96400 - Phenomenology of Medieval and Early Modern Art. Fundamentals (1) (M-Z)

Learning outcomes

By the end of the course the student: is aware of how much medieval and early-modern art is crucial to fully understand our present; is exposed to major trends of Medieval and Renaissance art practices; understands the relation between artistic styles and contemporary ideologies and technical skills within the cultural, political and social context.

Course contents

The examination of 'Phenomenology of Medieval and Modern Art' consists of the following two courses: 'Phenomenology of Medieval and Modern Art. Institutions" (prof. Andrea Bacchi) and "Phenomenology of Medieval and Modern Art. Laboratory" (Prof. Donatella Biagi Maino). "Phenomenology of Medieval and Modern Art" is an integrated examination of 12 CFU (6 CFU+6 CFU) for which the examination and assessment of preparation follow the procedures envisaged for an integrated examination, i.e. they must be taken in the same examination session and students must therefore enrol simultaneously for both examinations.


The course of Phenomenology of Medieval and Modern Art intends to examine, through classroom lectures, a crucial moment in art history, namely the birth and affirmation of Baroque art in early 17th century Rome, starting from the arrival in Rome of Annibale Carracci and Caravaggio in the 1590s, up to the full affirmation of Gian Lorenzo Bernini and Pietro da Cortona around the middle of the following century. The course will provide the basic tools to understand the specific features of this new style and the different attitudes of the various artists active in Rome towards these novelties, in a continuous comparison between painting and sculpture.
Below are some of the artists who will be examined

Annibale Carracci

Caravaggio

Adam Elsheimer

Peter Paul Rubens

Guido Reni

Francesco Mochi

Gian Lorenzo Bernini

Pietro da Cortona

Readings/Bibliography

Bibliography:


Rudolf Wittkower, Art and Architecture in Italy 1600-1750 [1958], Yale University Press, New Haven 1999


The following chapters should be studied:


Part One The Transitional Period and the Early Baroque c. 1600 - c. 1625


I Rome from Pope Sixtus V to Pope Paul V


II Caravaggio


III The Carraccis


IV Caravaggio's followers and the Carracci school in Rome


VI Architecture and Sculpture (of this chapter only the section on Sculpture in Rome)



Part Two The Baroque Age c. 1625 - c. 1675


VII Introduction


VIII Gianlorenzo Bernini 1598-1680


X Pietro da Cortona 1596-1669


XI Baroque Classicism: Sacchi, Algardi and Duquesnoy

Teaching methods

Lectures with the aid of projected images.

Assessment methods

The assessment of learning will consist of an oral test in which the candidate's ability to analyse works and contexts will be verified.


The achievement of an organic vision of the themes addressed, the possession of a mastery of expression and specific language, the originality of reflection as well as familiarity with the tools of analysis of medieval and modern art will be assessed with marks of excellence. A largely mechanical or mnemonic knowledge of the subject, an unarticulated ability to synthesise and analyse or language that is correct but not always appropriate, as well as a scholastic grasp of the history of the themes addressed in the programme will lead to fair marks. Formative deficiencies or inappropriate language, as well as a lack of knowledge of the tools for analysing works of art will lead to marks that are on the threshold of sufficiency. Formative deficiencies, inappropriate language, lack of orientation within the bibliography as well as an inability to analyse the themes of the course will only result in negative marks.


The method of examination described is the same for attending and non-attending students.

Teaching tools

Lectures with the aid of image projection

Office hours

See the website of Andrea Bacchi