73760 - Foundations of the Modern History of Art

Learning outcomes

At the end of the course the student should be able to orientate himself in the main problems and research paths of the art of these centuries, and to recognize and comment on the works of the outstanding artists of the different movements.

Course contents

The course is divided into two modules:

In the first, will outline the most significant events of figurative culture in Italy in the seventeenth century: starting with the naturalistic revolution of the Carracci and of Caravaggio, until the Baroque Rome and the contribution that European artists of the caliber of Rubens, Velazquez, Rembrandt and Vermeer, gave to the painting of the seventeenth century. An in-depth study on Guercino and his atelier is expected.

The second module focuses on Raphael's career in Rome and the artists active in the circle of Pope Clement VII and King Francis I of France, with particular attention to the work of Rosso Fiorentino, Primaticcio, and Benvenuto Cellini. The focus will be on the decorative projects and bronze statuary that characterized the figurative culture of two of the most important European courts in the first half of the 16th century.

Readings/Bibliography

First part:

Tomaso Montanari, Il Barocco, Torino, Einaudi 2012.

Rubens e la nascita del barocco, a cura di Anna Lo Bianco, Venezia, Marsilio, 2016, catalogo della Mostra tenuta a Milano nel 2016-2017.

S. Salort Pons, Velázquez e l'Italia, in Velázquez, catalogo della mostra, Palazzo Ruspoli, Fondazione Memmo, a cura di Felipe V. Garín Llombart, Salvador Salort Pons, Milano, 2001, pp. 52-83.

Guercino nello studio, a cura di B. Ghelfi, R. Morselli, Dario Cimorelli Editore, Milano 2023.

Second part:

Raffaello a Roma : restauri e ricerche, a cura di Antonio Paolucci, Barbara Agosti, Silvia Ginzburg, Città del Vaticano, 2017.

André Chastel, Il sacco di Roma (1527), Torino 1983 (e successive ristampe).

G. Mariacher, Storia dell'arte in Italia. La scultura del Cinquecento, Torino, UTET, 1987, pp. 128-136 (Fontainbleau e la maniera italiana; Benvenuto Cellini).

C. Falciani, La galleria di Francesco I a Fontainebleau, in Rosso Fiorentino: ritorno in Francia, catalogo della mostra (Parigi), a cura di M. Bietti, Torino, 2014, pp. 93-100.

Teaching methods

The course will be composed by lectures, group works and visits.

Assessment methods

The final exam consists of an oral test. Discussion of textbook (the history of art from late Fifteenth to early Nineteenth century); one text chosen by the student among the optional essays.

In particular:

1. Those students who show developed analytical skills of selected readings and their correct contextualization within a complete vision of the issues discussed during lectures will be given a mark of excellence. Mastering of field-specific language and good expression during the examination will also be required (A =28-30 con lode).

2. Those students who show mnemonic knowledge of the subject and a superficial analysis of selected readings, as well as a correct but not always appropriate mastering of the field-specific language will be given a satisfactory mark (B = 25-27 and C = 23-24).

3. Those students who will show vague knowledge and superficial understanding of selected readings, limited analytical skills and a not always appropriate expression will be given a ‘pass’ mark roughly (D = 18-22).

4. Those students who show gaps in their knowledge and lack of familiarity with selected readings will not be given a ‘pass’ mark (E).

Teaching tools

Lectures with digital slides.

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 Barbara Ghelfi