Art History

ELIANA BILLI
ELIANA BILLI

The Course aims to lead to the knowledge of the main artistic techniques through the study of literary sources and the detailed examination of the technical processes for the creation of art works. The student will develop skills in recognizing the materials and the ability to trace and interpret the enforcement procedures of the artifacts in the various branches of artistic activity. As part of the same course, the student will be led to the knowledge of modern methodological approaches to the restoration of art works, in relation to the historical evolution of the concept and business practices of the restoration over the centuries.

Knowledge of the main artistic techniques between the Middle Ages and the contemporary age; knowledge of the critical and technical problems related to the falsification of works of art

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The course aims to deepen the world of artistic techniques and that connected to it by the falsification of works of art.
The course is divided into two parts: the first, dedicated to “doing” in art, aims to provide students with a structured knowledge on the main artistic techniques used over the centuries, through the data obtainable from the reading of written sources and from technical-scientific investigations on the subject of the works. The techniques examined this year will be: wall painting, painting on panel, painting on canvas. For each technical type, the executive procedure will be analyzed by tracing the historical path of use.
The second part of the lessons will be dedicated to the false in art, a theme closely related to the knowledge of artistic techniques. After a brief historical introduction on the concept of falsehood, known cases of falsification of works of art and figures of forgers who operated in the twentieth century, in Italy and abroad will be analyzed. The possibilities offered by diagnostics applied to cultural heritage to investigate and unveil the systems and processes of falsification will also be illustrated and discussed.

- C. Z. LASKARIS, Artes e technes. Introduzione allo studio storico delle tecniche artistiche, Mappano (TO), 2023, pp. 3-29.
- S. BARONI, M. MANDER (a cura di), Tecniche dell'arte, vol. 2, Milano 2021 (pp. 190-219; 235-262; 302-338; 553-577).
- S. RINALDI, Storia tecnica dell'arte. Materiali e metodi della pittura e della scultura (secc. V-XIX), Roma 2011 (pp. 13-51; 109-205; 245-257).
- CENNINO CENNINI, Il libro dell'arte, edizione a cura di F. BRUNELLO o di F. FREZZATO (Capitoli: da LXVII a LXXII, da LXXXVIIII a LXXXXII, da CXIII a CXXXVI).
- G. BIANCHI, Autenticamente falso. La falsificazione e non solo dell’arte contemporanea, in M. SALVADORI, L. ZAMPARO (a cura di), La poliedricità del falso, Roma 2022 (pp. 115-129).
- M. FERRETTI, Il contributo dei falsari alla storia dell'arte, in “Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia”, 2009, s. 5, vol. 1, n.1 (pp. 189-226).
- E. L. KIMBALL, The Artist and the Forger: Han van Meegeren and Mark Hofmann, in “Brigham Young University Studies”, FALL 1987, Vol. 27, No. 4, pp. 5-14
- M. SGROI (a cura di), F for Fake, Roma 2013 (pp. 105-109).

classroom lessons and visits to external contexts

classroom lessons and visits to external contexts

Oral exam

How did Tiziano paint?
What is meant forgery in art?