|Lecturer||Office hours for students|
|Anna Maria Ambrosini Massari||Wednesday at 17; by appointment|
Assigned to the Degree Course
|Date||Time||Classroom / Location|
The course aims to educate to knowledge and recognition of styles: artists' manners, the style of an artistic movements, of a period; underlining differences and similarities, with their exclusive and recurring characters, in order to let students became able at recognizing artists and their works, pursuing the course's aims with the help of every artistic language as fundamental for a complete mastery of communication.
The Language of art forms considered as the content opens to understand the context and history that make it possible: recognizing artistic manners means knowing the development of art history from its most direct expression: the language of forms.
Such language, on the other hand, it is also the main connection of art as a historical sequence with the much more complex world and broadened contemporary production: design, fashion, advertising and media expression
The course is organized by referring to basic manuals of history of art, which will be addressed by selecting works and themes, periods and currents, to locate twists and turns of artistic styles.
Lessons includes exercise in recognition and attribution of works of art, in particular through the comparison between works of an artist, more than an artist, various artists from different cultural areas and so on.
The course will reference a history ranging from the dawn of the Renaissance to contemporary, obviously with an appropriate selection of works and themes of historical and artistic developments and anthropological symptomatic.
Visiting Museums and meetings with external scholars within the course itself
Learning Achievements (Dublin Descriptors)
Students will demonstrate mastery of basic knowledge concerning the identification of works of art and artists in their time, school, territory, knowing how to evaluate quality, comparisons with similar and different works, in order to reach a mature ability to read works and their contexts
Students will demonstrate an understanding of problems and will provide examples based on the models learned to recognize and compare the works, they should be able to identify places, history and quality of the works even at a first reading of them and in addition they should be able to give a huge historical and critical interpretation.
The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it
Visits to museums and public and private collections.
Didactics, Attendance, Course Books and Assessment
Lectures (front lessons) with projections and visits to museums.
Attendance is strongly recommended.
- Course books
A Handbook of Art history from the Renaissance to the contemporary era, even among those used in high school, as, for example,N. Frapiccini, N. Giustozzi, La geografia dell'arte, edizioni Ulrico Hoepli, Milano 2006, (with multiple reprints). Reproductions of texts and images may be provided by the professor.
Additional Information for Non-Attending Students
Follow the not attending additional information and lists of texts.
- Course books
A Handbook of Art history from the Renaissance to the contemporary era, even among those used in high school, as, for example,N. Frapiccini, N. Giustozzi, La geografia dell'arte, edizioni Ulrico Hoepli, Milano 2006, (with multiple reprints).
Reproductions of texts and images may be provided by the professor.
Not attending students will add one choice of the following texts:
Antonio Pinelli, La bella maniera, Torino, Einaudi, (1993), ed. 2003
Hugh Honour, Neoclassicismo, Torino, Einaudi, 1980
Antonio Pinelli, Nel segno di Giano. Passato e futuro nell'arte europea Tra Sette e Ottocento, Roma, Carocci, 2000.
Edward Lucie Smith, L'arte simbolista, Milano Mazzotta 1978.
G. Briganti, I pittori dell'immaginario, Arte e rivoluzione pasicologica, Milano, Electa (1977), 1989.
Robert Rosenblum, Trasformazioni nell'arte. Iconografia e stile tra Neoclassicismo e Romanticismo, Roma, Carocci, 2002.
A. Ottani Cavina, Il Settecento e l'antico, in Storia dell'arte italiana, Torino Einaudi 1982, vol. 6**, pp. 599-660.
Francis Haskell, Le metamorfosi del gusto. Studi su arte e pubblico nel XVIII e XIX secolo, Torino, Bollati Boringhieri, 1989.
Matthew Kraske, Art in Europe 1700-1830, Oxford, Oxford University Press, 1997.
Hugh Honour, Il Romanticismo, Torino, Einaudi, 2007.
Stefano Susinno, L'Ottocento a Roma. Artisti, cantieri, atelier tra età napoleonica e Restaurazione, Milano, Silvana Editoriale, 2009.
Linda Nochlin, Il realismo nella pittura europea del XIX secolo, Torino, Einaudi, 2003.
Meyer Schapiro, L'impressionismo. Riflessi e percezioni, Torino, Einaudi, 2008.
T. J. Clark, The Painting of Modern Life. Paris in the Art of Manet and His Followers, Princeton, Princeton University Press, 1999.
Kirk Varnedoe, Una squisita indifferenza: perche l'arte moderna è moderna, Milano, Leonardo, 1990.
G. Previtali, La Fortuna dei Primitivi dal Vasari ai Neoclassici, Einaudi, Torino (1964), 1989.
G. Romano, Verso la maniera moderna: da Mantegna a Raffaello, in Storia dell’arte italiana, VI, 1, Einaudi, pp. 3-85.
N. Dacos, Le Logge di Raffaello : l’ antico, la bibbia, la bottega, la fortuna, Milano, Jaca Book 2008.
G. Previtali, La periodizzazione della storia dell’arte italiana, in Storia dell’Arte Italiana,Einaudi, Torino 1979, I, Questioni e Metodi, pp. 5-95
F. Zeri, La percezione visiva dell’Italia e degli italiani, Einaudi, Torino (1976), 1989
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