RESEARCH METHODOLOGY FOR THE HISTORY OF ART II

The teaching, framed among the related subjects, aims to provide a general but sound understanding of the methodology of art history. Through its internal articulations, the course will retrace the events and the main modalities that, during the 20th century, have led the history of art to be constituted as a modern scientific discipline, within the human sciences, highlighting the salient themes of the debate from the Second World War to the first decades of the 21st century. This will allow students to acquire, in their broad outlines, a few general issues, such as the connections between art and society, the temporality of forms, new proposals for iconographic investigation, connections with anthropology and semiotics, and connections with Cultural and Visual Studies.

The development of art-historical methodology between the 19th and 20th centuries

Expected learning outcomes:
- knowledge, understanding, and possible application of the approaches, methods, and tools, with particular reference to the field of the Early Modern Age, identified in the art history of 19th and 20th century
- acquaintance with the main academic and scientific experiences, nationally and internationally, which have marked the art history from the Second World War till the beginning of the 21st century
- acquisition of adequate terminology for a better understanding of the development of art-historical events

For curricula that include both classes, it is recommended to take this exam after the Modern Art History exam

History and art history;
Art history and human sciences;
Iconologies of the 20th century;
Art history and semiotics;
Art history, Visual and Cultural Studies

Lecture notes
G.C. Sciolla, La critica d’arte del Novecento, Torino, Utet Libreria, 1995 (e successive ristampe), capp. VII-XIII
a text of your choice (only in the parts indicated in the lesson) among the following:
Erwin Panofsky, Il significato delle arti visive, 1955, tr.it. Torino, Einaudi, 2010;
George Kubler, La forma del tempo. La storia dell'arte e la storia delle cose, 1962, tr.it. Torino, Einaudi, 1976 (e successive ristampe);
Ernst H. Gombrich, A cavallo di un manico di scopa, 1963, tr.it. Torino, Einaudi, 1971;
John Shearman, Arte e spettatore nel Rinascimento italiano. "Only connect …", 1982, tr.it. Milano, Jaca Book, 2009;
Svetlana Alpers, Arte del descrivere. Scienza e pittura nel Seicento olandese, 1983, tr.it. Torino, Bollati Boringhieri, 1984;
Michael Baxandall, Forme dell'intenzione. Sulla spiegazione storica delle opere d'arte, 1985, tr.it. Torino, Einaudi, 2000;
Francis Haskell, Le metamorfosi del gusto: Studi su arte e pubblico nel XVIII e XIX secolo, 1987, tr.it. Torino, Bollati Boringhieri, 1989;
Hans Belting, Antropologia delle immagini, 2001, tr.it. Roma, Carocci, 2013;
Juri M. Lotman, Il girotondo delle muse. Semiotica delle arti, Milano, Bompiani, 2022;
Meyer Schapiro, Per una semiotica del linguaggio visivo, Roma, Meltemi, 2002;
David Freedberg, Il potere delle immagini. Il mondo delle figure: reazioni e emozioni del pubblico, 1989;
Gottfried Boehm, La svolta iconica, a cura di Maria Giuseppina Di Monte e Michele Di Monte, Roma, Meltemi, 2009.

Written exam, of four open-ended questions; only the first session will include a specific test, also written, for those attending.

Lectures, with the projection of images.

Italian

written

This subject deals with topics related to the macro-area "Human capital, health, education" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development