Ateneo - UPO

Line, drawing, light, shadow, color and painting. History and fortune of painting from Pliny to Giorgio Vasari.

Bibliography. ATTENDING Students
For ATTENDING Students, in addition to the knowledge of the topics that will be illustrated during the lessons and a careful reading of the texts presented and commented during the course and which will be made available to the student in the D.I.R. portal, constitute study texts for the exam:
- Le tecniche artistiche, ed. by C. Maltese, Mursia, Milano 1985, ed edizioni successive (texts read during the lessons; link available on the D.I.R.).
- L'Arte (critica e conservazione), dizionario ed. by R. Cassanelli, A. Conti, M. Ann Holly, Adalgisa Lugli, Jaka Book, Milano 1993 (voci indicate a lezione, materials available on the D.I.R.).
- Cennino Cennini, Il libro dell’arte, Vicenza 2003 ed edizioni successive (parti indicate a lezione).
- L.B. Alberti, De Pictura (Della Pittura), ed. by C. Grayson, Laterza, Bari 1980. (Texts read during the lessons; link available on the D.I.R.).
- L. Montalbano, La tecnica a punta metallica dal XIV al XVI secolo attraverso l’analisi delle fonti e dei materiali, in «Mitteillungen des Kunshistorischen Institutes in Florenz», 52, 2/3, 2008, pp. 241-225 (materiale su D.I.R.).
- G. Dalli Regoli, Il disegno nella bottega, in: Maestri e Botteghe. Pittura a Firenze alla fine del Quattrocento, catalogo della mostra (Firenze 1992), a cura di M. Gregori, A. Paolucci, C. Acidini Luchinat, Cinisello Balsamo 1992, pp. 60-69 (materiale su D.I.R.).
- Parts indicated in class: G. Vasari, Le Vite, edizione Giuntina del 1568, consultabile online. L’edizione consigliata per questa opera è la seguente: Giorgio Vasari, Le Vite de’ più eccellenti pittori scultori e architettori nelle redazioni del 1550 e 1568, ed. by R. Bettarini and P. Barocchi, Sansoni Editore, Firenze 1966-1987. (DISUM Library and available online).
- Essays and entries published on D.I.R. that are indicated by the professor. Such materials are an integral part of the bibliography and are to be carefully studied for the verification of learning.
The texts of the sources of the Artistic Literature that will be used will be indicated during the lessons and (possibly) made available on D.I.R.

For those who do not have a good basic knowledge, at least at the school level, we recommend reading a good Art History handbook.
IMPORTANT CLARIFICATION: the books and texts indicated must be carefully studied in each part. The notes taken in class are useful, but they do not replace the examination bibliography in any way.
The use of summaries the texts of the bibliography is strongly discouraged.

Bibliography. NON-ATTENDING Students
- B. Aikema, I Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Libri Scheiwiller, Milano 2024. (In commercio).
- B. Agosti, Giorgio Vasari. Luoghi e tempi della Vite, Officina Libraria, Milano 2013 (ed edizioni successive). (In commercio; DISUM Library = 709.02.VASAG.AGOSB.1).
- D. Levi, G. Mazzaferro, La nuova letteratura artistica, 1. Dalla tarda antichità alla fine del Quattrocento Arte Zanichelli, Bologna 2026. (In commercio).

IMPORTANT CLARIFICATION: the books and texts indicated must be carefully studied in each part. The notes taken in class are useful, but they do not replace the examination bibliography in any way.
The use of summaries of books and texts of the bibliography is strongly discouraged.

The course has a series of training objectives divided into two levels and that are pursued through both 'ex cathedra' and interactive teaching activities (for Students attending).
Ex cathedra teaching is 1.5/6 (1 ECT) of the 6 total ECTS provided. Self-learning corresponds to 4.5/6 of the 6 ECTS expected overall.

At a basic level, the course provides knowledge and understanding, that is, knowledge of a series of tools to be acquired both through the direct study of the works and through reading and analysis of some of the fundamental sources of Artistic Literature of the Antiquity, 14th, 15th and 16th centuries. Direct analysis and sources allow us to better understand the painting technique, the creative and executive processes, the criteria of style and the choice of subjects depicted.
It also provides adequate skills to apply knowledge and understanding in order to understand and read works of art in all their aspects: material, stylistic, iconographic, linguistic.

