Unit HISTORY OF ART CRITICISM (ICONOGRAPHY AND ICONOLOGY)
- Course
- Archaeology and history of art
- Study-unit Code
- A002548
- Curriculum
- Generico
- Teacher
- Cristina Galassi
- Teachers
-
- Cristina Galassi
- Hours
- 36 ore - Cristina Galassi
- CFU
- 6
- Course Regulation
- Coorte 2021
- Offered
- 2022/23
- Learning activities
- Affine/integrativa
- Area
- Attività formative affini o integrative
- Academic discipline
- L-ART/04
- Type of study-unit
- Obbligatorio (Required)
- Type of learning activities
- Attività formativa monodisciplinare
- Language of instruction
- Italian
- Contents
- The course, in addition to making understandable the utility of 'iconography and iconology, gives the tools to approach with a greater awareness of the artistic product. After a historical background with reflections on the major protagonists of modern science iconological, the course will bring the attention of the students some examples that will be discussed both in the classroom with the help of slides, either in direct contact with the works of art.
- Reference texts
- A. Warburg, La rinascita del paganesimo antico, Leipzig-Berlin 1932, trad. it. La Nuova Italia, Milano 2000
E. Panofsky, Il significato nelle arti visive, Doubleday, Garden City, N.Y. 1955, trad. it.Giulio Einaudi, Torino 1962
C.Cieri Via, Nei dettagli nascosto. Per una storia del pensiero iconologico, Carocci, Roma 1994 (I edizione) - Educational objectives
- The course aims primary objective is to provide the knowledge base for further reading and aware of 'work of art
The main skills that students will acquire are:
- Basic tools to approach the study of content of a work of art
- Use of sources and the ability to decode symbols and attributes to recognize stories and characters
The main skills that allow you to apply the knowledge gained will be:
- Ability to grasp the symbolic meanings that are hidden behind images
- 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 archaeology, 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 science iconological
The course is organized as follows:
- Lectures that will cover all the issues and problems related to science iconologic
- 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
- 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
- Address email Cristina Galassi: cristina.galassi@unipg.it
- Learning verification modality
- The exam includes only the final oral test consisting of a discussioninteview
on the topics discussed during the course and examined indepth
through reccomended texts. The test aims at assuring the level of
knowledge und 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. The themes are useful to understand how you deal with, so methodologically correct, the study of a work of art. The student follows the teaching with great interest and usually get good or excellent votes. - Extended program
- The program is to give general information on discipline, highlighting the utility, function and meaning of science iconographic and iconological. A prominent place will be reserved for the founder of modern iconography, Aby Warburg, which will examine the biography, scientific production, the extraordinary library, a true reflection of his thinking and his way of working. It will also discuss the famous Bilderatlas, several tables also known by the name of Mnemosyne. Below we will examine the so-called Warburg-Kreis, the group of followers of Warburg including personalities such as Fritz Saxl, Gertrude Bing and Erwin Panofsky. The course will give ample space just to the latter. He was responsible in fact a structured definition of science iconological, explained through a series of examples useful to understand the symbolic meaning contained in works of art. The iconological method will be compared with the formalistic method. The course will conclude by examining a number of emblematic cases: the representation of some myths from ancient times to Baroque