29007 - Renaissance Art in Europe (1) (2nd cycle)

Learning outcomes

The course aims to consolidate a basic knowledge of the main events of the Renaissance in Europe and of the issues raised by the Renaissance and to train the student in the methodologies and skills that are necessary in interpreting and classifying artistic documents.

Course contents

The course is dedicated to fresco decorations in Emilia between the fifteenth and sixteenth centuries and is divided into two modules: the first, taught by Daniele Benati, will concern «Episodes of fresco painting in Emilia from Francesco del Cossa to Amico Aspertini», and the second, taught by Irene Graziani, will be on «Decorative cycles in Emilia from “maniera moderna” to the Carracci Reform».

Classes begin on 5 February 2015 (the second module begins on 9 March 2015).

Course Women Painters in Western History of Arts, Master GEMMA: "Contenuti utili" in Sito Web Irene Graziani.

Readings/Bibliography

A) General course:

Students are required to study the chapters in the course books concerning the fifteenth and sixteenth centuries (from the late Gothic to the Carracci Reform). The recommended texts for the course are:

- Giuliano Briganti, Carlo Bertelli e Antonio Giuliano, Storia dell'arte italiana, Milano, Electa, 1986 (and later editions);

- P. De Vecchi e E. Cerchiari, Arte nel tempo, Milano, Bompiani, 1991 (and later editions)

Additional materials may be selected in agreement with the teacher of the course.

B) Monographic component:

12 credit course: in addition to the general course reading (A), the students are required to study one text (or group of texts), choosing a theme from each of the two following modules (bibliography will be given before the beginning of the course).

B1) «Episodes of fresco painting in Emilia from Francesco del Cossa to Amico Aspertini»

- Salone dei Mesi, Palazzo Schifanoia in Ferrara: Aby Warburg, Arte e astrologia nel palazzo Schifanoja di Ferrara (1922), Abscondita, Milano 2006; Roberto Longhi, Officina ferrarese (1934), Firenze, 1956, in part. pp. 23-47; Andrea Bacchi, Francesco del Cossa, Edizione del Soncino, Soncino 1991;

- Melozzo da Forlì: Melozzo da Forlì. L'umana bellezza tra Piero della Francesca e Raffaello, a cura di Daniele Benati e Mauro Natale, catalogo della mostra (Forlì), Silvana ed., Milano 2011;

- Oratorio di Santa Cecilia in Bologna: Daniela Scaglietti, La cappella di Santa Cecilia, in Il Tempio di San Giacomo Maggiore in Bologna, a cura di Carlo Volpe, Bologna, 1967, pp. 133-146; Amico Aspertini 1474 - 1552. Artista bizzarro nell'età di Dürer e Raffaello, a cura di Andrea Emiliani e Daniela Scaglietti Kelescian, catalogo della mostra (Bologna), Silvana ed., Cinisello Balsamo (Milano), 2008.

 

B2) «Decorative cycles in Emilia from “maniera moderna” to the Carracci Reform»

- Correggio: Roberto Longhi, Il Correggio e la camera di San Paolo a Parma, Siglaeffe, Genova, 1956 (e successive edizioni); Correggio, catalogo della mostra (Parma), a cura di Lucia Fornari Schianchi, Skira, Milano, 2008.

- Cicli decorativi, Palazzo Poggi in Bologna: L'immaginario di un Ecclesiatico. I dipinti murali di Palazzo Poggi, a cura di Vera Fortunati e Vincenzo Musumeci, Compositori, Bologna 2000; Antonio Pinelli, La bella maniera. Artisti del Cinquecento tra regola e licenza, Einaudi, Torino 1993.

- Annibale Carracci: Carlo Volpe, Il fregio dei Carracci e i dipinti di Palazzo Magnani in Bologna, Credito romagnolo, Bologna, 1972; Annibale Carracci, catalogo della mostra (Bologna e Roma), a cura di Daniele Benati e Eugenio Riccòmini, Electa, Milano, 2006.

6 credit course:

In addition to the general course (A), students are required to choose one of the two modules (B1 o B2).

Teaching methods

Lectures and site visits.

Assessment methods

Written and oral examination.

Students will be assessed in two ways:

- by means of a written text concerning the general context which will have the objective of testing the student's knowledge of the socio-artistic fabric with reference to the fifteenth and sixteenth centuries (preparation will be provided by the course lectures supplemented by coursebook study). This exam will involve the projection of ten images of sixteenth century works of art. Each image will be screened for 5 minutes during which time the candidate must fill in a profile indicating the work's historical context and, if possible, the name of the artist. The candidate may repeat the test but a poor result will not prevent admission to the oral test, although it will count towards the final result.

- by means of an oral examination in which the candidate is required to engage in critical analysis based on the course reading.

Evaluation

The written test will be marked as follows:

- Correct image recognition (artist, subject, date, place of storage, short critical reading of its iconographic aspects, historical context and stylistic characteristics): on a scale of 1 to 3 points;

- Incorrect identification or failure to identify the image: zero points.

The pass mark is 18/30.

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. The written test counts for a third of the final mark (10/30).

The written exam can be sat whenever there is an oral exam session.

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

Teaching tools

Powerpoint projection will be made available to examinees.

Office hours

See the website of Irene Graziani