At an advanced level, in relation to the student's training, the course has the following training objectives:
• expression of judgments: the course intends to provide the student with disciplinary lexical ability.
• communication skills: the course also aims to develop in the Student the ability to apply the knowledge acquired by demonstrating the ability to analyze the work of art by appropriately using all the tools necessary for its understanding and dissemination/ communication at different levels.
• study skills: he lessons aim to put the Student in a position to tackle the study of the history of modern art starting from the necessary and primary analysis of the modern work of art in its main founding aspects, also using and cross-referencing different sources and each other complementary.

Good knowledge of Modern Art History.
Basic knowledge in: Modern History; Modern Italian Literature.
It is recommended and preferable that the Student has already attended the Modern Art History course.

Lessons, seminars, visits to museums and monuments.
In order to develop skills in communication and expression of judgments (as provided for by the Mission), for Students attending lessons include large and articulated spaces for debate, insights on the lexicon of the History of Art, exercises of description of works of art and reading aloud of the Art History sources (also by Students). Lessons are formulated in such a way as to promote the active participation of Students in the learning process thanks to the stimulation of their autonomous critical spirit.
Visits to museums are considered part of the course. Schedule and timetable will be agreed and given during lessons and communicated on the D.I.R. forum in order to also involve non-attending students who may be interested.

Students with physical disabilities, Learning Disabilities or Special Education Needs can request specific services and tools via the Staff Sviluppo e Coordinamento Carriere e Servizi alle Studentesse e agli Studenti, consulting the University webpage: https://uniupo.it/it/servizi/servizi-studentesse-e-studenticondizione-di-disabilit%C3%A0-e-dsa. Once they have contacted the University Staff, persons with disabilities, learning disabilities or special education needs can refer to the tutor in charge of the course to define the examination modalities, concerning academic aspects.

Patrizia Zambrano's e-mail address is: patrizia.zambrano@uniupo.it.
Patrizia Zambrano's office is in the Department of Humanities, Vercelli headquarters, Palazzo Tartara, via G. Ferraris 109, 2nd floor, studio 31.
Registration to the D.I.R. it is necessary to receive communications, as well as to be able to acquire teaching materials that will be made available on D.I.R. All students interested in receiving information and updates are therefore invited to register for the course on D.I.R.

Verification of learning takes place through an oral exam lasting about thirty minutes.
The exam aims to assess the student's ability to apply the knowledge acquired during the course, to verify the autonomy of judgment, the ability to use the disciplinary vocabulary and communication skills. It consists of an interview, divided into 4-5 questions and focuses on the topics covered in class and on the assigned bibliography *.
The precision and adherence to the texts of the bibliography scheduled in the reconstruction of the contents, especially with regard to artists, works, contexts, is a priority and a rewarding criterion for evaluation.
Summaries from different sources (above all, but not only television, web and other nonacademic disclosure channels), especially if not scientifically reliable and rigorous, are a penalizing element in the verification of learning. On the other hand, the additional spontaneous readings of indepth analysis (especially if published on D.I.R.) by Students are a reward element.

The final exam consists of an interview of 4-5 questions and addresses the topics dealt with in the class and the bibliography assigned*.
During the exam it is advisable to have the images of the course with you.
The questions may have as a theme:
- The main figures of the artists, their works.
- The historical-artistic phenomena of reference (for example: perspective culture, the artists' workshops, the protagonists of the Renaissance, analysis of one or more works of art).
- The conceptual junctions (periodization, chronology, style).
- The lexicons analyzed during the lessons.
- Basic artistic techniques (fresco, tempera, oil, bronze, engraving, marble, terracotta), rudiments of iconography (main subjects of European Renaissance painting and sculpture).

Vote of the exam is valuated in 30/30 points and based on the following parameters:
1) knowledge of the main and principal notions presented in the lessons and in the texts indicated in the bibliography * (18-20 points out of 30);
2) critical reasoning capability and associations and connections (4-6 out of 30);
3) ability to discourse knowledge and to express it effectively and linearly, using the specialized vocabulary, where needed (4-6 out of 30).

