Ateneo - UPO

ROMANESQUE SCULPTURE IN NORTH-WESTERN ITALY

Below are the texts from which some essays (compulsory and/or optional) will be taken as examination material. Further bibliography will be communicated in the course of the lectures. G. De Francovich, La corrente comasca nella scultura romanica europea (gli inizi), in “Rivista del Regio Istituto d’Archeologia e Storia dell’Arte”, V (1935), pp. 267-305. G. De Francovich, La corrente comasca nella scultura romanica europea (la diffusione), in “Rivista del Regio Istituto d’Archeologia e Storia dell’Arte”, VI (1937), pp. 47-129; G. De Francovich, Benedetto Antelami. Architetto e scultore e l’arte del suo tempo, Milano-Firenze 1952. E. Arslan, La scultura romanica, in Storia di Milano, III, Milano 1954, pp. 525-600. O. Zastrow, Scultura carolingia e romanica nel comasco: inventario territoriale, Como 1978. A. M. Romanini (a cura di), Nicholaus e l'arte del suo tempo, atti del convegno (Ferrara, 1981), 3 voll., Ferrara 1985. Il Duomo di Modena, atlante fotografico, Modena 1985. A. C. Quintavalle, Wiligelmo e Matilde. L'officina romanica, Milano 1991. R. Arena – C. Piglione – G. Romano, I cantieri della scultura, in Piemonte Romanico, a cura di G. Romano, Torino 1994, pp. 144-224. I Magistri commacini. Mito e realtà del Medioevo lombardo, Atti del XIX Congresso internazionale di studio sull'alto medioevo (Varese-Como, 23-25 ottobre 2008), Spoleto 2009. S. Lomartire, Comacini, Campionesi, Antelami “Lombardi”. Problemi terminologici e storiografici, in Els comacini i l’arquitectura romà nica a Catalunya, Simposi Internacional (25-26 novembre 2005), a cura di P. Freixas - J. Camps, Barcelona 2010, pp. 9-31. S. Muzzin, La scultura romanica novarese: specificità, maestranze itineranti, internazionalità, in Romanico Piemontese – Europa Romanica. Architetture, circolazione di uomini e idee, paesaggi, a cura di S. Lomartire, Livorno 2016, pp. 112-121. C. Di Fabio, I magistri Antelami a Genova fino al primo Duecento: origini ed esiti artistici di un fenomeno storico e di un monopolio, in Storia di Parma, VIII/1, La storia dell’arte: secoli XI-XV, a cura di A.C. Quintavalle, Parma 2019, pp. 75-93.

• - objectives - knowledge and understanding: To have a good knowledge of the main decorative complexes and sculptural events of the period under consideration. • - objectives - ability to apply knowledge and understanding: To be able to relate the characteristics of the artefacts examined to the evolution of the preceding and following artistic language. • - objectives - expression of judgement: To be able to judge the formal elements characterising Romanesque sculpture in north-western Italy. • - objectives - communication skills: to be able to illustrate the main characteristics of Romanesque sculpted production in North-Western Italy • - objectives - study skills: To be able to relate the data provided by the sources and those provided by specialist literature.

Having taken Medieval Art History A or a basic institutional course in Medieval Art History.

Lectures, seminars and tutorials, study visits to monuments, museums and exhibitions.

Visits to some monuments (Como, Milan, Genoa, Asti, Orta San Giulio) may be agreed on the basis of the number of accessions and the possibility of financial support for study visits from the University.

At the end of the course there will be an assessment test in the form of an oral examination, lasting a minimum of twenty minutes, aimed at verifying the achievement of the learning objectives through: 1. Knowledge of the main sculpted works of the Romanesque period in north-western Italy. 2. Knowledge of the main currents of Lombard Romanesque art. 3. Knowledge of individual Lombard Romanesque artists. 4. Knowledge of bibliographical sources. 5. Possession of the specific terminology of the discipline. In particular, the following weight will be given to verifying the achievement of the aforementioned educational objectives: 1. 30%; 2 and 3. 30%; 4. 20%; 5. 20%.

Romanesque sculpture will be examined taking into consideration the two main currents that run through it, in the north-western Italian regions, the Como-Milanese and the Emilian. A visit to one or more monuments in Piedmont, Lombardy and Liguria is planned. - didactic unit 1: Methodological premise. - didactic unit 2: The situation of art in Italy at the end of the early middle ages from a general point of view and in particular sculpture. - didactic unit 3: The Lombard current - the craftsmen of the lakes (Part I) - learning unit 4: The Lombard Current - the craftsmen of the lakes (Part II) - didactic unit 5: The Emilian Current - Learning unit 6: The great artists: Wiligelmo - Learning unit 7: The great artists: Nicolò - didactic unit 8: Benedetto Antelami - didactic unit 9: The regional cases: Lombardy - didactic unit 10: The regional cases: Piedmont - didactic unit 11: The regional cases: Liguria - didactic unit 12: How the two artistic currents mixed and renewed during the 12th century - didactic unit 13: The Late Romanesque period - didactic unit 14: The case of the alpine area with particular regard to Novara as a borderland - didactic unit 15: New historiographical directions - learning unit 16: Study visit

1.To be able to place Romanesque sculptural production in north-western Italy in the correct cultural and geographical context (60% of the assessment). 2.Be familiar with historiographical sources and be able to relate them to the artistic evidence considered (40% of the assessment).