HISTORY OF MODERN ART

1) Knowledge and understanding

Students will acquire knowledge of artistic phenomena and material culture of the Modern Age and the ability to understand the main methodologies of historical-artistic analysis.

2) Ability to apply knowledge and understanding

Students will be able to apply the knowledge and analytical skills acquired to the classification and description of monuments and artistic artefacts of the modern age, contextualising them in their respective periods of production.

3) Autonomy of judgment

Students will independently apply the knowledge acquired to the reading of specific artistic objects.

4) Communication skills

Students will acquire a specific technical language essential for the correct communication of historical-artistic knowledge

5) Learning ability

Students will acquire the ability to carry out research in the historical and artistic field and access bibliographic and iconographic sources, both paper and computer.

Lessons will mainly consist of looking at projections of artworks and buildings that will be discussed in relation to the historical and cultural context in which they were produced. Looking at the artworks constitutes a moment shared with students to apply methodologies links to historical-artistic research (iconographic and iconological interpretation, history of the artistic techniques, patronage, stylistic analysis) based on consolidated knowledge of the scientific literature.

Lessons will mainly be taught as lectures.

History and geography of artistic production (Early Modern Art History) in Italy from from 15^th to 18^th century (1450-1750, from Piero della Francesca to Giovan Battista Tiepolo):

• Early Renaissance Italy (Florence, Rome, Rimini, Mantua, Ferrara, Milan, Venice, Naples);
• Renaissance/Maniera Moderna (Leonardo, Michelangelo, Raphael, Titian)
• Mannerism (Pontormo, Rosso, Beccafumi, Bronzino; Giulio Romano and Raphael’s pupils);
• Counter-Reformation;
• Caravaggio and the Caravaggeschi;
• Annibale Carracci and the Bolognese School;
• The Baroque of Gian Lorenzo Bernini, Francesco Borromini and Pietro da Cortona;
• Rococo Art. Giambattista Tiepolo and 18^th century Italian Art.

PART A (7 CFU) – Covering the whole period from the 15^th to the 18t^h century, from renaissance up to and including rococo, it is necessary to study a manual to choose from:

• S. SETTIS, T. MONTANARI, Arte. Una storia naturale e civile, Milano, Mondadori Education-Einaudi Scuola, 2019, vol. III (Dal Quattrocento alla Controriforma), pp. 80-503 and vol. IV (Dal Barocco all’Impressionismo), pp. 2-229.
• P. DE VECCHI, E. CERCHIARI, Arte nel tempo, Milano, Bompiani, 1992 (or later reprint), vol. II, tomo I (Dal Gotico internazionale alla Maniera Moderna), pp. 127-461 and tomo II (Dalla crisi della Maniera al Rococò), pp. 464-787.

 PART B (2 CFU) – in addition to the textbook, reading one of the following volumes:

• Barbara AGOSTI, Paolo Giovio. Uno storico lombardo nella cultura artistica del Cinquecento, Leo S. Olschki, Firenze 2008;
• Maurizio BETTINI, Il ritratto dell’amante, Einaudi, Torino 2008;
• Tomaso MONTANARI, Il Barocco, Einaudi, Torino 2012;
• Antonio PINELLI, La bella maniera. Artisti del Cinquecento tra regola e licenza, Einaudi, Torino 1993 (or later reprint);
• J. SHEARMAN, Arte e spettatore nel Rinascimento italiano. «Only connect…», Jaca Book, Milano 1995 (original edition Princeton 1992);
• S. OSTROW, L'arte dei papi. La politica delle immagini nella Roma della Controriforma, Carocci, Roma 2002 (or later reprint);
• F. ZERI, Pittura e controriforma. L’arte senza tempo di Scipione da Gaeta, Einaudi, Torino 1957 (or later reprint).

Please remember that in compliance with art 171 L22.04.1941, n. 633 and its amendments, it is illegal to copy entire books or journals, only 15% of their content can be copied.

For further information on sanctions and regulations concerning photocopying please refer to the regulations on copyright (Linee Guida sulla Gestione dei Diritti d’Autore) provided by AIDRO - Associazione Italiana per i Diritti di Riproduzione delle opere dell’ingegno (the Italian Association on Copyright).