Pre-requiments or conditions
Students are strongly encouraged to take the exam of History of Byzantine art.

Course title and contents
Roma and Lazio in the 13th century between Byzantine trends and Gothic culture.
The module will deal with painting in Rome of the 13th century, marked by the presence of craftsmen from Monreale and Venice (12th-13th century), continuing with episodes such as the composite and complex pictorial workshops of the cathedral of Anagni and the Santi Quattro Coronati in Rome, up to the apex around the end of the century, just before the appearance of the Roman painters Torriti and Cavallini.
Visits to the main pictorial cycles will be planned as part of the course.

Bibliography
Attending students
• M. Andaloro, Il mosaico con la testa di S. Pietro…; Ead.,“A dexteris eius beatissima deipara Virgo”…; F. Gandolfo, Il ritratto di Gregorio IX dal mosaico di facciata di S. Pietro in Vaticano, in Fragmenta Picta. Affreschi e mosaici staccati del Medioevo romano, catalogo della mostra, Roma 1989, pp.111-118, fig.1 p. 65; pp.139-140; 131-134, fig.5 p. 68.
• A. Iacobini, Il mosaico in Italia dall’XI all’inizio del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto. 300-1300. Funzioni, iconografia, tecniche, a cura di P. Piva, Jaca Book, Milano, 2006, pp. 463-499.
• Idem, Roma anno 1200: pittura e mosaico al tempo della IV Crociata, in Saggi e memorie di storia dell’arte, 28, 2004 (2005), pp. 33-62.
• Idem, La pittura e le arti suntuarie da Innocenzo III a Innocenzo IV (1198-1254), in Roma nel Duecento. L’arte nella città dei papi da Innocenzo III a Bonifacio VIII, a cura di A. M. Romanini, Seat Edizioni, Torino 1991, pp. 239-290.
• E. Parlato, S. Romano, Roma e il Lazio. Il Romanico, Jaca Book, Milano, 2001, I SS. Quattro Coronati, pp. 126-131; Il Sacro Speco e Santa Scolastica a Subiaco, pp. 233-239; La cattedrale di Anagni, pp. 240-255.
• G. Matthiae, Pittura romana del Medioevo. Secoli XI-XV. Aggiornamento scientifico di
F. Gandolfo, v. II, Fratelli Palombi Editori, Roma 1988: Matthiae, pp. 111-115 (S. Speco,
Subiaco), pp. 121-134 (cripta di Anagni), pp. 135-144 (Cappella di S. Silvestro ai SS.
Quattro Coronati); Aggiornamento pp. 283-285 (S. Speco, Subiaco), pp. 291-298 (cripta
di Anagni), 300-302 (Cappella di S. Silvestro ai SS. Quattro Coronati).
• C. Frugoni, Alcune considerazioni in margine agli affreschi; A. Tomei, Gli affreschi: una lettura, in Un universo di simboli. Gli affreschi della cripta della cattedrale di Anagni, a cura di G. Giammaria, Viella, Roma 2001, pp. 1-8; pp. 39-45; inoltre tavv. 1-61.
• L. Barelli, Il complesso monumentale dei Ss. Quattro Coronati a Roma, Viella, Roma 2009, parti scelte.
• A. Draghi, Il complesso dei Santi Quattro Coronati. L’Aula gotica, La decorazione della
Cappella di S. Silvestro; K. Queijo, I fregi nel sottarco del portico…, in S. Romano, Il
Duecento e la cultura gotica. 1198-1287 ca., Corpus v. V, Jaca Book, Milano 2012, pp.
136-208; pp. 209-215.
• M. Nimmo, C. Olivetti, “Sulle tecniche di trasposizione dell’immagine in epoca medievale”, in “Rivista dell’Istituto Nazionale di Archeologia e Storia dell’Arte”, s. III, 8-9, 1985-1986 (1986), pp. 399-341.
• Further references will be provided throughout the course.

To visualize the mural paintings in their contexts, is seen besides:
• M. Andaloro, Atlante. Percorsi visivi, Milano-Roma 2006: San Pietro; San Paolo f.l.m..

Non-attending students
Must add to the above texts:
• Un universo di simboli. Gli affreschi della cripta della cattedrale di Anagni, a cura di G. Giammaria, Viella, Roma 2001.
• M. Andaloro, S. Romano, Arte e iconografia a Roma. Da Costantino a Cola di Rienzo, Iaca Book, Roma 2000.

