A.A. 2013/2014
Insegnamento Codice 104307
MEDIEVAL ART HISTORY
Medieval art in Italy and West Europe: from the premises of Medieval art to the affirmation of Gothic style.

CREDITI FORMATIVI UNIVERSITARI (CFU) 9

DURATION IN HOURS 54 (LECTURES)
WAY OF ASSESSMENT:ORAL

EDUCATIONAL TARGET

The course aims to illustrate some of the most significant events of Italian and European art in the period between Carolingian art and the affirmation of the Gothic style by providing the methodological tools necessary to acquire a good general knowledge of the history of the indicated period.

COURSE CONTENT

The course aims to introduce students to the general knowledge of major issues and problems in art history from the ninth century to the fourteenth century; special attention will be given to the events of monumental sculpture and painting, the decoration of illuminated manuscripts and liturgical furnishings. Within this path the following issues will be treated, with some insights: Carolingian art; Art in Europe around the year 1000; The birth of Romanesque art; Romanesque art in Italy; The birth of the Gothic art in the Île de France; Dissemination and interpretation of Gothic art in Italy; Art at the court of Frederick II of Swabia; Nicola and Giovanni Pisano; Arnolfo di Cambio; Centrality of Assisi; From Cimabue to Giotto; Giotto and Italian painting in the first half of the fourteenth century; Sienese painting and its expansion in Europe.

ATTENDANCE: Attendance is strongly recommended.

EXAMINATION
The handbook will be the base of the exam - for which it is required a good general knowledge of the indicated period. However, it must be integrated with other texts recommended for basic preparation. The final exam will consist of an interview on the topics of the course, starting from some images.

EXAMINATION FOR STUDENT WORKERS
Working students will integrate the bibliography with texts specifically indicated [only for student workers], they are asked to contact the teacher at the beginning of the course in the receipt timetable.

REFERENCES

LIANA CASTELFRANCHI VEGAS, L'arte medioevale in Italia e nell'Occidente europeo, Jaca Book, Milano 1993; A. BAGNOLI, Novità su Nicola Pisano scultore nel Duomo di Siena, in “Prospettiva”, 27, 1981, pp. 27-46; R. BARTALINI, parte relativa a Giovanni Pisano in Duccio. Alle origini della pittura senese, catalogo della mostra, a cura di A. Bagnoli, R. Bartalini, L. Bellosi e M. Laclotte, Silvana Editoriale, Cinisello Balsamo (Milano) 2003, pp. 468-480; G. CHELAZZI DINI, Pittura senese dal 1250 al 1450, in G. Chelazzi Dini, A. Angelini, B. Sani, Pittura senese, Federico Motta Editore, Milano 1997, pp. 10-181. L. BELLOSI, Giotto, Firenze, Scala Istituto Fotografico Editoriale, 1981 (e successive ristampe) [only for students workers]; L. BELLOSI, Il pittore oltremontano di Assisi, il Gotico a Siena e la formazione di Simone Martini, in Simone Martini, atti del convegno (Siena, marzo 1985), Centro Di, Firenze 1988, pp. 39-47 [only for students workers].

OTHER INFORMATION

Working students are asked to contact the teacher at the beginning of the course in the receipt time table.