MEDIEVAL ICONOGRAPHY AND ICONOLOGY

Upon graduation, the graduate must have acquired in-depth knowledge on the general issues of the history of art and the conservation of the historical-artistic and architectural heritage. In particular, he will have to know in depth a specific chronological area in artistic history, between the early Christian and medieval ages. They must also have acquired the historical-critical research methodologies applied to the history of the arts. The educational offer intends to achieve these objectives through the construction of a coherent and in-depth training path, through the critical reading of texts and artistic expressions and with an advanced level discussion.

Also through this teaching the student will have to be able to examine and discuss issues related to the different areas and chronological sectors of the history of art, even in interdisciplinary contexts, demonstrating that they know and know how to use different methodological and disciplinary approaches. The knowledge and the ability of their application are ascertained through the interaction with the teachers in charge of the courses, with the disciplinary tutors (where foreseen) and the managers of the internship activities,

It would be preferable if the students already had a fair knowledge of the history of medieval art acquired during the three-year degree course.

The course aims to explain the meaning of images, starting from the early Christian and medieval age, through the identification of the themes, their origin and contextualization in the society to which the works are addressed: not only sacred subjects, but also those profane of secular and religious power, institutional propaganda and the private life of the protagonists. for this reason, literary sources specific to the iconographic field will be analyzed and indispensable for the iconological reading, as well as the identification of related testimonies.

Belting H., Il culto delle immagini. Storia dell’icona dall’età imperiale al tardo medioevo, Roma, Carocci, 2001
Dictionnaire critique d’iconographie occidentale (2003). Barral
Holly M. A., Iconologia e iconografia: saggio sulla storia intellettuale, Milano, Jaca Book, 1993 (sta anche in L'Arte. Critica e Conservazione, Milano, Jaca Book, 1993, pp. 41-74).
Huizinga J., Autunno del Medioevo, con introduzione di Eugenio Garin, Milano, 2009 (VIII ed.).
Mâle E., Le origini del gotico. L’iconografia medioevale e le sue fonti, Milano, Jaca Book, 1986
Panofsky E., Il significato delle arti visive, Torino 1962
Settis S., Iconografia dell'arte italiana 1100-1500: una linea, Torino, Einaudi, 2005
Straten R. von, Introduzione all’iconografia, Milano, Jaca Book, 2009, cap. 1-5, pp. 11-118.

Intermediate tests will be carried out (term papers, reports, seminar presentations), while the final oral exam will include questions on basic notions and the discussion of an iconographic theme proposed and assigned during the lessons.

The lessons include the projection of images relating to specific iconography, with the explanation, through the reading of appropriate sources, of the iconological contents, as well as the identification of the stylistic and technical methods of the individual works. There will be discussions and reading tests with the students themselves

Italian

During the lessons, further bibliographical indications and the use of specific Lexicon or dictionaries will be indicated, necessary for the best knowledge of the proposed topics.

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