85186 - History of Artistic Literature

Learning outcomes

The course covers the history of art histories, i.e. it enables students to deepen their knowledge of what was discussed and disseminated through written form in the cultural and social milieu to which the artist belonged, in the different eras, bearing in mind that each example of artistic literature is the result of a complex process of reflection and is filtered through the dominant currents of thought. By the end of the course the student will achieve a good level of knowledge of the fundamental texts produced by artists, men of letters, scholars and philosophers; they acquire the key tools for the framing of artistic production over time and in different places.

Course contents

Language helps to construct, transmit, and preserve the technical and visual knowledge of art. From this perspective, careful observation—supported by the study of ancient sources and modern technical literature—is certainly a valuable tool for better understanding the paintings and other images that art history has bequeathed to us and continues to bequeath.
On the one hand, the discourse on art will be explored from a theoretical-aesthetic perspective—in particular through the reading of the ekphrases by Philostratus the Elder (a 2nd-century Greek writer)—alongside contemporary technical-scientific literature that investigates works of art as primary and fundamental documentary evidence of art history, incorporating expertise from Art Diagnostics and Technical Art History. On the other hand, attention will be focused on the technical, material, and conservation aspects of polychrome works of art, with particular reference to painting, through an integrated analysis of written sources (e.g., technical treatises, recipe books) that document painting practices and reflections on art.

Readings/Bibliography

All students are required to study the following texts: 

Tutti le studentesse/gli studenti sono tenuti allo studio dei seguenti testi:

Schlosser Magnino J., La letteratura artistica. Manuale delle fonti della storia dell’arte moderna, Firenze, La Nuova Italia, 2004. Online: https://digi.ub.uni-heidelberg.de/diglit/schlosser1956/0467/info,thumbs

Cennini C., Il libro dell’arte, Vicenza, Neri Pozza, 2003, pp. 142-149 e 182-183 (disponibile su virtuale).

Vasari G., Le vite dei più eccellenti pittori, scultori et architettori, Firenze 1568, pp. 43-55. Online: https://books.google.it/books/about/Le_vite_de_piu_eccellenti_pittori_sculto.html?hl=it&id=EYgl-hIAf0sC&redir_esc=y

Armenini G.B., De' veri precetti della pittura, Torino, Einaudi, 1988, pp. 120-147 (disponibile su virtuale).

Filostrato Maggiore, Immagini, introduzione, traduzione e commento a cura di Letizia Abbondanza, Aragno, 2008 (o altre edizioni). Online:https://www.academia.edu/44794761/Letizia_Abbondanza_Filostrato_Eikones_Introduzione_traduzione_e_note_di_Letizia_Abbondanza_Prefazione_di_M_Harari_Savigliano_2008

Malvasia C.C., Felsina pittrice. Vite de’ pittori bolognesi, II, Bologna, 1678, pp. 359-385. Online: https://archive.org/details/felsinapittricev02malv_0/page/n5/mode/2up?q=barbieri

Calvi J.A., Notizie della vita e delle opere del Cavaliere Gioan Francesco Barbieri detto il Guercino da Cento celebre pittore, Bologna 1808, pp. 1-57. Online:https://books.google.it/books/about/Notizie_della_vita_e_delle_opere_del_cav.html?id=Wb4yoXMjSnsC&redir_esc=y

Matteucci C., Cataldo M., Tarantola G., Cotte P., Apicella S. A., “Per conservare lungo tempo la memoria di un quadro”: problemi di conservazione e “ritoccamenti” del Guercino. Il caso del San Francesco che riceve le stimmate di Ferrara, in Con lagrime di giubilo agli occhi. “Guercino e la pittura ferrarese”, a cura di Ghelfi B., Sagep Editori, Genova, 2024, pp. 65-77 (disponibile su virtuale).

Matteucci C., Cataldo M., Tarantola G., Cotte P., Apicella S. A., Madonna con Bambino in trono e donatori di Domenico Panetti: un viaggio tra le tecniche e i materiali del Quattrocento, in «Museoinvita», 13, 2024. Online: https://museoinvita.it/madonna-col-bambino-le-tecniche/

Matteucci C., Cataldo M., Tarantola G., Cotte P., Apicella S. A., Bevilacqua F., Guercino oltre il colore. Indagini conoscitive, in «Storia dell’arte», 157, 2022, pp. 216-240 (disponibile su virtuale).

Le studentesse/gli studenti non frequentanti dovranno studiare integralmente il seguente testo: Schlosser Magnino J., La letteratura artistica. Manuale delle fonti della storia dell’arte moderna, Firenze, La Nuova Italia, 2004. Gli studenti frequentanti, invece, ne studieranno soltanto alcune sezioni, che verranno indicate nel corso delle lezioni.

Teaching methods

The lectures will be supplemented by seminar sessions for attending students, involving active participation. Students will be required to present a letter in class about an artistic object that interested them.

Students with disabilities or specific learning disorders (DSA) who require compensatory tools may inform the lecturer so they can be referred to the relevant contact person to agree on the most appropriate measures.
PowerPoint presentations from the lectures will only be provided to those who attend.

Assessment methods

The oral test, which is open to both non-attending and attending students, consists of an interview designed to evaluate the critical thinking skills acquired by the student, who must demonstrate an appropriate knowledge of the books listed in the syllabus.

1. Students will be assessed on their ability to analyse texts in depth and place them within a broader context. The expressive mastery employed during the interview will also be a key factor.

2. Fair marks will be awarded for mostly mnemonic knowledge, an inability to analyse in depth, and a language that is correct but not always appropriate for the texts to be studied.

3. Superficial comprehension, poor analytical ability, and inadequate expression will lead to little more than adequate marks.

4. Deficiencies in form, inappropriate language and a lack of orientation within the bibliographical material to be studied in the programme will lead to negative assessments.

Teaching tools

Handouts and further reading will be available on the UNIBO platform https://virtuale.unibo.it.

Office hours

See the website of Lucia Corrain