90612 - Medieval Art in Europe (1) (LM)

Course Unit Page

SDGs

This teaching activity contributes to the achievement of the Sustainable Development Goals of the UN 2030 Agenda.

Quality education Gender equality

Academic Year 2021/2022

Learning outcomes

By the end of the course, students will have acquired knowledge of the European figurative system (painting, sculpture and architecture) from the 5th to the 14th century. Particular emphasis will also be given to the study of liturgical space in different geographical contexts. The course will also focus on the context of the artworks with particular attention to politics, patronage and religious phenomena.

Course contents

 THE CRUX TRIUMPHALIS BETWEEN ITALY AND EUROPE

The Exam Hystory of Art A is composed of two courses: Forms and Functions of Medieval Art (prof. Benati) and Art in Europe in the Middle Age (prof. Massaccesi). Modern Art A is an integrated examination of 12 CFU (6 CFU+6 CFU) for which the verification and evaluation of the preparation follow the procedures laid down for an integrated examination, i.e. they must be taken in the same examination session and the students must therefore register simultaneously for both examinations.

The course aims to investigate the arts through topics that can read the spatial contexts of works of art in their context in a transversal and synchronic way (6th-15th century). For this reason the course is divided into two parts.

The first part (I) will focus on the study of spaces and their furnishings: form and function of works of art (paintings, frescoes, illuminated books) in relation to the liturgy, architecture, accesses and pilgrimage routes. We will study different types of crosses from wooden groups to painted crosses.

The second part (II) will deal in monographic terms with the spatial  restitution of some crosses between Italy and Europe. In addition some buildings like: Westminster Abbey; Canterbury, York, Ely, San Vittore, the cathedral of San Pietro, San Giacomo Maggiore and San Petronio.

Readings/Bibliography

students who will attend classes must study:

Students will have to study, in addition to the personal notes of the lessons, one of the following texts:

Noëlle L. W. Streeton, Kaja Kollandsrud, Paint and Piety: collected Essay on medieval Painting and polychrome Sculpture, Archetype 2014;

Kees van der Ploeg, Art Architecture and Liturgy. Siena cathedral in the Middle Ages, Gronigen 1993.

Anne Prache, La cattedrale. Dalle origini al Gotico, Milano 1999.

Imago Splendida. Capolavori di scultura lignea a Bologna dal Romanico al Duecento, catalogo della mostra, a cura di M. Medica, L. Mor, Milano 2019.

Roberto Bartalini, Il duomo di Siena. La fabbrica, le sculture, i maestri, le dinamiche di cantiere, Milano 2019.

Fabio Massaccesi, San Petronio. Un antipapa, un mercante, gli artisti, Bologna: Bononia University Press, 2020.

Le cattedrali di Durham, Ely, York in: Pevsner, The Cathedral of England, the North and East Anglia, London 2005, pp. 24-72; 73-112;276-325; A History of Ely cathedral, edited by Peter Meadows and Nigel Ramsay, Boydell Press 2003, pp. 3-141.

And one of the following books or essays:

Federico Marazzi, Le città dei monaci. Storia degli spazi che avvicinano a Dio, Milano 2015; La cattedrale scolpita. Il Romanico in San Pietro a Bologna, a cura di M. Medica, Bologna 2003, pp. 49-184; Arredi liturgici e architettura, a cura di Carlo Quintavalle, Milano 2007; in alternativa a uno dei libri si potranno studiare tutti i seguenti articoli/saggi: Paolo Piva, Lo spazio liturgico: architettura, arredo, iconografia, in L’arte medievale nel contesto. 300-1300. Funzioni, Iconografia, Tecniche, a cura di Paolo Piava, Milano 2006, pp. 141-180; Bruno Boerner, Cattedrali gotiche e portali scolpiti. Le connessioni contestuali del culto delle reliquie, in Arte medievale. Le vie dello spazio liturgico, a cura di Paolo Piva, Milano 2012, pp. 219-247; Giuseppa Zanichelli, Codici e arredo liturgico nel Medioevo, in Arredi liturgici e architettura, a cura di Carlo Arturo Quintavalle, Milano 2007, pp. 86-98. Clario di Fabio, In petra e in ligno. Pluralità di competenze e osmosi di stile nei cantieri francesi del primo Duecento: il crocifisso detto Saint-Savre della cattedrale di Amiens, in Medioevo: le officine, a cura di Caro Arturo Quintavalle, Milano 2010, pp. 312-328; C. Freeman, Sacre reliquie. Dalle origini del Cristianesimo alla Controriforma, Torino 211; Fabio Massaccesi, Il corridore della chiesa agostiniana di San Giacomo Maggiore a Bologna: prime ipotesi ricostruttive, in Zeitschritft für Kunstgeschischte, 2014, pp. 1-26.

students who will not attend classes, they will have to study the following two books: 

1 Arredi liturgici e architettura, a cura di Carlo Arturo Quintavalle, Milano 2007; 2 Fabio Massaccesi, San Petronio. Un antipapa, un mercante, gli artisti, Bologna: Bononia University Press, 2020.

The n. 2 can be replaced by one of the following books: 

L’arte medievale nel contesto. 300-1300. Funzioni, iconografia, Tecniche, a cura di P. Piva, Milano 2006; C. Freeman, Sacre reliquie. Dalle origini del Cristianesimo alla Controriforma, Torino 211; Arte medievale. Le vie dello spazio liturgico, a cura di Paolo Piva, Milano 2012; A History of Ely Cathedral, edited by Peter Meadows and Nigel Ramsay, Boydell Press 2003; Imago Splendida. Capolavori di scultura lignea a Bologna da Romanico al Duecento, catalogo della mostra, a cura di M. Medica, L. Mor, Milano 2019.

Teaching methods

Due to the restrictions imposed by the current health emergency, this teaching activity will be carried out in the following manner:

Traditional method: the teacher will always be present personally in the indicated classroom during this teaching activity. The students will alternate their presence, according to a schedule of shifts being defined (more detailed information regarding the shifts and about the modalities to get access to the classroom lessons will be provided soon). It will always be possible to connect remotely and to follow live lessons via the online platform TEAMS.

Assessment methods

Oral examination, with three questions on points I and II of the program.

For attending students, the question will be based on specific questions on the topics about issues discussed during the lessons and on the bibliography. For non-attending students, the question will be based on specific questions on the topics analyzed in the mentioned bibliography.

Teaching tools

Powerpoints, Archiui, Omeka.

Office hours

See the website of Fabio Massaccesi