HISTORY OF MEDIEVAL ART

This is one of the interdisciplinary courses (C) that are part of the master’s degree programme in Economics and administration pf arts and culture. It offers an introduction to the Italian paintings between the 13th and the 14th centuries. By means of movements and artists, it intends to investigate the works of art in their contexts and in a transversal way. It focuses on works that are considered to be paradigmatic of an epoch.

The course allows students to acquire the fundamental knowledge in history of Medieval art and develop the necessary ՚skills to familiarize with artistic production of the period. Students are expected to be able to analyze some of the main works of Art and gain a basic understanding of the methods and aims of art historical study.

No specific skills are required.

Types, techniques, function, iconography, style and patronage in the Italian Painting from the Middle Age (XIII-XIV centuries).
The painted Crucifix and the early panels.
Siena and its visual World.
Giotto and the Florentine school.

Fred S. Kleiner (ed. by), Gardner’s Art through the Ages. A Global History, vol. I, Sixteenth Edition, 2018, or G. Cricco, F. P. Di Teodoro, Itinerario nell’Art. Ediz. Gialla, vol. 2, Zanichelli, Bologna, 2016, pp. 741-863.
D. Cooper, The making of Assisi: the Pope, the Franciscan and the Painting of the Basilica, New Haven, Yale University, 2013, pp. 55-182.
S. Romano, Giotto’s O, Viella History, Art and Humanities Collection, 1, 2015, pp. 129-251 and illustrations.
C. Cennini, The Book of the Art, chapters 26-156.

An article of your choice among:
M. Ciatti, “The Typology, Meaning, and Use of Some Panel Paintings from the Duecento and Trecento”, in V. M. Schmidt (ed. by), Italian panels of the Duecento and Trecento, London, 2002, pp. 15-29.
L. Bellosi, “The Function of the Rucellai Madonna in the Church of Santa Maria Novella”, in V. M. Schmidt (ed. by), Italian panels of the Duecento and Trecento, London, 2002, pp. 147-159.
D. Cooper, “Redifining the Altarpiece in Early Renaissance Italy: Giotto’s Stigmatization of Saint Francis and its Pisan Context”, Art History, issue 4, vol 36, 2013, pp. 687-708.
D. Norman, “ʻSotto uno baldachino trionfale՚: the ritual significance of the painted canopy in Simone Martini’s Maestà”, Renaissance Studies, vol. 20, n.2, 2006, pp. 147-160.

The preparation is checked by means of an oral exam on the content of the course integrated by the referral texts.

Teaching is provided through lectures with the aid of visual material.

English

oral