Studies in Art History

The course focuses on knowledge of the pictorial and mosaic production of the city of Rome and the Patrimonium Sancti Petri, from the pontificate of Gregory VII (1073-1085) to the age of Nicholas III (1277-1280). This period is one of the most significant and original in the history of art of the Italian and European Middle Ages; characterized historically by strong ideological differences between the two most important religious and political institutions of the time: the Church and the Empire. Select mosaic and fresco cycles will be analyzed from different points of view. In particular will be taken into consideration: technical and stylistic aspects, iconographic contents, conservation and restoration issues, on the basis of the most recent critical knowledge available.

The specific nature of the course requires that you have already passed the examination for 'History of Medieval Art'.

Roma 1) H. Toubert, Un’arte orientata: riforma gregoriana e iconografia, a cura di L. Speciale, Milano, 2001, pp. 11-21; 177-228. 2) F. Betti, Corrado di Suburra cardinale vescovo di Sabina e la produzione pittorica a Roma e nel Lazio nella prima metà del II secolo, in “Arte Medievale”, IV s., I (2022), pp. 91-110. 3) La pittura medievale a Roma. 312-1431. Riforma e tradizione, 1050-1198, a cura di S. Romano, Milano, 2006, pp. 15-35; 163-182; 317-325. 4) La pittura medievale a Roma. Il Duecento e la cultura gotica, a cura di S. Romano, Milano 2012, pp. 13-49. 5) A. Iacobini, La pittura e le arti suntuarie: da Innocenzo III a Innocenzo IV (1198-1254), in Roma nel Duecento. L’arte nella città dei papi da Innocenzo III a Bonifacio VIII, Torino 1991, pp. 237-297. 6) A. Iacobini, Roma anno 1200: pittura e mosaico al tempo della IV Crociata, in Saggi e memorie di storia dell’arte, 28, 2004, 33-62. Latium 7) E. Parlato, S. Romano, Roma e Lazio. Il romanico, Milano 2001, pp. 159-193, 227-255.

The exam will be exclusively in the form of an oral examination, which is evaluated in thirtieths. It will be based on the images discussed in the books provided in the reading list or in class. Students should identify the works of art, demonstrate an understanding of their chronological, geographical and historical context, discuss their relationship with other works of art.

Lessons are based on the description and interpretation of works and monuments through the use of powerpoint. During the course the active participation of the students in the reading of the works will be solicited, making use of advanced methodological tools, indispensable for their correct historical and cultural framing.

ART IN THE 14TH CENTURY: CONTEXTS, ARTISTS AND PATRONS The module intends to deepen the study of one of the most fascinating and lively periods of the Middle ages: the XIV century. An era marked by frequent moments of crisis, like the terrible plague of 1348, but also by a quantity and a quality in the artistic production that did not exist in previous centuries. The lessons will present a series of focused insights on contexts, works or particularly significant problems of the artistic production of the century. Firstly, the pictorial "revolution" of Giotto will be taken into consideration, analysing the meaning and function of the Stories of St. Francis in Assisi and of the Scrovegni chapel in the light of the most recent studies. The relationship between the artistic achievements and the needs of the patrons will be the focus of a series of lessons about the mendicant orders and about some particular Italian contexts, i.e the Signorie of Padua and Verona; The Angevin Naples; the Milan of the Visconti. The lessons will also analyse specific problems about the function of the works of art: from polyptychs to the monumental Maestà, from the monument of the saints to the emergence of "landscape painting" in the Siena of the fourteenth century. Course Plan 1. Presentation of the course: chronological and methodological problems. 2. -4. The Friars, the Franciscans and Assisi. 5. Giotto’s revolution. 6.-8. Giotto and the Scrovegni chapel . 9.-10. Panel painting: form and function from the monumental crucifix to the polyptych. 11.-12. Landscape painting “ante litteram” in the Public Palace in Siena: Mappamondo and Pace rooms. 13. Augustinian patronage: the so called “cappellone” in Tolentino. 14. Monuments of the Saint and the Arca of Saint Augustine in Pavia. 15. The second half of the XIV century in Florence: the so called “Cappellone degli Spagnoli” in Santa Maria Novella. 16. The image of the Death. Buffalmacco and the “Camposanto” in Pisa. 17. Guariento, court painter for the Carraresi in Padua. 18. Padua’s Baptistery and the patronage of Fina Buzzacarini: the frescoes by Giusto de’ Menabuoi. 19.The Arche Scaligere: Cangrande I, Mastino II and Cansignorio. 20.-21. The “space” of Altichiero: the patronage of the Lupi di Soragna family in Padua

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Attendance is not mandatory but is strongly recommended. Students who can not follow the lessons are asked to contact the teacher in any case for explanations and suggestions. All over the academic year the professor will be available to receive students following the timetable published online on the University website. Any possible variations or suspensions of office hours will be promptly notified.

The exam will be oral and it will take place at the end of the course (intermediate tests will not be held). The oral exam will be focused on the topics of the programme (by using pictures) in order to verify: 1) the depth and breadth of the acquired knowledge; 2) the specific vocabulary; 3) the ability to link themes and problems critically. In the evaluation of attending students it will also take into account their participation in classroom discussions.

The course will be held through frontal classes supported by keynote presentations. Visits to Florence or Padua will be organized