11382 - History of Medieval Art

Learning outcomes

This course addresses European Art and, mostly, Italian Art produced between the fourth and the fifteenth century. At the end of this course students should possess the tools to read a work art from a stylistic and iconographic perspective, with particular attention to the historical context.

Course contents

The course involves an overview of the basics of art history in Europe from the fourth to 1492. However, it is also aimed at stimulating students to reflect on their own cultural identity, on the components of culture in which they take part and that they use while utilizing their thinking. Students are invited to address working materials in relation to this personal search.

Classes will be centered on the theme of mural decoration in painting and mosaic, analyzing the esthetic and cultural motivations of the changes happened in this field during the long course of the Middle Ages.

During the course, medieval art will be also addressed in relation to contemporary culture, in the attempt to identify categories that are instrumental in clarifying one’s own point of view and, moreover, the importance of a single object of medieval art as an epistemological metaphor.

Finally, part of the course will be dedicated to the figural culture of the fourteenth century, the “visual culture” of the time, evaluating which categories of thinking and ways of seeing may be compatible with the image produced on the threshold that divides the Middle Ages from the Modern Era.

Readings/Bibliography

For the first part of the course, the reference book (specifically the chapters regarding the period between the fourth and the fourteenth century):

- P.L. De Vecchi – E. Cerchiari, Arte nel tempo, edito da Bompiani, vol. I, tomi I-II;

Further readings will be indicated in class.

Students who do not attend the lectures are expected to study also the following books:

- L. Bellosi, Buffalmacco e il trionfo della morte, Torino, Einaudi, 1974.

- J. Baschet, L'iconografia medievale (2008), Milano, Jaka Book, 2014.

Teaching methods

Generally, lectures will take place in class with the aid of visual materials.

Assessment methods

The final examination will verify the fulfillment of the following learning objectives:

• knowledge of the topics and of the critical methodology discussed in class or studied in the literature;
• ability to use critical tools when examining a given image;
• ability to understand one's own critical opinion in relation to the historiographical debate. This ability is based on the assumption that our critical opinion is inevitably conditioned by our cultural views.

The exam will be exclusively in the form of an oral examination, which is evaluated in %30. It will be based on the images discussed in the books provided in the reading list or in class. Students should identify the works of art, demonstrate an understanding of their chronological, geographical and historical context, discuss their relationship with other works of art. For this reason, students are expected to bring their own books on the day of the exam.

Following the Alma Mater's guidelines, notably:

• the demonstration of an organic vision of the themes addressed in class or in books indicated in the reading list as well as of the critical use, command of oral expression and specific vocabulary, will be assessed with marks of excellence (28-30).
• mechanical and/or mnemonic knowledge of the subject, scarce ability of synthesis and analysis and/or the use of a correct but not always appropriate vocabulary will lead to discrete assessments (23-27).
• training gaps and/or inappropriate vocabulary - even in conjunction with a minimal knowledge of the subject - will lead to marks that will not exceed the minimum grade (18-22).
• training gaps, inappropriate vocabulary, lack of command of the bibliography discussed within the course will lead to negative evaluations.

Teaching tools

Exam materials and further readings can be found on AMS Campus - Materiali Didattici.

Office hours

See the website of Alessandro Volpe