“Ex-509” students
The programme for “ex 509” students, equal to 4 CF, is as follows:
• M. Andaloro, Il mosaico con la testa di S. Pietro…; Ead.,“A dexteris eius beatissima deipara Virgo”…; F. Gandolfo, Il ritratto di Gregorio IX dal mosaico di facciata di S. Pietro in Vaticano, in Fragmenta Picta. Affreschi e mosaici staccati del Medioevo romano, catalogo della mostra, Roma 1989, pp.111-118, fig.1 p. 65; pp.139-140; 131-134, fig.5 p. 68.
• A. Iacobini, Roma anno 1200: pittura e mosaico al tempo della IV Crociata, in Saggi e memorie di storia dell’arte, 28, 2004 (2005), pp. 33-62.
• E. Parlato, S. Romano, Roma e il Lazio. Il Romanico, Jaca Book, Milano, 2001, I SS. Quattro Coronati, pp. 126-131; Il Sacro Speco e Santa Scolastica a Subiaco, pp. 233-239; La cattedrale di Anagni, pp. 240-255.
• G. Matthiae, Pittura romana del Medioevo. Secoli XI-XV. Aggiornamento scientifico di
F. Gandolfo, v. II, Fratelli Palombi Editori, Roma 1988: Matthiae, pp. 111-115 (S. Speco,
Subiaco), pp. 121-134 (cripta di Anagni), pp. 135-144 (Cappella di S. Silvestro ai SS.
Quattro Coronati); Aggiornamento pp. 283-285 (S. Speco, Subiaco), pp. 291-298 (cripta
di Anagni), 300-302 (Cappella di S. Silvestro ai SS. Quattro Coronati).
• A. Tomei, Gli affreschi: una lettura, in Un universo di simboli. Gli affreschi della cripta della cattedrale di Anagni, a cura di G. Giammaria, Viella, Roma 2001, pp. 39-45; inoltre tavv. 1-61.
• L. Barelli, Il complesso monumentale dei Ss. Quattro Coronati a Roma, Viella, Roma 2009, parti scelte.
• A. Draghi, Il complesso dei Santi Quattro Coronati. L’Aula gotica, La decorazione della
Cappella di S. Silvestro, in S. Romano, Il Duecento e la cultura gotica. 1198-1287 ca.,
Corpus v. V, Jaca Book, Milano 2012, pp. 136-208.
• M. Nimmo, C. Olivetti, “Sulle tecniche di trasposizione dell’immagine in epoca medievale”, in “Rivista dell’Istituto Nazionale di Archeologia e Storia dell’Arte”, s. III, 8-9, 1985-1986 (1986), pp. 399-341.
• Further references will be provided throughout the course.

Attending, non-attending and “ex 509” students:
They are expected to have direct knowledge of the following monuments:
• Basilica di San Paolo f.lm., Roma;
• Sacro Speco di Subiaco (RM);
• Cattedrale di Anagni (FR);
• Complesso dei Santi Quattro Coronati, Roma.

Attendance
Attendance to the course is highly recommended. Those who are unable to attend the lectures due to serious circumstances, should supplement the programme (see above) with additional readings to be agreed with the teacher.


N.B. Apart from whole books, which can be either found at public libraries or bought, any other materials will be available as photocopy or PDF at:
a) c/o Mr Fulvio Pagano, Laboratorio Informatico, Dipartimento di Studi Umanistici, Via Ostiense 234, Roma;
b) Biblioteca delle Arti, Piazza della Repubblica 10, Roma.

Beyond Caravaggism: Orazio and Artemisia Gentileschi (about 1600 – 1653) (6CFU)

The course aims to analyse Orazio Gentileschi’s and his daughter Artemisia’s ouvre. The two painters were the most personal exponents of Caravaggio’s painting and caravaggesque international movement. Stylistic reading of the paintings and reconstruction of the artistic career and lives of the Gentileschis will be the method use during the course. The knowledge of Caravaggio’s ouvre is basic for the course. During the course lectures about paintings’ identification will be given.

