96401 - Phenomenology of Medieval and Early Modern Art. Laboratory

Learning outcomes

By the end of the laboratory the student: is able to analyze the complexity of the meaning of art; through the analysis of the way historiography discloses its achievements comprehends how, at different levels, medieval and early modern painting, sculpture, and architecture can help his/her own enhancement, can implement the quality of life as well as provide tools for professional improvement.

Course contents

The Exam “Phenomenology of Medieval and Modern Art” is composed of two courses: “Phenomenology of Medieval and Modern Art. Institutions” (Prof. Andrea Bacchi) and “Phenomenology of Medieval and Modern Art. Workshop” (Prof. Irene Graziani). “Phenomenology of Medieval and Modern Art” is an integrated exam of 12 CFU (6 CFU+6 CFU) and the verification and evaluation of the preparation follow the procedures laid down for an integrated exam, i.e. they must be taken in the same session and the students must therefore register simultaneously for both exams.

The ‘Phenomenology of Medieval and Modern Art. Workshop’ will consist of lectures exploring topics related to the course ‘Phenomenology of Medieval and Modern Art. Institutions’, which focuses on a crucial moment in art history: namely, the emergence and establishment in early 17th-century Rome of a new artistic language, termed ‘Baroque’ by late 18th-century critics. We will examine and discuss a number of important essays relating to the work of great masters – painters and sculptors – who, working within that context, contributed through their experimentation to the development of the distinctive characteristics of what is still referred to as ‘Baroque art’.

In particular, the in-depth analysis will focus on the essays listed in the bibliography, which will form the basis of the examination.

Readings/Bibliography

A text of your choice from the following list:

- Giuliano Briganti, Barocco: storia della parola e fortuna critica del concetto, in Enciclopedia Universale dell’Arte, vol. II, Venezia‐Roma, Istituto per la collaborazione culturale, 1958, coll. 345‐359

- Daniele Benati, Annibale Carracci e il vero, in Annibale Carracci, catalogo della mostra (Bologna; Roma), a cura di D. Benati e E. Riccòmini, Milano, Electa, 2006, pp. 18-37

- Roberto Longhi, Caravaggio, ed. a cura di Giovanni Previtali, Editori Riuniti, Roma, 1982 (e successive riedizioni)

- Anna Orrani Cavina, On the Theme of Landscape - II: Elsheimer and Galileo, “The Burlington Magazine”, 1976, 118, 876, 1976, pp. 139-145; insieme a Anna Ottani Cavina, Elsheimer and Galileo, in “The Burlington Magazine”, 119, 1977, pp. 119-120

- Tomaso Montanari, Gian Lorenzo Bernini, Roma, Gruppo editoriale L’Espresso, 2004

- Cesare Gnudi, introductory essay to the exhibition catalogue L’ideale classico del Seicento in Italia e la pittura di paesaggio, Alfa, Bologna, 1962, pp. 3-37 (new ed. in Cesare Gnudi, L’ideale classico, Nuova Alfa Ed., Bologna, 1986, pp. 55-85)

 

Some of the cited texts will be available in the “Teaching resources on Virtuale” of the course.

Teaching methods

Frontal lectures with the help of image projection and tours guided by the teacher; workshop.

The teacher will always be present personally in the indicated classroom during this teaching activity.

Assessment methods

The result of the “Workshop” exam will be averaged with the “Phenomenology of Medieval and Modern Art. Institutions”, held by Prof. Andrea Bacchi.

The assessment of the learning will consist of an oral examination, in which the candidate is required to engage in critical analysis based on the course reading. For students attending lectures, the discussion will take place during the lectures, as part of group work. For non-attending students, the discussion will be individual, during the examination sessions.

Evaluation

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.

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

Students with SLD or temporary or permanent disabilities. It is necessary to contact the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en) with ample time in advance: the office will propose some adjustments, which must in any case be submitted 15 days in advance to the lecturer, who will assess the appropriateness of these in relation to the teaching objectives.

Teaching tools

Ppt images, which will be made available to the student at the end of the course.

Office hours

See the website of Irene Graziani