Unit HISTORY OF MODERN ART I
- Course
- Archaeology and history of art
- Study-unit Code
- GP000026
- Curriculum
- Generico
- Teacher
- Laura Teza
- Teachers
-
- Laura Teza
- Hours
- 42 ore - Laura Teza
- CFU
- 6
- Course Regulation
- Coorte 2022
- Offered
- 2023/24
- Learning activities
- Affine/integrativa
- Area
- Attività formative affini o integrative
- Academic discipline
- L-ART/02
- Type of study-unit
- Obbligatorio (Required)
- Type of learning activities
- Attività formativa monodisciplinare
- Language of instruction
- Italian
- Contents
- Course of lessons dedicated to the analysis and interpretation of the main exponents and phenomena relating to the Umbrian environment of the second half of the fifteenth century and of the early training of Pietro Vannucci il Perugino in the light of the research carried out in the recent and various exhibitions.
- Reference texts
- F.F. Mancini, Identificazione di Pietro di Galeotto, in "Esercizi", II, 1979, pp. 43-55.
L. Teza, Per Fiorenzo di Lorenzo pittore e scultore. Una proposta di ricomposizione della nicchia di San Francesco al Prato e altre novità, in Per Fiorenzo di Lorenzo pittore e scultore. Una proposta di ricomposizione della nicchia di San Francesco al Prato e altre novità, a cura di L. Teza, Perugia, Quattroemme 2003, pp. 9-44.
L. Teza, Pittori a Perugia tra settimo e ottavo decennio del XV secolo, in Perugino, il divin pittore, cat. della mostra, (Perugia, 28 febbraio-18 luglio 2004), a cura di V. Garibaldi e F.F. Mancini, Milano, Silvana editoriale, 2004, pp. 55-71.
Il meglio maestro d'Italia. Perugino nel suo tempo, cat. mostra GNU 2023.
P. Scarpellini, Pietro Perugino e la decorazione della sala dell’udienza, in Il Collegio del Cambio in Perugia, a cura di P. Scarpellini, Milano, Amilcare Pizzi, 1998, pp. 67-106.
A. de Marchi, La cimasa eucaristica della Pala dei decemviri, in La pala dei Decemviri di Pietro Perugino, Perugia, Aguaplano libri, 2020, pp. 27-44. - Educational objectives
- A broader historical-critical awareness of the various figurative phenomena that affected Perugia and the Perugian environment of the fifteenth century.
It aims to provide the tools to achieve a correct ability to read the works and analyze the figurative experiences with adequate methodological awareness. - Prerequisites
- Good knowledge of the main themes of Renaissance art.
- Teaching methods
- Lectures with interactive dynamics and frequent student involvement through seminars. Educational visits to the National Gallery of Umbria and to the main regional and national monuments of Perugia.
- Learning verification modality
- Frequent dialogues that stimulate learning and comparison.
- Extended program
- From the first entry of Florentine and Tuscan Renaissance works in the 1930s to the first responses of local schools (Benedetto Bonfigli, Caporali family, Fiorenzo di Lorenzo, Pietro di Galeotto). The problem of Pietro Perugino's artistic training and the culture of the niche of the Miracles of San Bernardino. Perugino's works in Umbria. The parallel development of Pintoricchio's language. The presence of Luca Signorelli in Umbria and the debut of the young Raphael.
- Obiettivi Agenda 2030 per lo sviluppo sostenibile
- The goal is to build programs aimed at building cultural welfare, a new integrated model for the promotion of well-being and health of individuals and communities, through practices based on the visual and performing arts and on cultural heritage