Unit HISTORY OF DESIGN AND GRAPHICS
- Course
- Archaeology and history of art
- Study-unit Code
- A003368
- Curriculum
- Generico
- Teacher
- Silvia Blasio
- Teachers
-
- Silvia Blasio
- Hours
- 36 ore - Silvia Blasio
- 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
- Opzionale (Optional)
- Type of learning activities
- Attività formativa monodisciplinare
- Language of instruction
- Italian
- Contents
- 1.Role and significance of drawing in sources and documents.
2.Drawing in foreign and Italian art of the Renaissance and the seventeenth century.
3.Drawing materials.
4.The techniques of drawing.
5.The tools of drawing.
6.Examples of drawings by great Italian artists, from Leonardo to Raphael.
7.Drawing in the workshop and the different ways of drawing
8.A case study: did Caravaggio draw? - Reference texts
- H. Chapman, Introduzione, in H. Chapman, M. Faietti, (a cura di), Figure, memorie, spazio: disegni da Fra' Angelico a Leonardo, catalogo della mostra, Firenze, 2011, pp. 15-70.
H.Chapman,
The rise and decline of metalpoint drawing in Renaissance Italy, in
Drawing in silver and gold, in S. Stacey,
Drawing in silver and gold : Leonardo to Jasper Johns.
Washington, DC : National Gallery of Art, 2015, pp. 101-115
A.M. Petrioli Tofani, I materiali e le tecniche, in Il disegno, forme tecniche significati, Torino 1991, pp. 185-251
A. M. Forlani Tempesti, Giorgo Vasari e il Libro dei disegni: museo cartaceo o galleria portatile, in Giorgio Vasari e la nascita del museo, a cura di M. Wellington Gahtan, Firenze 2012, pp. 35-49.
G. Feigenbaum, From the frying Pan to the History of art: the rescue of Italian Sketch, in Riflessi del collezionismo tra bilanci critici e nuovi contributi, atti del convegno internazionale di Urbino (3-5 ottobre 2013), a cura di G. Perini, A.M. Ambrosini Massari, Firenze, 2014, pp. 221-233.
No additional readings are provided for non-attenders.
All texts, given the difficult availability of some of them, will be provided in pdf and uploaded to the unistudium platform.
Regarding the sources (Cennino Cennini, Leonardo da Vinci, Vasari, Borghini, Lomazzo etc.) passages of interest will be read and commented on during the lectures and Pdf extracts will be provided on unistudium.
Students with disabilities and/or with SLD who, having completed regular accreditation through SOL, have obtained access to University services, can apply for the compensatory tools ensured by 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 consult https://www.unipg.it/disabilita-e-dsa.¿For the request, students are invited to ask the teacher, who will put them in contact with the Disability and/or DSA Department Coordinator (prof. Alessandra Di Pilla: alessandra.dipilla@unipg.it) - Educational objectives
- To know the main artistic techniques of drawing and related tools, identifying the different themes and purposes with which the drawings were executed, relative to the period under consideration; to understand the importance of the creative process prior to the realization of the finished work and the role of drawing in the training of young artists within the workshop and in the master-pupil relationship. Know the processes that led to the birth of drawing collecting starting with Giorgio Vasari.
Know how to recognize the main techniques of drawing and related tools. To know how to use the specific terminology of art history, to be able to correctly describe art-historical artifacts , and in particular drawings, with appropriate language.
¿¿¿¿
To mature an adequate capacity for critical judgment also in function of autonomous paths of in-depth study of the problems inherent in drawing and lines of research related to the study and conservation of drawings. - Prerequisites
- In order to be able to address and understand the topics of the course, the student should possess a general knowledge of art history and historiography, especially relative to the major Italian art centers of the Renaissance and the 17th century.
- Teaching methods
- Frontal and dialogic lecture with projection of images, visits to important Italian collections of drawings.
- Other information
- During the lectures the main excerpts from historiographical sources necessary for knowledge of the history of drawing will be shown via power point.
- Learning verification modality
- The examination includes a final oral test that consists of a discussion-colloquium related to the topics covered during the course and explored in depth in the recommended texts. The test serves to ascertain the level of knowledge acquired and the ability to understand, as well as to synthesize, achieved by the student. The interview will also allow to verify the student's ability to communicate what he or she has acquired, with method and propriety of language. The interview generally lasts no less than twenty minutes and may begin with any question on a topic chosen by the student in order to put him or her at ease.
For information on support services for students with disabilities and/or DSA, visit http://www.unipg.it/disabilita-e-dsa - Extended program
- The role of drawing among the ancients
The evolution of the concept of drawing: from technical to ethical primacy
Drawing in sources and documents
The techniques of drawing
The media of drawing: parchment, worn tablets, paper
The colored papers: papers colored at the time of manufacture or prepared in the workshop
The tools of drawing
The metal points
The charcoal and fixing techniques. The oily charcoal
Black chalk and red chalk
The pastels and white chalk
The pens and inks
The watercoloring of papers with ink
Other techniques related to drawing
Examples will be chosen from drawings by the major protagonists of drawing particularly in the central Italian area between the Renaissance and the seventeenth century. Where necessary, however, to illustrate some specific problems regarding drawing, older or more modern graphic examples will also be presented.
Techniques and materials in the main historiographical sources with presentation and reading of specific 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.
Categories of drawing: copying from the ancient, copying from the ancient and modern masters, drawing from life, anatomy studies, landscape studies, decorative and architectural drawings.Case history of drawings: sketches, first thoughts, preparatory drawings, studies, sketches, sketches, cartoons and "cartoncini" or
"cartonetti" - Obiettivi Agenda 2030 per lo sviluppo sostenibile
- 4 Quality education ¿
5 Gender equality
¿12 Responsible consumption and production