HISTORY OF MEDIEVAL ART
Learning outcomes of the course unit
The course aims to provide methodological elements for the analysis of some significant works made between the fourth and fourteenth centuries, i.e. from the time of Emperor Constantine the Great to Giotto. The course, given the temporal scope, will focus on problematic issues to understand the reasons and dynamics of the different templates. Students at the end of the course, through the lectures attendance and independent study must be able to possess the tools for a proper analysis of the work and also of his contextualization in a broader historical and artistic landscape and must acquire communication skills and independent judgment as well.
Course contents summary
The course analyzes the development of the history of medieval art in Italy and Europe from Late Antiquity to Gothic. The comprehension of these issues requires a basic knowledge of European history from Constantine the Great to the plague of 1348.
1. The transformations of classical art during Constantine Era.
2. The growth of Christianity and the "new" Christian art.
3. Architecture in the West and East: the Basilica of St. John Lateran, the Holy Sepulchre of Jerusalem.
4. The Renaissance of the Theodosius’ period.
5. Milan, the capital of the Empire: the Ambrosian architectures.
6. The foundation of Constantinople and the origins of Byzantine art.
7. Early Christian architecture in Rome and Italy in the fourth and fifth centuries.
8. Ravenna, the capital of the Empire by Galla Placidia, Theodoric.
9. Architecture and sculpture Justinian in the East and West.
10. The barbarian invasions and the end of the ancient world.
11. Visigothic art in Spain.
12. Merovingian art.
13. Barbarian art and Lombard art: is there a Lombard art?
15. The Carolingian Empire and innovations in architecture and pictures.
16. Othonians and the art of the Thousand Year
17. Premier art roman.
18. Cluny and the churches of the pilgrimage routes.
19. Romanesque art in Italy and Europe. The great cathedrals.
20. The statements of Commons and the transformations of the mid-twelfth century.
21. Cistercian architecture.
22. Art of the mendicant orders.
23. The Gothic in France and Italy.
Bibliography Mod. A :
Any high-school handbook, except Argan’s first volume.
Nonthelesse we suggest: Angiola Maria Romanini, L’arte medievale in Italia, Firenze, Sansoni editore, 1988 (or next edition) from the Arch of Costantine The Great to Giotto.
Bibliografia Mod B:
L’arte medioevale dal secolo dell’Anno Mille a Giotto
E. Kitzinger, Alle origini dell’arte bizantina in Italia, Correnti stilistiche nel mondo mediterraneo dal III al VII secolo, Milano, Jaca Book, 2005.
R. Krautheimer, Architettura sacra paleocristiana e medievale e altri saggi su Rinascimento e Barocco, Bollati Boringhieri, Torino 1993, pp. 3 -49; 66-89; 98-150.
More bibliography will be suggest during lessons.
During the lessons, we will discuss the more general problematic issues related to production and stylistic differences of the works. This is the reason why in lectures we will use a repertoire of images relating to each topic in order to put students in front of the methodological issues which need to be used in the analysis of works of art.
Also there will be seminars on more specific problems with reading and discussion of articles or essays to provide the tools for a consistent methodology of study. The course will also be offered in a blended way on the distance learning platform called Elly.
Assessment methods and criteria
At every step between a stylistic form and another panels of discussions will be scheduled. At the end of the course the student will be able to orient himself, being able to read the work in its specificity, technical and language, identifying the characteristics and the historical context. During the final oral examination, the student must also demonstrate the ability to independently use the method of analysis applied on the principal and emblematic cases analyzed in class, properly reporting such contents through an appropriate language.