Selected Bibliography:
More bibliography will be given during the course. At the end of the course slides of the lectures could be found at Ufficio Informatica. They are fundamental to prepare for the exam.
R. Longhi, Gentileschi padre e figlia, in “L’arte”, 1916, pp. 245-314.
R. Longhi, Gentileschi padre e figlia, Milano, Abscondita, 2011 (ried.).
R.W. Bissell, Orazio Gentileschi and the poetic tradition in Caravaggesque painting, London 1981.
R.W. Bissell, Artemisia Gentileschi and the authority of art; critical reading and catalogue raissoné, Pennsylvania State University 1999.
Orazio e Artemisia Gentileschi, catalogo della mostra (Roma-New York-Saint Louis), a cura di K. Christiansen – J. Mann, Milano 2001.

In the artistic landscape of the twentieth century the comic passes through the age of avant-garde reaching the postmodern threshold as a constant presence. The grotesque, the hilarious, the irony, the entire register of its possibilities defines from time to time different rewritings of the aesthetic canon. Comic or ironic gestures and words become subversive or iconoclastic forces that pushes towards the rethinking of the social role of the artist, the relevance of his/her work, its autonomy and relationship with the historical, social, political spheres.

Exams

The final exam consists of a written test, and requires a capacity for critical exposition of the course topics as well as a general knowledge of the visual arts from 1960 to 2000. Students who regularly attend classes only are required to submit a paper at least 10 days in advance of the exam (minimum length 18,000 signs). Updates and more information on http://artedams.blogspot.it/

• The Artist’s Joke, edited by Jennifer Higgie, Whitechapel/MIT
• Stefano Chiodi, Il ridicolo sublime, in Encicolopedia delle arti contemporanee. I portatori del tempo, I: Il tempo comico, a cura di Achille Bonito Oliva, Electa, Milano 2010, pp. 138-79.
• Sigmund Freud, Il motto di spirito, Bollati Boringhieri
• The Artist’s Joke, a cura di Jennifer Higgie, Whitechapel/MIT

Textbook

• Hal Foster et al., Arte since 1900, Thames and Hudson.

Further texts will be listed during the course.

The literary work of the art historian of the Seventieth-Century Giovan Pietro Bellory will be examined, with particular attention to the analysis given by the contemporary criticism. The knowledge of the Artistic Literature and History of the Art, from Renaissance to Nineteenth Century, is required, as the attendance to lessons as well.

- Giovan Pietro Bellori, Le vite de’ pittori, scultori e architetti moderni, a cura di E. Borea. Introduzione di G. Previtali, postfazione di T. Montanari, Torino, Einaudi, Piccola Biblioteca Einaudi Classici, 2009
- Essays from L’idea del Bello. Viaggio per Roma nel Seicento con Giovan Pietro Bellori, catalogo della mostra, Roma 2000, Roma, De Luca, 2000. The essays will be suggested during the lessons.

VIOLENT IMAGES

Since the beginning of the twentieth century the representation of violence, caught in action or just in a symbolical way, has accompanied the path of modernity, from Futurism to postmodernist deconstruction. The course presents a series of studies focusing three forms of representing or addressing violence in images: violence through the medium itself, violence on the body and the representation of historical violent events. Examples of the first kind are Fontana’s “cuts” or the self-destructive machines of Jean Tinguely; for the second modality, for example the performances of Chris Burden, Vettor Pisani, Marina Abramović or Santiago Sierra; for the third, well known examples as Picasso’s Guernica, the murals by Siqueiros and Orozco or the paintings by Leon Golub. Through a series of case studies and critical essays the course offers an assessment of the importance of the topic of violence in the imagination of twentieth century and a deeper comprehension of its metamorphosis and shifting cultural significations.

