21680 - History of Art Techniques

Learning outcomes

At the end of the course, the student will have a deep knowledge of the different executive techniques of works of art, the cultural foundations to be able to proceed with any restoration. Through the study of the evolution over time of several art techniques, the student, will investigate the relationships between the history of the taste and the history of restoration. In particular, the student will be able to determine what materials are used for the realization of the support and the image of work of art, the first step to determine the conditions of conservation.

Course contents

The course is divided into two modules:

The first one, aims to provide the opportunity to study and learn about the history of artistic techniques through the study of ancient literature and sources of direct observation of several case studies, focusing in particular on the noblest of Italian pictorial practices, the "fresco". An incredible journey through two millennia of history of frescoes will start from the Roman wall paintings at Pompei and Ercolano, continues with the Byzantine churches of Puglia, and then again with the investigation into the practice used by the great masters of the Medieval Age, of the Renaissance and the Modern age. Particular attention will be given to the study of the relationship between sinopia and frescoes, between preparatory drawing and the final implementation on wet plaster. The second part of the course will be dedicated to the mural paintings created by the most important Italian masters of the "great and long age of the fresco". Students will have the opportunity to study the works of art thanks to the photos taken at significant historic sites. In the sixteen hours spent in the lab, students will be able to study walls and frescoes relating to an empirical approach that aids knowledge of the different pigments and binders (and of the different techniques and styles). A few hours will be dedicated to the study of mosaic technique in the Middle Ages and the Renaissance and will be discussed in a uninterrupted relationship with mural painting practice.

The second module will be a general framework of the expert techniques for the processing of metal alloys and glass materials used for artistic production from the origins to the present age. The lessons will cover the technological development of the processing of constituent materials based on the progress of production in different territorial and cultural contexts. The artistic techniques will be analyzed with the study of historical sources considering the recognition of the main technological elements. This analysis is important to understand the difference between techniques of shaping, manufacturing, production defects or forms of decay.

Readings/Bibliography

First part:

Historical sources: MARCO VITRUVIO POLLIONE, De Architectura, ed. cons. con trad. a cura di L. Migotto, Einaudi, Torino, 1999; PLINIO IL VECCHIO, Naturalis historia, ed. cons. Storia delle arti antiche, libri XXXIV-XXXVI, trad. a cura di S. Ferri, BUR, Milano, 2000; C. CENNINI, Il libro dell'arte, a cura di F. FREZZATO, con la prefazione di G. BONSANTI, Neri Pozza, Vicenza 2009; G. VASARI, Le vite dei più eccellenti pitturi, scultori et architettori, Firenze 1568, ed cons., Einaudi, Torino, 1995, Vol. I (solo l'introduzione dedicata alle tecniche, le Teoriche), pp. 43-88; G. B. ARMENINI, De' veri precetti della pittura, Ravenna 1587, ed. cons. Einaudi, Torino 1988

Manuals: C. Z. LASKARIS, Artes e technes. Introduzione allo studio storico delle tecniche artistiche, UTET, Torino, 2023, pp. 15-52; S. RINALDI, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX), Roma, Carocci, 2011, pp. 13-46; 53-80; 92-103; 109-161; 169-201; 239-256; C. GIANNINI, Materiali e procedimenti esecutivi della pittura murale, Firenze, 2009; P. e L. MORA, P. PHILIPPOT, La conservazione delle pitture murali, ICCROM, Bologna 1999, pp. 1-21, 69-85, 102-173,392-442; L. VLAD BORRELLI, La pittura murale nell’antichità. Storia, tecniche, conservazione, Roma, Viella, 2015, pp. 16-18; 53-58; 58-59; 70-102; C. BAMBACH, Drawing and Painting in the Italian Renaissance workshop. Theory and practice, 1300-1600, New York, 1999, pp. 33-248; P. POGLIANI, C. SECCARONI, Il Mosaico parietale, trattatistica e ricette dall’ Alto Medioevo al Settecento, Nardini Editore, Firenze 2010, pp. 9-73.

  

Second part (curated by Prof. Laura Rivaroli):

C. MALTESE, Le tecniche artistiche, Milano, Mursia, 1973 (o un'edizione successiva) Volume d'insieme sulle componenti fisiche e sulla genesi materiale dei manufatti d'interesse artistico. Parte prima - La figurazione tridimensionale. 1. Scultura. Parte seconda - La figurazione piana. 11. Pittura; 12. Mosaico; 13. Tarsie; 14. Vetrate. F. NEGRI ARNOLDI, Il mestiere dell'arte. Introduzione alla storia delle tecniche artistiche, Napoli, Paparo Edizioni, 2001 CASTELNUOVO, Vetrate medievali, Milano 1994; C. BRISAC, Le vetrate: pittura e luce: dieci secoli di capolavori, Milano, Mondadori, 2002. SCOTT, D. A. Copper and bronze in art: corrosion, colorants, conservation. Getty publications, 2002. SINGER, C. et al. Storia della Tecnologia: le civiltà mediterranee e il medioevo, vol. II, 1961.

Teaching methods

During the lessons the professor will show slides to the students to introduce them to the visul knowledge of the works of art and ancient techniques. Lectures will be complemented by visits to museums and art galleries and public or private laboratories of restoration, and restoration sites.

Assessment methods

The exam will consist of an interview in order to check the understanding of the topics discussed in the lectures and the texts in program by the student (divided in two parts, institutional and monographic).A brief dissertation about the subjects discussed during the course.

The result of the exam will be: insufficient in case of linguistic and expressive deficiencies, as well as of missed or erroneous comment to the texts; sufficient in case of correct linguistic expression, possession of basic historic and artistic knowledge and understanding of subject in its chronological development; good in case of correct linguistic expression and knowledge of the texts and authors; excellent in case of excellent expressive ability, and in-depth knowledge of the texts and authors.

Teaching tools

• Color/black and white slides
• Visits to museums and public collections
• Educational videos curated by the teacher for RAI-CULTURA (https://www.raiplay.it/programmi/isegretidelcolore)
• Visits to public and private restoration laboratories
• Visits to restoration sites
• Meetings with experts of subject and restorers

 

Students who are affected by learning disability (DSA) and in need of special strategies to compensate it, are kindly requested to contact the Teacher, in order to be referred to the colleagues in charge and get proper advice and instructions.

Students with learning disorders and\or temporary or permanent disabilities: please, contact the office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students ) as soon as possible so that they can propose acceptable adjustments. The request for adaptation must be submitted in advance (15 days before the exam date) to the lecturer, who will assess the appropriateness of the adjustments, taking into account the teaching objectives.”

 

Office hours

See the website of Luca Ciancabilla

See the website of Laura Rivaroli