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
- 36 ore - Laura Teza
- CFU
- 6
- Course Regulation
- Coorte 2023
- Offered
- 2024/25
- 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 Perugino's works from the last decade of the 15th century seen as the incubator cradle of the young Raphael's education and his first activity in Umbria until 1507 (Transportation of Christ Baglioni-Borghese). This fundamental node in the history of Italian art will be analyzed by delving into the latest research carried out in conjunction with the exhibitions dedicated to the two painters on the occasion of their respective centenaries (2020 and 2023).
Further reading is required for non-attending students - Reference texts
- PERUGINO and RAPHAEL
Aside from the entrances relating to the manufacts covered in lessons, read at least four essays of your choice. The choice of essays is left to the free choice of the student.
Non-attending students will have to read seven free choice essays.
The teacher's ppts will be uploaded to Unistudium at the end of the lessons.
• 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.
• 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.
• Il Perugino di San Pietro. La pala d’altare dell’Abbazia benedettina di Perugia, catalogo della mostra, (Perugia, Abbazia di San Pietro, 2 ottobre 2023-7 gennaio 2024), a cura di L. Teza, Milano, Dario Cimorelli editore, 2023.
• A. Marabottini, Raffaello giovane e Città di Castello, in Raffaello Giovane e Città di Castello, catalogo della mostra (Città di Castello, 16 settembre 1983-31 maggio 1984), Città di Castello, Petruzzi, 1983 pp. 29-92; con relative schede di catalogo a pp. 191-198.
• F.F. Mancini, Raffaello in Umbria. Cronologia e committenza. Nuovi studi e documenti, Perugia, Volumnia Editrice, 1987.
• T. Henry, C. Plazzotta, Raffaello: da Urbino a Roma, in Raffaello da Urbino a Roma, Catalogo della mostra (Londra, 20 ottobre 2004-16 gennaio 2005), Londra 2004, pp. 15-65, con schede di catalogo 15-20, 27-32, 40-42, 45, 65-73, pp. 98-107, 120-133, 150-155, 158-162, 206-221.
• S. Ferino Pagden, Raffaello: gli anni della formazione, ovvero quando si manifesta il genio?, in Raffaello da Firenze a Roma, Catalogo della mostra (Roma, 19 maggio-27 agosto 2006), a cura di A. Coliva, Skira, Milano-Roma 2006, pp. 21-33.
• T. Henry, I committenti di Raffaello a Città di Castello, in Gli esordi di Raffaello tra Urbino, Città di Castello e Perugia, a cura di T. Henry, F. F. Mancini, Città di Castello, Edimond, 2006, pp. 25-69.
• L. Mochi Onori, La cultura della corte di Urbino e il giovane Raffaello: l’influsso della memoria, in Raffaello e Urbino, Catalogo della mostra (Urbino, 4 aprile-12 luglio 2009), Electa, Milano 2009, pp. 23-27, con schede di catalogo 28-31, 57, pp. 160-167, 212-213.
• G. L. Delogu, V. Garibaldi, Raffaello verso la Pala Baronci, in Rinascimento Raffaello Opera prima, Catalogo della mostra (Brescia, 29 gennaio-6 aprile 2015), pp. 13-33.
• V. Garibaldi (a cura di), Le Pérugin Maître de Raphaël, Catalogo della mostra (Parigi, 12 settembre 2015-19 gennaio 2016), Mercator Fonds, Bruxelles 2015, schede di catalogo 46-50, pp. 183-189.
• A. M. Ambrosini Massari, Il giovane favoloso. Roberto Longhi, Percorso di Raffaello giovine, in Il mestiere del conoscitore, a cura di A. M. Ambrosini Massari, A. Bacchi, D. Benati, A. Galli, Bologna, Fondazione Federico Zeri, 2017, pp. 225-265.
• A.M. Ambrosini Massari, "Illustris Raphael". Raffaello, Città di Castello e il nodo della formazione di un genio, in Prima e dopo Raffaello. Città di Castello e il Rinascimento, a cura di A. Delpriori, Quattroemme, Perugia 2019, pp. 13-73.
• L. Teza, Un percorso agostiniano per l’esordio di Raffaello a Città di Castello e i suoi echi seicenteschi, in “Predella. Journal of Visual Arts”, 49, 2021, pp. 37-59.
• L. Teza, La scelta di Città di Castello. Raffaello la peste e tre ostaggi tifernati a Urbino, in Raffaello giovane a Città di Castello e il suo sguardo, catalogo della mostra (Città di Castello, Palazzo Vitelli alla Cannoniera, 30 ottobre 2021 – 9 gennaio 2022), a cura di M. Mercalli e L. Teza, Milano, SilvanaEditoriale, 2021, pp. 47-55.