Exams

The final exam consists of a written test, and requires a capacity for critical exposition of the course topics as well as a general knowledge of the visual arts from 1900 to 2000. Students who regularly attend classes only are required to submit a paper at least 10 days in advance of the exam (minimum length 18,000 signs). Updates and more information on http://artedams.blogspot.it/

Bibliography

• Kathy O'Dell, Contract with the Skin, University of Minnesota Press, 1998. Downloadable here: https://www.dropbox.com/s/v10e7cn0rtrazbc/O%27Dell%20-%20Contract%20with%20the%20Skin%20-%20text.pdf?dl=0
• Jean-Charles Masséra, Dance with the Law; Vincent Labaume, Bruce Nauman. Are you roman or italic?; Gijs van Tuyl, Human condition/Human body; in Bruce Nauman: Image/Text 1966-96, catalogo di esposizione, Hayward Gallery, London 1998. Downloadable here: https://www.dropbox.com/s/y8fr9dj38hr8rih/Bruce%20Nauman%20-%20Catalogo.pdf?dl=0
• Wolfgang Sofsky, Saggio sulla violenza, Einaudi, Torino 1998
• Susan Sontag, Regarding the Pain of Others, 2002: Downloadable here: https://www.dropbox.com/s/8sh3xwfthhdzlw6/Sontag_Susan_2003_Regarding_the_Pain_of_Others.pdf?dl=0

Textbook

• Hal Foster et al., Arte since 1900, new edition 2013

THE COURSE AIMS A CRITICAL ANALYSIS OF THE ACCEPTANCE DURING SIXTEENTH AND SEVENTEENTH CENTURIES IN ITALIAN PAINTING OF THE A. DURER'S ENGRAVINGS AND PICTURES.

E. PANOFKY, LA VITA E LE OPERE DI ALBRECHT DURER, ABSCONDITA 2015 (O ALTRA EDIZIONE DISPONIBILE SUL MERCATO)

DURER E L'ITALIA, CATALOGO MOSTRA, ROMA 2007, ELECTA 2007

G.M. FARA, ALBRECHT DUERER. ORIGINALI, COPIE, DERIVAZIONI. SOPRINTENEDENZA PER IL POLO MUSEALE FIORENTINO. GABINETTO DISEGNI E STAMPE DEGLI UFFIZI. INVENTARIO GENERALE DELLE STAMPE, VOL.I, LEO S. OLSCHKI, FIRENZE 2007
N.B. PARTS OF THIS TEXT WILL BE PROVIDED BY THE TEACHER.

Module A
Reading of the Preface and Introduction to the Critique of Judgment and Analytic of the Beautiful.

Module B
Reading of the Analytic of the Sublime, the Deduction of the Pure Aesthetic Judgements and the Dialectic of Aesthetic Judgment.

Module A
Immanuel Kant, Critica del Giudizio, Roma-Bari, Laterza: Prefazione, Introduzione, §§ 1-22
Module B
Immanuel Kant, Critica del Giudizio, Roma-Bari, Laterza, §§ 23-60

Anthropology of ritual and festival

(students attending):
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.
- V.Turner, Antropologia della performance, Il Mulino, Bologna, 1993 (capp.1,3,5)

(students not attending):
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014
- V.Turner, Antropologia dell’esperienza, Il Mulino, 2014
- F. Remotti, Per un’antropologia inattuale, Elèuthera, Milano, 2014

Monolingual and bilingual dictionaries in mediation and written textproduction.
The course will focus on the (macro and micro) structure of monolingual and bilingual dictionaries and on their potential and practical use in mediation and written production activities.

The following monolingual and bilingual dictionaries:
- Duden. Deutsches Universalwörterbuch A-Z. Mannheim: Dudenverlag.
- Lauis Giacoma/ Susanne Kolb: Il nuovo dizionario di Tedesco. Firenze: Zanichelli.
Other dictionaries can be consulted in the library.
Information about further reading material will be made available at the beginning of the course and posted on the Department site.

Pre-requisites and conditions
Students are strongly encouraged to take the exam of History of Medieval art.

Course title and contents
a) History of Byzantine art (4th-9th century): outlines.
b) The icon: from its Byzantine origins to the Russian avant-garde.
The course consists of two parts.
a) The first part, dealing with the history of Byzantine art from the foundation of Constantinople (AD 330) to the end of Iconoclasm (AD 843).
b) The 2nd part is meant to investigate the byzantine icon, tracing its genesis, models and theological statute, on the grounds of the reflections of the Fathers of the Church (4th and 5th century) and the debate stemmed from the Iconoclastic crisis (726-843).
At the same time, the module will take into account the main pre-iconoclastic icons from the Byzantine East and some of the most significant painted tables of ancient Rus'.
It will also introduce the rediscovery of icons in the 20th century in Russia, between traditionalism and artistic avant-garde. Finally, we will read selected writings by Pavel A. Florenskij (1882-1937), the most rigorous and passionate modern advocate of the thought on images developed in Byzantium within the Second Council of Nicaea (787).
The course includes visits to some Roman pre-iconoclastic icons.