* For non-attending Students, only on the assigned bibliography.

The course is of advanced type and has as a prerequisite a good knowledge of the Art History textbook.
Students will deepen their knowledge of the handbook through the study of the techniques, style and history of the sources, as well as the main tools useful to the art historian.
The course is divided into two tracks, namely through an in-depth historical and technical analysis of some highly significant works and through the reading, analysis and study of a series of texts of artistic literature which have great importance for the techniques and the formation of modern styles in painting and sculpture between the 15th and 16th centuries. The main key will be drawing (line, 'chiaroscuro', relief), as the principal tool of knowledge of reality by artists.

Integration of the gender dimension: particular attention will be paid to issues related to the presence and role of women as artists, clients, donors and collectors in the history of modern art.

Lessons 1-2: introduction to the course and the history of the Art History sources.
Lessons 3-7: drawing, painting, art in Pliny.
Lessons 8-12: Cennino Cennini, introduction to painting techniques.
Lessons 13-14: aspects of the artist's profession between the Middle Ages and the early Renaissance, contracts, working times, the workshop.
Lessons 15-16: technique and style: Leon Battista Alberti.
Lessons 17-20: technique and style, a practical case of use of the art historian's working tools.

In order to achieve the knowledge, skills and abilities corresponding to the expected learning levels (basic and advanced), according to the objectives and purposes and within the work times provided by the Course of Study as well as in continuity with the training objectives set, the Student is required to do the following:

To achieve a basic level (minimum level of sufficiency in the evaluation), the Student must demonstrate:
- Knowledge and understanding: having acquired the knowledge of the main sources of the Artistic Literature of the 15th century. Knowing how to give the correct definition of 'Art Literature' in the specificity of the discipline (what is it?) And in its main functions (what is it for?).
- Ability to apply knowledge and understanding: to be able to read and understand the texts of Art Literature analyzed in class.
Transversal skills
- Autonomy of judgment: to be able, starting from the reading of the source of the Art Literature, to be able to describe and interpret the links and links that exist between sources, works and artists.
- Communication skills: reading, analyzing and enunciating in the form of a critical comment the themes of the text of the Artistic Literature, even if it is complex, even if written in the vernacular and not in Latin, relating it to the thematic, stylistic and iconographic developments of the work of an artist. Demonstrate therefore that you know how to make sources of Art Literature, artist biography and work of art interact in an articulated form.
- Learning skills: knowing and knowing how to use the disciplinary lexicon useful for reading sources and documents relating to works of art and artists.

For the achievement of an advanced level (maximum level in the evaluation), the Student must demonstrate:
- Knowledge and understanding: to know the main authors and texts of the Artistic Literature of the Renaissance; demonstrate that they know how to use the sources of Art Literature in reading works of art and the figure of the artist.
- Ability to apply knowledge and understanding: to be able to use easily and without hesitation the lexicon used in the sources analyzed and used (from Cennino Cennini to Vasari) and to articulate the analysis of a text in a simple form, however placing it in relation to a 'work or a series of works of art so as to highlight the existing and underlying relationships between them.
Transversal skills
- Autonomy of judgment: ability to read a work of art and the figure of the Artist or group of Artists or artistic phenomenon in relation to sources and documents of the Art Literature, using the sources themselves and documents to find salient information such as autography, chronology, contexts, provenance and collecting, taste and ancient functions of a work of art.
- Communication skills: knowing, with competence and fluency, to illustrate to a group of non-specialist listeners, using disciplinary language and lexicon, the main characters and contents of a work of art, outlining the personality of the artist in a clear and competent way who created it and outlining the cultural context in which it was produced and exists.
- Learning skills: knowing how to deduce the historical and social role of the artist; reading and understanding, also through the knowledge of the historical lexicon, texts, documents and works of art of the Modern Age related to the historical and artistic contexts; knowing how to deduce the historical-cultural role of an artefact and knowing how to relate it to the contemporary context in the Italian society.