Università degli Studi di Perugia

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Unit HISTORY OF GRAPHIC

Course
Archaeology and history of art
Study-unit Code
GP003576
Curriculum
In all curricula
Teacher
Silvia Blasio
Teachers
  • Silvia Blasio - Didattica Ufficiale
Hours
  • 36 ore - Didattica Ufficiale - Silvia Blasio
CFU
6
Course Regulation
Coorte 2017
Offered
2018/19
Learning activities
Affine/integrativa
Area
Attività formative affini o integrative
Sector
L-ART/02
Type of study-unit
Type of learning activities
Attività formativa monodisciplinare
Language of instruction
Italian
Contents
The course will survey Drawing in Central Italy between 16th and 17th centuries. Historical sources on drawing like Cennini, Vasari, Zuccari, Bellori, Malvasia wil be taken into account, together with the main drawing techniques and materials. The course will also focuse on Drawing subjects, like copies from the antique, from old masters and froma the model, as well as on principal genre themes like landscape. It will be necessary to distinguish drawing as an independent expression and preparatory drawing to painting. The second part of the course will focuse on drawings by Federico Barocci (Urbino 1535-1612), and his particular creative process; we will see how the most important painting of this artist were born and conceived through his drawings.
Reference texts
L. Grassi, Il disegno italiano dal Trecento al Seicento, Roma 1993, pp. 11-62
A. M. Petrioli Tofani, I materiali e le tecniche, in Il disegno, forme tecniche significati, Torino 1991, pp. 185-251
S. Prosperi Valenti Rodinò, Forme, funzioni, tipologie, in Il disegno forme tecniche significati, Torino 1991, pp. 92-183
Federico Barocci, Renaissance master of color and line, catalogo della mostra (St. Louis-London 2013), a cura di B. Bohn, J. Mann, Carol Plazzotta, New Haven 2013 (le pagine saranno comunicate durante il corso)
M. Faietti, Antinomie e armonie nei disegni di Barocci, in Federico Barocci 1535-1612, L'incanto del colore una lezione per due secoli, catalogo della mostra (Siena 2009-2010), Cinisello Balsamo 2009, pp. 76-81
S. Blasio, Barocci e barocceschi nell'"Italia di mezzo": un riepilogo, in L'Italia centrale tra Medio Evo e contemporaneità. Sistemi economici e culturali a confronto, atti del convegno di studi (Camerino 20 maggio 2016), Camerino 2017
Educational objectives
Knowledge and understanding:to know and understand the main drawing techniques of the Renaissance and Seicento Italian Artists.
Prerequisites
An overall knowlwdge of Italian History of Renaissance and Seicento Art and Theory is required, as to be able to comprehend the main issues of the course.
Teaching methods
Lectures on all subjects of the course, projection of slides, educational field trips.
Other information
During the course the main passages referring to drawings in the most important historical sources will be shown.
Learning verification modality
Oral Exam; the discussion will concern the issues developed during the course, and the bibliography; it aims to check the student's level of knowledge and comprehension and his usage of a suitable language; the exam lasts not less than 20 minutes and may begin with an issue choosen by the student.
Extended program
According to Giorgio Vasari Drawing was the "Father of all Arts", so special attention will be reserved to drawing techiques and materials:
wood, parchment, paper, white and coloured paper
Historical sources on material and techniquess of drawing, passages by
Cennino Cennini, Leonardo da Vinci, Giorgio Vasari, Giovan Battista Armenini, Raffaello Borghini, Giovan Paolo Lomazzo, Carlo Cesare Malvasia, Filippo Baldinucci, Giovan Pietro Bellori
Different kind of drawings:
copies from old masters, copies from the antique, drawing after the model
Different use of drawings:
sketches, studies, preparatory drawings, sketchbooks
Different themes of drawings:
anatomy, landscape, architecture, decorative drawings
Independent drawings and preparatory drawings
Second part of the course
The drawings of Federico Barocci (Urbino 1535-1612)
Barocci was one of the main Renaissance masters of color and line: during this part of the course preparatory drawings for some of his masterpieces will be taken into account:
La Madonna del Popolo (Firenze, Uffizi)
La deposizione dalla Croce (Perugia Cattedrale)
Il trasporto di Cristo al sepolcro (Senigallia, chiesa della Croce)
Le stigmate di San Francesco (Urbino, Galleria Nazionale delle Marche)
Annunciazione (Roma, Pinacoteca Vaticana)
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