Bibliography
Attending students
• s. v. Costantinopoli, in Enciclopedia dell’Arte Antica, II, Roma 1985, pp. 880-919.
• C. Mango, Architettura bizantina, trad. it., Electa, Milano 1978, pp. 18-86.
• E. Kitzinger, Alle origini dell’arte bizantina. Correnti stilistiche nel mondo mediterraneo dal III al VII secolo, trad. it., Jaca Book, Milano 2004, pp. 27-150; figg. 35-231.
• M. L. Fobelli, Un tempio per Giustiniano. Santa Sofia di Costantinopoli e la Descrizione di Paolo Silenziario, Viella, Roma 2005, pp. 181-207, figg. 1-142.
• W. Tatarkiewicz, Storia dell’estetica, v. II. L’estetica medievale, Einaudi, Torino 1979, pp. 3-59.
• H. Belting, Il culto delle immagini. Storia dell’icona dall’età imperiale al tardo Medioevo, Carocci Editore, Roma 2001, pp. 13-203.
• Thomas F. Mathews, L’icona intima, in Scontro di dei. Una reinterpretazione dell’arte paleocristiana, Jaca Book, Milano 2005, pp. 91-100, 209-213, figg. 139-145.
• H. Belting, Gli inizi…; S. Romano, L’acheropita lateranense…; E. Parlato, La processione di Ferragosto…; H. Kessler, Il mandylion…; G. Wolf, Or fu sì fatta la sembianza vostra?”…, in Il volto di Cristo, catalogo a cura di G. Morello e G. Wolf, Electa, Milano 2000, pp. 25-31; 51-52; 67-76,77-99; 103-114.
• P. Zancher, Dal culto della “paideia” alla visione di Dio; M. Andaloro, I prototipi pagani e l’archetipo di Cristo; L’icona cristiana e gli artisti; Schede nn. 374-378, in Aurea Roma. Dalla città pagana alla città cristiana, catalogo a cura di S. Ensoli e E. La Rocca, “L’Erma” di Bretschneider, Roma 2000, pp. 407-412; 413-415; 416-424; 660-663.
• M. Andaloro, L’acheropita, in Il Palazzo apostolico lateranense, a cura di C. Pietrangeli,
Nardini Editore, Firenze 1991, pp. 80-88.
• K. Weitzmann, The Monastery of Saint Catharine at Mount Sinai: the icons. From the sixth to the tenth centry, v. 1, Princeton University Press, Princeton 1976, pagine scelte.
• Pavel A. Florenskij, Le porte regali. Saggio sull’icona, a cura di E. Zolla, Adelphi, Milano 1977 (10 ed.), pagine scelte.
• Further references will be provided throughout the course.

Non-attending students
Must add to the above texts:
• A. Grabar, Le origini dell’estetica medievale, Jaca Book, Milano 2001.
• E. Kitzinger Il culto delle immagini. L’arte bizantina dal cristianesimo delle origini all’Iconoclastia, La Nuova Italia, Firenze 1992.
• Pavel A. Florenskij, Le porte regali. Saggio sull’icona, a cura di E. Zolla, Adelphi, Milano 1977 (10 ed.).

