The course aims to achieve mastery in knowledges and methods for a high education degree in art history,  so to be able to be employed in teaching and in every possible application of the master's degree in art history.

The first part of the course (36 hours, beginning in the first half of the academic year) aims to educate at recognizing artistics' manners, underlining  differences and similarities, with their  exclusive and recurring characters, in order to let students became able at recognizing artists and their works.

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 second part of the course (36 hours in the second semester) takes account of an artist who is also an important aspect of stylistic variations, Girolamo Genga. His artistic manner and career is an emblematic 'anticlassical' reaction to the great 'classical' Renaissance lesson as created especially by Raphael.

Genga, anyway, was a typical Renaissance artist: draftsman, painter, architect: he will allow us to focus a very symptomatic example, which still deserves to be studied and deepened.

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.

The second part of the course will consider the works, especially drawing and painting by Girolamo Genga, studyng them on basis of attribution, documents, sources and modern studies, tryng to rebuild his particular context in which the Renaissance's lesson stimulate many different and also unorthodox reactions, as especially in Mannerist culture and languages.

Visiting Museums and meetings with external scholars within the course itself

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.

Teaching

Lectures (front lessons) with projections and visits to museums.

Attendance

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.

As regards Girolamo Genga:

A.M. Petrioli Tofani, La "Resurrezione" del Genga in S. Caterina a strada Giulia, in Paragone, XV (1964), 177, pp. 48-58; Id., Una predella giovanile di Girolamo Genga, in Festschrift Ulrich Middeldorf, Berlin 1968, pp. 206-212; Id., Per Girolamo Genga, in ‘Paragone’, XX (1969), 229, pp. 18-36; Id., Per Girolamo Genga, II, ibid., 231, pp. 39-56; F. Sricchia Santoro, Ricerche senesi, II, Il palazzo del magnifico Pandolfo Petrucci, in ‘Prospettiva’, 1982, n. 29, pp. 24-31; A.M. Petrioli Tofani, in Urbino e le Marche prima e dopo Raffaello (catal.), a cura di M.G. Ciardi Dupré Dal Poggetto - P. Dal Poggetto, Firenze 1983, pp. 355-358, 362 s.; L. Arcangeli, Genga, Girolamo, in La pittura in Italia. Il Cinquecento, Milano 1988, II, pp. 724 s.; F. Sricchia Santoro, Girolamo Genga, inDomenico Beccafumi e il suo tempo (catal.), Milano 1990, pp. 254-265; A. Morandotti, Girolamo Genga negli anni della pala di S. Agostino a Cesena, in Studi di storia dell'arte, 1993, 4, pp. 275-290; M. Grasso, Genga, Girolamo, in Dizionario Biografico degli Italiani - Volume 53 (2000);F. Rinaldi,Girolamo Genga as a Draftsman, in 'Master Drawings' vol. 52, n. 1, 2014, pp. 3-58;  A.M. Ambrosini Massari, L'altra strada per Roma: Girolamo Genga appunti di viaggio, in corso di pubblicazione (eventualmente fornito dalla docente, se non ancora stampato).

Assessment

Oral examination

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Attendance

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.

As regards Girolamo Genga: A.M. Petrioli Tofani, La "Resurrezione" del Genga in S. Caterina a strada Giulia, in Paragone, XV (1964), 177, pp. 48-58; Id., Una predella giovanile di Girolamo Genga, in Festschrift Ulrich Middeldorf, Berlin 1968, pp. 206-212; Id., Per Girolamo Genga, in ‘Paragone’, XX (1969), 229, pp. 18-36; Id., Per Girolamo Genga, II, ibid., 231, pp. 39-56; F. Sricchia Santoro, Ricerche senesi, II, Il palazzo del magnifico Pandolfo Petrucci, in ‘Prospettiva’, 1982, n. 29, pp. 24-31; A.M. Petrioli Tofani, in Urbino e le Marche prima e dopo Raffaello (catal.), a cura di M.G. Ciardi Dupré Dal Poggetto - P. Dal Poggetto, Firenze 1983, pp. 355-358, 362 s.; L. Arcangeli, Genga, Girolamo, in La pittura in Italia. Il Cinquecento, Milano 1988, II, pp. 724 s.; F. Sricchia Santoro, Girolamo Genga, inDomenico Beccafumi e il suo tempo (catal.), Milano 1990, pp. 254-265; A. Morandotti, Girolamo Genga negli anni della pala di S. Agostino a Cesena, in Studi di storia dell'arte, 1993, 4, pp. 275-290; M. Grasso, Genga, Girolamo, in Dizionario Biografico degli Italiani - Volume 53 (2000);F. Rinaldi,Girolamo Genga as a Draftsman, in 'Master Drawings' vol. 52, n. 1, 2014, pp. 3-58;  A.M. Ambrosini Massari, L'altra strada per Roma: Girolamo Genga appunti di viaggio, in corso di pubblicazione (eventualmente fornito dalla docente).

Not attending students will add also:

A. Morandotti, Girolamo Genga negli anni della pala di S. Agostino a Cesena, in Studi di storia dell'arte, 1993, 4, pp. 275-290

and 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

Assessment

Oral examination

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.