• L. Teza, Raffaello, l’Incoronazione di San Nicola da Tolentino e riflessioni su una compagnia di urbinati, in Raffaello giovane a Città di Castello e il suo sguardo, catalogo della mostra (Città di Castello, Palazzo Vitelli alla Cannoniera, 30 ottobre 2021 – 9 gennaio 2022), a cura di M. Mercalli e L. Teza, Milano, SilvanaEditoriale, 2021, pp. 57-65.
• A. Cerasuolo, Raffaello a Capodimonte: dall’inizio alla piena maturità, in Raffaello a Capodimonte: l’officina dell’artista, catalogo della mostra, (Museo e Real Bosco di Capodimonte, 10 giugno – 13 settembre 2021), Editori Paparo, Napoli 2021, pp. 78-99.
• La Deposizione in Galleria Borghese: il restauro e studi storico artistici, a cura di K. Herrmann-Fiore, Milano, Motta 2010.
• Raffaello nella Galleria Borghese. Nuove indagini e un progetto di conservazione programmata, a cura di M. Minozzi e S. Ciofetti, Milano, SilvanaEditoriale 2023.
Students with disabilities and/or with DSA who, having completed regular accreditation through SOL, have obtained access to University services, can request the compensatory tools provided for by the law (e.g. textbooks in digital format; teaching materials in accessible formats: presentations, handouts, workbooks, provided if necessary in advance of the lessons), for which see the page https://www.unipg.it/disabilita-e-dsa. For the request, students are invited to contact the teacher, who will put them in contact with the Department's Disability and/or DSA contact person (prof. Alessandra Di Pilla: alessandra.dipilla@unipg.it). - Educational objectives
- A more mature historical-critical awareness of the various processes of figurative elaboration that involved Perugino, considered at the end of the century "the best Master in Italy", and his workshop, an avant-garde environment also for its advanced distribution of the work . This environment favored the training of the very young Raphael who made the most of the educational and organizational potential of the workshop.
The aim is to provide the tools to achieve a correct ability to read works and analyze figurative experiences with adequate methodological awareness.
Knowledge
Acquire more mature knowledge of these two protagonists of the crucial crucial phase of transition from a natural but iconic language of the late fifteenth century, represented by Perugino, to a free exploration and restitution of the physical and emotional universe, represented by Raphael.
Skills
Knowing how to frame these two authors, their works and the figurative phenomena they developed, in relation to the original historical, liturgical and environmental contexts. In-depth study on the technical and conservation conditions of their works, on their iconographic interpretation, on their critical-bibliographic success, on the various roles of clients and collectors.
Capacity
Develop an adequate ability to develop independent paths of research and historical-critical analysis at the basis of the preparation of the master's degree thesis. - 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.
- Other information
- While waiting to receive the annual class schedule, office hours are set for Wednesday from 3 PM to 5 PM.
Please email the professor to schedule an appointment. - Learning verification modality
- Frequent dialogues during the course stimulate learning and discussion. The final oral exam, lasting approximately 30 minutes, includes questions on the topics covered in class and a discussion on the texts listed in the bibliography.
Skills Assessment: Ability to describe the context of the figurative phenomenon and its critical points; ability to express complex and critically advanced concepts; ability to prioritize issues; acquisition of a good command of language in the use of specific technical and specialized vocabulary; logical and concise articulation of information.
Students with disabilities and/or specific learning disorders (SLDs) who have completed regular accreditation through SOL and have gained access to University services may use compensatory tools, exemption measures, and inclusive technologies provided by the regulations for taking the exams. These must be requested and arranged with the professor well in advance of the exams. For more information, please consult the page https://www.unipg.it/disabilita-e-dsa and contact the Department Referent for Disabilities and SLDs (Prof. Alessandra Di Pilla: alessandra.dipilla@unipg.it). - Extended program
- The problem of Raphael's artistic training in Perugino's workshop in the 1490s.
The most problematic critical issues: the Fano altarpiece and the supposed participation of the very young Raphael in its predella. The return of Perugino to Perugia and his main works: the Decemviri altarpiece, the San Pietro altarpiece, and the Collegio del Cambio.
Raphael's debut in Città di Castello with his four autograph works: the Banner of the Holy Trinity, the Coronation of St. Nicholas of Tolentino now dismembered in various Italian and foreign museums, the Gavari-Mond Crucifixion now in the National Gallery in London, and the Marriage of the Virgin now in the Pinacoteca di Brera.
Raphael's great works in Perugia: the Coronation of the Virgin of the Oddi, now in the Vatican Pinacoteca, the Ansidei altarpiece now in the National Gallery in London, the fresco of San Severo in Perugia, and finally the great Entombment of Christ, now in the Borghese Gallery and the National Gallery of Umbria. Special attention will be given to this last work by Raphael. - Obiettivi Agenda 2030 per lo sviluppo sostenibile
- The aim is to develop programs intended to build cultural welfare, a new integrated model of promoting the well-being and health of individuals and communities through practices based on visual arts, performing arts, and cultural heritage.
4 Quality Education
5 Gender Equality
11 Sustainable Cities and Communities