“Ex 509” students
The programme, equal to 4 CF, is as follows:
• s. v. Costantinopoli, in Enciclopedia dell’Arte Antica, II, Roma 1985, pp. 880-919.
• C. Mango, Architettura bizantina, trad. it., Electa, Milano 1978, pp. 18-86.
• E. Kitzinger, Alle origini dell’arte bizantina. Correnti stilistiche nel mondo mediterraneo dal III al VII secolo, trad. it., Jaca Book, Milano 2004, pp. 27-150; figg. 35-231.
• M. L. Fobelli, Un tempio per Giustiniano. Santa Sofia di Costantinopoli e la Descrizione di Paolo Silenziario, Viella, Roma 2005, pp. 181-207, figg. 1-142.
• W. Tatarkiewicz, Storia dell’estetica, v. II. L’estetica medievale, Einaudi, Torino 1979, pp. 3-59.
• H. Belting, Il culto delle immagini. Storia dell’icona dall’età imperiale al tardo Medioevo, Carocci Editore, Roma 2001, pp. 13-203.
• P. Zancher, Dal culto della “paideia” alla visione di Dio; M. Andaloro, I prototipi pagani e l’archetipo di Cristo; L’icona cristiana e gli artisti; Schede nn. 374-378, in Aurea Roma. Dalla città pagana alla città cristiana, catalogo a cura di S. Ensoli e E. La Rocca, “L’Erma” di Bretschneider, Roma 2000, pp. 407-412; 413-415; 416-424; 660-663.
• M. Andaloro, L’acheropita, in Il Palazzo apostolico lateranense, a cura di C. Pietrangeli,
Nardini Editore, Firenze 1991, pp. 80-88.
• Pavel A. Florenskij, Le porte regali. Saggio sull’icona, a cura di E. Zolla, Adelphi, Milano 1977 (10 ed.), pagine scelte.
• Further references will be provided throughout the course.

Attending, non-attending, ex 509 students:
They are all expected to have direct knowledge of the following icons:
• the Hodighitria from Santa Maria Antiqua, now in Santa Maria Nova;
• the Madonna della Clemenza, Santa Maria in Trastevere;
• the Hodighitria of Santa Maria ad Martyres, or Pantheon;
• the Haghiosoritissa, Oratorio di Santa Maria del Rosario in Montemario;
• the Salus Populi Romani, Santa Maria Maggiore;
• the acheiropoieta Christ, Sancta Sanctorum Chapel.

Attendance
Attendance to the course is highly recommended. Those who are unable to attend the lectures due to serious circumstances, should supplement the programme (see above) with additional readings to be agreed with the teacher.

N.B. Apart from whole books, which can be either found at public libraries or bought, any other materials will be available as photocopy or PDF at:
a) c/o Mr Fulvio Pagano, Laboratorio Informatico, Dipartimento di Studi Umanistici, Via Ostiense 234, Roma;
b) Biblioteca delle Arti, Piazza della Repubblica 10, Roma.

The course will examine aspects and functions of the rediscovery in Roman 17th century pictorial school of the two main 16th century traditions of ‘colore’, i.e. the venetian and the ‘lombard’ one. The works of some of the most significant artists and relevant sources of the time will be studied in order to examine the so called ‘neovenetian season’ and the rediscovery of Correggio in roman artistic culture of the 17th century.

G. Briganti, Pietro da Cortona o della pittura barocca, Firenze 1982

More bibliography will be given at the beginning of the course

In the artistic landscape of the twentieth century the comic passes through the age of avant-garde reaching the postmodern threshold as a constant presence. The grotesque, the hilarious, the irony, the entire register of its possibilities defines from time to time different rewritings of the aesthetic canon. Comic or ironic gestures and words become subversive or iconoclastic forces that pushes towards the rethinking of the social role of the artist, the relevance of his/her work, its autonomy and relationship with the historical, social, political spheres.

Exams

The final exam consists of a written test, and requires a capacity for critical exposition of the course topics as well as a general knowledge of the visual arts from 1960 to 2000. Students who regularly attend classes only are required to submit a paper at least 10 days in advance of the exam (minimum length 18,000 signs). Updates and more information on http://artedams.blogspot.it/

• The Artist’s Joke, edited by Jennifer Higgie, Whitechapel/MIT
• Stefano Chiodi, Il ridicolo sublime, in Encicolopedia delle arti contemporanee. I portatori del tempo, I: Il tempo comico, a cura di Achille Bonito Oliva, Electa, Milano 2010, pp. 138-79.
• Sigmund Freud, Il motto di spirito, Bollati Boringhieri
• The Artist’s Joke, a cura di Jennifer Higgie, Whitechapel/MIT

Textbook

• Hal Foster et al., Arte since 1900, Thames and Hudson.

Further texts will be listed during the course.

The course is a reading, discussion, and writing seminar on the general theme of "light" as a distinguishing and determining factor of photographic language in the 19th and 20th centuries.
Class lectures on specific images will introduce the theme, together with a presentation of the main issues of the critical and theoretical debate. The seminar will develop a program of weekly readings, with individual presentations followed by class discusssions.
For the final exam, students are required to write an original paper on one of the themes discussed in class. The theme, sources, and deadlines of the final paper must be discussed with the instructor during the seminar.
Attendance is strictly required.

