietrantonio, con un’introduzione di Vera Fortunati, Bologna, Il mulino, 2015 (essay by Vera Fortunati and lessons by Francesco Arcangeli concerning artists from Amico Aspertini to Ludovico Carracci; it is recommended to include the lessons concerning Giuseppe Maria Crespi).

One book from the following:

§ Lavinia Fontana (1552-1614), exhibition catalogue (Bologna 1994), edited by Vera Fortunati, Milano 1994

§ Annibale Carracci, exhibition catalogue (Bologna 2006), edited by Daniele Benati and Eugenio Riccòmini, Bologna 2006

For 6 CFU: you should add to A) only one module chosen from B1 and B2.

Teaching methods

Lectures and tours guided by the teacher.

Assessment methods

Students will be assessed in two ways

• by means of a written text concerning the general context which will have the objective of testing the student's knowledge of the socio-artistic fabric with reference to the fifteenth to eighteenth centuries (preparation will be provided by the course lectures supplemented by textbook study). This exam will involve the projection of ten images of works of art. Each image will be screened for 5 minutes during which time the candidate must fill in a profile indicating the work's historical context and, if possible, the name of the artist. The candidate may repeat the test but a poor result will not prevent admission to the oral test, although it will count towards the final result.
• by means of an oral examination in which the candidate is required to engage in critical analysis based on the course readings.

Evaluation

The written test will be marked as follows:

- Correct image recognition (artist, subject, date, place of storage, short critical reading of its iconographic aspects, historical context and stylistic characteristics): on a scale of 1 to 3 points;

- Incorrect identification or failure to identify the image: zero points.

The pass mark is 18/30.

Evaluation of the oral examination will follow the usual principle of judging excellence to mean evidence of a solid artistic and historical grounding and of a mature critical awareness. The written test counts for a third of the final mark (10/30).

During the oral examination, students must demonstrate to have acquired a critical understanding of the topics discussed during the course and a critical knowledge of the recommended bibliography.

After completing the course the student will be able:

• To know the features of artwork in early modern period

• Identify and analyze the most significant works

• Develop personal reflections

• Demonstrate a critical understanding of the various issues discussed

• Use correct terminology

The achievement of a comprehensive vision of the issues, the possession of a specific language, the originality of the reflection as well as familiarity with artwork analysis tools will be evaluated with marks of excellence. Knowledge mostly mechanical or mnemonic of matter, a capacity of synthesis and analysis articulated or not, an use of proper language but not always appropriate, as well as a school domain of the arguments of the course will lead to fair valuations. Training gaps or use inappropriate language, as well as a lack of knowledge of the arguments will lead to votes that will amount on the sufficiency threshold. Training gaps, inappropriate language, lack of orientation within the bibliography and inability to analyze will be evaluated negatively.

The written exam can be sat whenever there is an oral exam session.

The assessment procedure is the same for students who attend or do not attend lectures.

Teaching tools

Lectures with digital slides, which will be made available for students.

Office hours

See the website of Irene Graziani