To possess a basic knowledge of the principal texts
written by artists, connoisseurs and scholars; to acquire the main tools for
situating artistic culture in time and space.
In accordance with the Dublin Descriptors, the
objectives of the course are:
1) Knowledge and Understanding of the principal
methodologies of historical, literary and philological analysis; knowledge of
artistic phenomena and material culture from antiquity to the contemporary
period, and the ability to understand the main methodologies of art-historical
analysis; historical knowledge within the broad field of cultural heritage,
both tangible and intangible, and the ability to relate cultural history to
ancient and modern art;
2) Applying Knowledge and Understanding: the ability
to contextualise archaeological and art-historical monuments and artefacts
within their respective periods of production, structuring effective arguments
in the light of the sources for art history; the ability to conduct
bibliographic and archival research useful for reconstructing the specific
context in which a cultural object was produced;
3) Making Judgements: autonomy in collecting and
evaluating data and in developing concepts useful for reconstructing different
cultural contexts, past or present, including reflection on the various
cultural, social, epistemological and ethical issues;
4) Communication Skills: the ability to communicate
orally and in writing, effectively and appropriately, to both specialist and
general audiences, using registers suited to each recipient;
5)
Learning Skills: to acquire the competence necessary to carry out documentation
tasks and in-depth studies in specific fields autonomously; the ability to
access bibliographic sources, both printed and digital, and the principal
reference tools.
Elements of Art Literature (5 CFU):
-
G. Perini, Letteratura artistica, in Dizionario della pittura e dei pittori,
Torino, Einaudi, 1992, vol. III, pp. 190-199;
-
D. Levi – G. Mazzaferro, La nuova letteratura artistica. 1. Dalla tarda
antichità alla fine del Quattrocento, Bologna, Zanichelli, 2026, pp.
XV, p. 304, ISBN 978-88-08-99915-3;
-
F. Bologna, La coscienza storica dell’arte in Italia,
Torino, UTET, 1982, solo i capitoli: V. Le
Italie del Cinqucento “né solamente per una via sola, ma per diverse e fra sé
dissomiglianti” e VI. Dalle
“scuole” seicentesche al “sistema di scuole” di Luigi Lanzi”, pp.
74-169;
-
R. Longhi, Proposte per una critica d’arte,
“Paragone”, 1, 1950, pp. 5-19, ora in R. Longhi, Critica d’arte e buongoverno, Edizione delle opere complete,
vol. XIII, Firenze, Sansoni, 1985, pp. 9-20;
-
V. Pinto, Le diverse ragioni delle opere d’arte,
“Rivista di estetica”, XL, 2000, 13, pp. 86-109.
The Legend of the Artist (4 CFU) :
- R. e M. Wittkower, Nati sotto Saturno. La figura dell’artista dall’antichità alla
Rivoluzione francese, Torino, Einaudi, 1968, pp. XVI, p. 372.
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).
The teachers undertake, within
the limits of the financial resources, to ensure as far as possible that a copy
of the adopted texts is available in the departmental library or (in the case
of hard-to-find texts, articles and essays) to make them available on Studium,
in accordance with the applicable copyright laws.