A bibliography and a list of required readings will be provided at the beginning of classes.

The course will address the history of art and artistic debate in Italy, chiefly in the mid and late Sixties.

The reading list will be provided at the beginning of the course.

WITHIN THE COURSE WILL BE ANALYZED THE HISTORY OF THEORETICAL THOUGHT OF CONSERVATION AND RESTORATION IN THE NINETEENTH AND TWENTIETH CENTURIES, CONSIDERING ACQUIRED DURING THE FIRST LEVEL DEGREE THE KNOWLEDGE OF THE MAIN STEPS OF THE HISTORY OF THE RESTORATION. THE DIDACTIC PROGRAM, IN THE FIRST PART OF THE COURSE, PROVIDES A DEEPENING OF THE LITERATURE OF THE RESTORATION, PRODUCED IN ITALY AND IN THE DIFFERENT EUROPEAN COUNTRIES, SINCE THE BEGINNING OF THE NINETEENTH CENTURY UNTIL THE THIRTIES OF THE TWENTIETH CENTURY.

G. C, Argan, Introduzione, voce Tecnica in Enciclopedia Universale dell’Arte, Novara, Istituto Geografico De Agostini, 1983, vol.XIII, pp. 686-692.
S. B. Tosatti, Trattati tecnico-artistici, in "Enciclopedia dell’arte medievale", XI, Roma, Istituto dell’Enciclopedia Italiana, 2000, pp. 316-319.
P.Mora, L. Mora, P.Philippot, La Conservazione delle pitture murali, Bologna, Compositori,1999, pp. 69-171.
A. Conti, Storia del restauro e della conservazione delle opere d’arte, Electa, 1988: Cap. VI Venezia e Pietro Edwards, pp. 154-187; Cap. VII Tra Settecento e Ottocento, pp. 188-227; Cap. VIII Il restauro tra accademia e romanticismo, pp. 228- 275;C. IX Il restauro nell’Italia Unita, pp. 276-328.
M. Ciatti, Appunti per un manuale di storia e di teoria del restauro, EDIFIR, 2009, pp. 208-275.
M. Cardinali, M.B. De Ruggieri, C. Falcucci, Diagnostica artistica, Palombi ed. 2002, pp. 13-50.
P. Bensi, Scienziati e restauratori nell’Italia dell’Ottocento, in Bollettino d’arte, supplemento al nr. 98, 1998, pp. 25-32.
J. Anderson, Sir Charles Eastlake e i suoi restauratori italiani: Giuseppe Molteni e Raffaele Pinti, in Bollettino d’arte, supplemento al nr. 98, 1998, pp.57-62.
C. Giannini, Giovanni Secco Suardo: gli anni del collezionismo, in Bollettino d’arte, supplemento al nr. 98, 1998, pp.63-72.
M. Cordaro, Metodologie e tecniche del restauro nell’opera e negli scritti di Giovanni Secco Suardo: eredità, fortuna critica, innovazioni, in Bollettino d’arte, supplemento al nr. 98, 1998, pp.73-77.
G. Bonsanti, Giovanni Secco Suardo e Ulisse Forni: tecniche e tradizioni a confronto, in Bollettino d’arte, supplemento al nr. 98, 1998, pp.79-82.
M. Marabelli, Le scienze chimiche per la conservazione dei dipinti nell'Italia dell'Ottocento. Il trattato del Conte Secco Suardo "Il restauratore dei dipinti", in “Kermes”, n. 81, 2011.
G.Perusini, Il dibattito sulla pulitura dei dipinti della National Gallery e del Louvre alla metà dell'Ottocento: alcune considerazioni generali, in La cultura del restauro. Modelli di ricezione per la museologia e la storia dell’ arte, M. B. Failla, S. A. Meyer, C. Piva, S. Ventra (a cura di), Atti del Convegno Internazionale La cultura del restauro. Modelli di ricezione per la metodologia della storia dell’arte, Roma 2015, pp. 335-350.

The theme is the relationship between the Enlightenment and Visual Arts in the second half of the Eighteenth-Century.

