Università degli Studi di Perugia

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Unit HISTORY OF MODERN ART

Course
Archaeology and history of art
Study-unit Code
GP003583
Curriculum
In all curricula
Teacher
Francesco Federico Mancini
Teachers
  • Francesco Federico Mancini - Didattica Ufficiale
Hours
  • 72 ore - Didattica Ufficiale - Francesco Federico Mancini
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 "legend" of the artist. From the XV century, but in hindsight already in medieval times in artists such as Giotto, the artists develop an increasingly explicit desire for emancipation, going from being a simple executors of objects of art to the role of intellectuals which enjoy high esteem social.
Reference texts
E.Kris,O.Kurz, La leggenda dell'artista, Vienna 1934, ed. it. Milano, Boringhieri, 1980.
E. Pommier, L'invenzione dell'arte nell'Italia del Rinascimento, Torino, Einaudi, 2007.
F.F.Mancini, Fuit hic perusinus Apelles. L'artista fra i grandi della storia, in Perugino e Raffaello. Modelli nobili per Sassoferrato a Perugia, a cura di F.F.Mancini, A.Natali, catalogo della mostra, Perugia, Nobile Collegio del Cambio, 22 giugno-20 ottobre 2013, Perugia, Aguaplano-Officina del libro, 2013, pp. 25-48.
Educational objectives
The main skills that students will acquire are:
- The basic tools to understand the usefulness of a sociological approach to the problems of art history
- Use of sources and artistic literature on the topics covered
The main skills that allow you to apply the knowledge gained will be:
- Ability to study and understand the art in relation to society of the time
- Ability to relate to the work of art so conceptually complex.
Prerequisites
In order to successfully attend the course students must have general knowledge about the history of medieval and modern art. This precondition is valid both for students attending and not attending.
Teaching methods
The course is organized as follows:
- Lectures that will cover all the issues and problems related to the subject
- Projection of slides related to the topics covered (the slides shown during the lessons, provided with brief comments, will be made at the end of the course, available to students)
- Educational trip (optional) that will enable students to check visually what is shown in the lectures.
Other information
Attendance is strongly recommended as the lessons can be very useful for a better and deeper understanding of the issues that will be the subject of examination.
Learning verification modality
The exam includes only the final oral test consisting of a discussion-inteview on the topics discussed during the course and examined in-depth through reccomended texts. The test aims at assuring the level of knowledge and understanding, as well as synthesis, achieved by the student. Moreover this interview will verify that the student is able to communicate, with method and propriety of language, what he has acquired. The duration of the test varies depending on the performance of the test itself and begins, as a rule, with a subject of the student's choice in order to put him at ease.
Extended program
Topic of the course will be a reflection on the social role of the artist in the Middle and Modern Ages. We shall start with Giotto and with consideration manifested against him by artists and writers of the time such as Dante, Petrarch and Boccaccio. From Giotto the artists show, after all, an increasingly explicit desire for emancipation and social success. Their aspiration is to pass from the status of simple executors of objects of art to the role of intellectuals which enjoy considerable consideration. A preferred way to fully understand this matter is the study the self-portraits as. From the late fourteenth century is manifested in fact the artist's desire to be recognized through the representation of his own face. As we increase the awareness of its role, the artist aims not only and simply through his own work but also through his effigy. Is possible follow this argument through numerous examples that starting from Andrea di Cione known as Orcagna to Agnolo Gaddi, Taddeo di Bartolo, Masaccio, Ghiberti, and continuing through the late Renaissance, to Mantegna, Perugino, Pinturicchio, Signorelli, Raphael and Michelangelo. In a progression that becomes increasingly tight speech then enters the Baroque period. Here the question takes on a "international" dimension and invests masters like Bernini, Rubens, Rembrandt, Velazquez. An interesting aspect that will be addressed during the course is also that of the so-called anecdotage. Based on real events, but more often deceptive and imaginative, the anecdotage born and developed to contribute to raising the image of the artist.
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