Ateneo - UPO

MODERN ART HISTORY. OUTLINES.

STUDENTS ATTENDING
For Students ATTENDING, 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:
- Settis, Salvatore, Montanari, Tomaso, Arte. Una storia naturale e civile. 3. Dal Quattrocento alla Controriforma, Einaudi Scuola (Mondadori Education), Milano 2019 (in commercio). The book must be studied carefully in every section.
- 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.).
- The texts and other materials 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 to be studied for the verification of learning.
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 the texts of the bibliography is strongly discouraged.

NON-ATTENDING STUDENTS
Settis, Salvatore, Montanari, Tomaso, Arte. Una storia naturale e civile. 3. Dal Quattrocento alla Controriforma, Einaudi Scuola (Mondadori Education), Milano 2019 (in commercio).
One of these essays or books:
- A. Conti, “L’evoluzione dell’artista”, in Storia dell’arte italiana. Questioni e metodi, a cura di Giovanni Previtali, parte prima Materiali e problemi, vol. II, L’artista e il pubblico, Giulio Einaudi Editore, Torino 1979, pp. 115-263 (Biblioteca DISUM);
- G.C. Sciolla, Studiare l’Arte. Metodo, analisi e interpretazione delle opere e degli artisti, Utet Libreria, Torino 2001 e edizioni successive.
- A. Angelini, Il primato dell’occhio. Temi e metodi della storia dell’arte moderna, Quodlibet Studio, Macerata 2019.

IMPORTANT CLARIFICATION: the books and texts indicated must be carefully studied in each part. The use of summaries of the 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, i.e. basic knowledge of the main developments, artists, works, techniques, iconography, according to the main developments indicated in the manuals.
It also provides adequate ability to apply knowledge and understanding in the ability to identify cultural areas and chronologies, genres of the history of art in the early modern age.
At an advanced level, in relation to the student's training, the course has the following training objectives:
• expression of judgments: provide the student with the tools to describe and analyze a work of art, placing it in relation to the historical and social context that generated it.
• communication skills: providing the student with a basic vocabulary for the history of art (artistic techniques, restoration, use of sources and documents), useful for communicating what has been acquired appropriately.
• study skills: indicate to the student how to focus on the evolution of artistic language in its modern forms, from the Fifteenth to the beginning of the Sixteenth century, through a path that follows the developments indicated in the manuals, but also the documents and sources.

Good knowledge of Art History. Basic knowledge in: Modern History; Modern Italian Literature.

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 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-studenti-condizione-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.

The final exam consists of an interview of 4-5 questions and addresses the topics dealt with in the class and the bibliography assigned*.
Visits to monuments and exhibition done during the course are an integral part of the program and are subject to examination. During the exam it is advisable to have the images of the course with you.
The questions have as their theme the main figures of the artists, their works (e.g. Pisanello, Gentile da Fabriano, the Brancacci Chapel, Donatello in Padua, Leonardo in Milan) and the historical and artistic phenomena of reference (e.g. the prospective culture, the workshops of the artists, the ‘International Style’), the history and the contexts of reference.
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 and other non-academic 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 in-depth analysis (especially if published on D.I.R.) by Students are a reward element.

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 aims to create a basis for disciplinary knowledge of Modern Art History.
The lessons will then follow the lines in the Modern Art History textbook, identifying at the same time the most relevant thematic lines and biographical and chronological articulations, with particular attention to the Early Italian Renaissance and especially to the figures of Brunelleschi, Ghiberti, Masaccio, Donatello, Alberti to whom the monographic part of the lessons is dedicated.
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 1-5. Introduction to the subject through a brief excursus on the main painting techniques in the 15th and 16th centuries.
Lessons 6-7. The narrative structures of historical-artistic historiography. The periodization of art history.
Lessons 8-11. The "International Style" in Europe and Italy as a study sample (method and analysis of the works).
Lessons 12-20. The spring of the Renaissance. Analysis of the figures of the main artists of the early Renaissance and reading of the works.

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: knowing the contents of the History of Modern Art manual for the Fifteenth and Sixteenth centuries, or knowing the figures of the main artists, works of art and the evolution of artistic language in its modern forms from the Fifteenth to the Sixteenth century;
- Ability to apply knowledge and understanding: knowing how to describe the work of art from a technical and iconographic point of view, recognizing its style and time of creation by macro-categories.
Transversal skills:
- Autonomy of judgment: knowing how to deduce the historical-cultural role of a work of art and knowing how to relate it to the contemporary context in Italy and Europe for the Fifteenth and Sixteenth centuries.
- Communication skills: knowing how to formulate correctly and using the disciplinary lexicon, in oral form, the description of a work of art.
- Learning skills: knowing how to carry out the analysis of a work of art not known from the manual on the basis of the knowledge acquired during the lessons.

For the achievement of an advanced level (maximum level in the evaluation), the Student must demonstrate:
- Knowledge and understanding: knowing and mastering the disciplinary lexicon useful for reading the sources and documents relating to works of art and artists.
- Ability to apply knowledge and understanding: knowing how to historically qualify the contexts of origin of works of art and artists.
Transversal skills:
- Autonomy of judgment: knowing how to analyze, read and understand the work of art within the historical system (= society) that produced it.
- Communication skills: knowing how to use the knowledge acquired in order to transmit and disseminate, in non-specialist areas, the fundamental features of the works of art and the historical-artistic contexts studied.
- Learning skills: knowing how to face, on the basis of the knowledge acquired during the lessons and through the study of the bibliography, the reading and decoding of a figurative representation or a historical-artistic context of the Modern Age.