- Anton Raphael Mengs, Pensieri sulla Pittura a cura di Michele Cometa, Palermo, Aesthetica, 1996
or
- Anton Raphael Mengs, Pensieri sulla Bellezza a cura di Giuseppe Faggin, Milano, Abscondita, 2003

- Liliana Barroero, Le arti e i lumi. Pittura e scultura da Piranesi a Canova, Torino, Einaudi, 2011

At least a book chosen from:
- Hugh Honour, Neoclassicismo. Torino, Einaudi, 2006
- Orietta Rossi Pinelli, Le arti nel Settecento europeo, Torino, Einaudi 2009
- Robert Rosenblum, Trasformazioni nell’arte, Roma, La Nuova Italia Scientifica, 1984
- Antonio Pinelli, Il Neoclassicismo nell’arte del Settecento, Roma, Carocci, 2005

The aim of the course is to study the stylistic development of Antonio Allegri da Correggio and to examine his position in 16th century artistic context in a stylistic, critical and historiographical perspective.


After some class lessons given by the teacher, students will be ask to participate with some specific research activity to a seminar group.

- G. Vasari, Le Vite de’ più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568, testo a cura di R. Bettarini, commento secolare a cura di P. Barocchi, Firenze 1966-1987, IV, pp. 49-56 (Antonio da Correggio's biography in both Vasari's Lives edition, torrentiniana and giuntina).

- A. C. Quintavalle, A. Bevilacqua, L’opera completa del Correggio, Milano 1970.

- D. Ekserdjian, Correggio, Cinisello Balsamo (Milano) 1997.

A wider reading list will be given during the course.

EACH STUDENT WILL DEEPEN A HISTORICAL TEXT AND WILL BE GUIDED IN THE REALIZATION OF A PAPER. ALL THE STUDENT CONTRIBUTIONS WILL BE PRESENTED AND DISCUSSED AT THE END OF THE COURSE

Each student will receive a historic bibliographic source and a selected bibliography useful for the start of the individual research.

Module A
Reading of the Preface and Introduction to the Critique of Judgment and Analytic of the Beautiful.

Module B
Reading of the Analytic of the Sublime, the Deduction of the Pure Aesthetic Judgements and the Dialectic of Aesthetic Judgment.

Module A
Immanuel Kant, Critica del Giudizio, Roma-Bari, Laterza: Prefazione, Introduzione, §§ 1-22
Module B
Immanuel Kant, Critica del Giudizio, Roma-Bari, Laterza, §§ 23-60

Monolingual and bilingual dictionaries in mediation and written textproduction.
The course will focus on the (macro and micro) structure of monolingual and bilingual dictionaries and on their potential and practical use in mediation and written production activities.

The following monolingual and bilingual dictionaries:
- Duden. Deutsches Universalwörterbuch A-Z. Mannheim: Dudenverlag.
- Lauis Giacoma/ Susanne Kolb: Il nuovo dizionario di Tedesco. Firenze: Zanichelli.
Other dictionaries can be consulted in the library.
Information about further reading material will be made available at the beginning of the course and posted on the Department site.

Storia dell’architettura (6 cfu)
Prof. Daniela del Pesco
e-mail: d.delpesco@gmail.com



Baroque Rome in the seventeenth century Europe

The course includes some introductory lessons on the characters of architecture in Rome in the sixteenth and seventeenth centuries and on the development of the European cities of the time. The urban history of Rome and the historical maps of the city will be the starting point for the study of Roman palaces and churches which will be dedicated to some surveys.

Texts to be studied for the examinations:

1) La storia dell’architettura a Roma dal 1570 al 1700. Works of Palladio and Michelangelo must be studied.
2) D. del Pesco, Architettura del Seicento, Utet, Turin 1998, pp. 1-107.
3) D. del Pesco-A. Hopkins, La città del Seicento, Laterza, Roma-Bari 2014.
4) R. Krautheimer, La Roma di Alessandro VII, Edizioni dell’Elefante, Roma 1985.
5) A. Antinori, La magnificenza e l’utile. Progetto urbano e monarchia papale nella Roma del Seicento, Roma, Gangemi, 2008.

The texts indicated with 2, 4 are deposited in the copyshop in front of the University building. In the computer room of the faculty we have the images on which students will be tested.