Università Roma Tre

PAINTING AND SCULPTURE IN ITALY (1400-1700) (12 CFU)
The knowledge of art and artistic movements in Italy from early Renaissance to Neoclassicism is the aim of the course. This goal can be achieved analyzing the style of the works of art and their history, patronage, meaning in the contemporary society. Therefore a visive knowledge of paintings and sculptures is strictly requested.
The course will begin with some general lectures about artistic movements and different approaches to history of art. Students are kindly requested to have taken History of Medieval Art exam before attending the course.
Studying the manual is just the first step of preparing for the exam. The knowledge of the complete work of the most important artists is also requested and therefore it’s very important to use the website to get in touch with the whole ouvre of artists (I suggest www.wga.hu). Maestri del Colore or Classici dell’arte Rizzoli can be useful as well. During the course some subjects will be developed and it’s very important to learn them through the slides which can be found at Ufficio Informatica at the end of the course. But the most important way of learning visual art is to get in real touch with the works of art visiting them. Therefore there’s a list of monuments in Rome to be visited before the exam.
Students attending the course can take a written exam at mid term and at the end of the term. These two written exams will be part of the final one.
Bibliography for attending and non attending students is the same. The least absolutely need to get through the course’s slides which can be found at the office of Collegio Didattico Beni Culturali.

BIBLIOGRAPHY
1) SUGGESTED MANUAL:
P. DE VECCHI – A. CERCHIARI, ARTE NEL TEMPO, ED. BOMPANI.

2) READING ONE OF THE FOLLOWING TEXTS IS REQUESTED:
- J. SHEARMAN, ARTE E SPETTATORE NEL RINASCIMENTO ITALIANO. “ONLY CONNECT”, ED.ORIGINALE 1992, ED.IT. MILANO,
JACA BOOK, 1995
- M. BAXANDALL, PITTURA ED ESPERIENZE SOCIALI NELL’ITALIA DEL QUATTROCENTO, TORINO, EINAUDI, 1978
- A. PINELLI, LA BELLA MANIERA. ARTISTI DEL CINQUECENTO TRA REGOLA E LICENZA, TORINO, EINAUDI , 2003
- E. PANOFSKY, STUDI DI ICONOLOGIA. I TEMI UMANISTICI NELL’ARTE DEL RINASCIMENTO, ED. ORIGINALE, 1939, ED.IT.
TORINO, EINAUDI, 1999 (DAL CAPITOLO SECONDO AL CAPITOLO SESTO COMPRESI)
- F. ZERI, DIETRO L’IMMAGINE. CONVERSAZIONI SULL’ARTE DI LEGGERE L’ARTE, MILANO, TEA, 1990 (ESISTE ANCHE
UN’EDIZIONE VICENZA, NERI POZZA, 1998)
- A. BALLARIN, GIORGIONE E LA COMPAGNIA DEGLI AMICI: IL "DOPPIO RITRATTO" LUDOVISI, IN STORIA DELL''ARTE ITALIANA.
PARTE II, VOL. 1. DAL MEDIOEVO AL QUATTROCENTO, TORINO, EINAUDI, 1983, PP.481-541.
- F. ZERI, PITTURA E COTRORIFORMA. L’ARTE SENZA TEMPO DI SCIPIONE DA GAETA, ED. ORIGINALE, EINAUDI 1957, ED. PIÙ RECENTE POZZA 1997.
- F. HASKELL, MECENATI E PITTORI. STUDIO SUI RAPPORTI TRA ARTE E SOCIETÀ ITALIANA NELL’ETÀ BAROCCA, SANSONI, ED. ORIGINALE 1966 (ESISTONO EDIZIONI SUCCESSIVE).
- G. BRIGANTI, PIETRO DA CORTONA O DELLA PITTURA BAROCCA, IN ROMA 1630: IL TRIONFO DEL PENNELLO, CATALOGO DELLA MOSTRA (ROMA), A CURA DI O. BONFAIT, MILANO 1994, PP. 23-52.
- I. LAVIN, VISIBLE SPIRIT: THE ART OF GIAN LORENZO BERNINI, LONDON 2009.
- F. HASKELL – N. PENNY, L’ANTICO NELLA STORIA DEL GUSTO: LA SEDUZIONE DELLA SCULTURA CLASSICA 1500-1900, TORINO 1984.