Fashion studies

PIO FRANCESCO PISTILLI

The course aims to provide knowledge and understanding of the methodological and critical aspects, applicable to the various disciplines that characterize its interdisciplinary aspect, modulated in relation to potential job opportunities in the fashion system; it proposes perspectives on the fashion supply chain, in all its macro-sectors, in which related projects are activated; it shows the variability of fields of interest; it enables the student to master the specific topics in order to use them and apply them in all fields of fashion-system while using the correct specific language. With the acquired knowledge, the student will be able to develop autonomous ability to connect the different disciplines in the various historical epochs and cultural contexts related to fashion, as well as to create correlations between the various macro sectors of fashion.

The main objective of the course is to provide the basic knowledge of the medieval art.

Among the specific objectives:
a) Knowledge and understanding the medieval art from a historical, stylistic, iconographic and technical point of view.
b) Communication skills with the specific vocabulary.
c) Making judgements and applying knowledge understanding. The participation of students in the analysis of works and monuments will be encouraged during the course, making use of the basic critical categories essential for their correct classification.

A parallel objective will also be to develop an adequate awareness of the problems relating to the historical-artistic heritage and its valorisation.
The themes and topics of teaching, as well as the skills and abilities that are intended to be acquired, are part of the contents characterizing the Degree Course in Scienze storico-artistiche.

None.

The course in Medieval Art aims to offer disciplinary knowledge from the early Christian age to the beginning of the fifteenth century.
The course includes visits to sites, monuments and museums in Rome and in Italy.

P. Skubiszewski, L'Arte europea dal VI al IX secolo, Torino 1995, capp. II (pp. 19-56), III (pp. 57-88), VII (pp. 151-154); VIII (pp. 155-198) e IX (pp. 199-263);
C. Tosco, L'architettura medievale in Italia - 600-1200, Bologna 2016;
A. Cadei, Il Gotico, in A.M. Romanini (a cura di), L'arte medievale in Italia, Firenze 1989 (I edition) or reprinted;

for Lanfranco, Wiligelmo, Nicolò, Benedetto Antelami, the related entries of the Enciclopedia dell'Arte Medievale, Roma (available online: www.treccani.it);

For the Gothic Art from Giotto to Pisanello:
P. De Vecchi . E. Cerchiari, L'Arte nel Tempo, Milano 1992 (I edition) or reprinted.

The PDF texts are avaible online: MOODLE SAPIENZA website.

The course consists of lectures and visits to museums and monuments.

Attendance is not mandatory, although it is highly recommended.

Oral exam.

The assessment will take into account the learning skills acquired in class, on site inspections and during the study phase, as well as the communication skills and making judgements.

The exam includes questions on both general topics and specific artists, monuments, or works of art, such as:

a) Early Medieval Art (6th-8th centuries);
b) An Artist's Career;
c) Protagonists of Romanesque and Gothic Sculpture (12th-14th centuries);
d) Monastic Context in Italy: Abbeys and Mural Paintings;
e) The Normans in Southern Italy;
f) Castel del Monte and the Hohenstaufen Age;
g) The Basilica of San Francesco in Assisi and the Mendicant Orders;
h) Secular Architecture;
i) Sacred Panel Painting and Frescoes in the Late Gothic Period.

• Introduction to Medieval Art


• The early Christian age


• From the 6th to the 8th century


• Early medieval art in Langobardia (8th century)


• The Carolingian era 


• The year 1000


• Romanesque: architecture, sculpture and painting


• The protagonists of the Romanesque art in Italy (11th-12th century)


• The advent of Gothic, San Francesco in Assisi and the mendicant orders


• The 13th century: cities, monuments and artistic products (painting and sculpture)


• The Jubilee of 1300


• Influences from French Gothic


• The cases of Florence, Siena, Orvieto, Naples and Bologna


• From the Late Gothic to Gentile da Fabriano


• Conclusions