The birth of the museum institution in Europe between the eighteenth and nineteenth centuries.

The course will trace the history of some eighteenth-century European collections at the base of the birth of the museum institution in order to provide the tools for understanding the foundation and function of the museum through the history of single Roman case studies. Lectures will alternate with visits and seminars dedicated to the history of the museum as an institution of the Age of Enlightenment. In the eighteenth and early nineteenth centuries, the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that influence the role of the museums to the present day. Although the emergence of these museums was an international development and the course aims to share their history through of the earliest major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836.
During the lessons will be presented the historiographic hubs useful to understand the evolution of museums and their role in the protection, conservation and enhancement of cultural heritage.

F. Haskell, The ephemeral museum. Old master painting and the rise of the art exhibition, New Haven, Yale University Press, 2000 (trad. it. La nascita delle mostre. I dipinti degli antichi maestri e l’origine delle esposizioni d’arte, Milano-Ginevra, Skira, 2008

S. Costa, D. Poulot, M. Volait ( a cura di), The period rooms: allestimenti storici tra arte, collezionismo e museologia, Bologna, Bononia University Press, 2016

A. Emiliani, Dall'ambiente al museo, in Capire l'Italia. Il Patrimonio storico artistico, Turing Club Italiano, Milano 1979, pp. 8-31.
M. Ferretti e A. Buzzoni, Musei, in Capire l'Italia. Il Patrimonio storico-artistico, TCI, Milano 1979, pp. 112-131.

ADDITIONAL TEXTS FOR NON-ATTENDING STUDENTS:
choose from one of the texts reported here

M.C. Mazzi, In viaggio con le muse. Spazi e modelli del museo, Firenze, Edifir, 2005

K. Pomian, Collectionneurs, amateurs et curieux. Paris, Venise : XV.e-XVIII.e siècle, Paris, 1987 (trad. it Collezionisti, amatori e curiosi. Parigi-Venezia XVI-XVIII secolo, Milano, Il Saggiatore, 2007).

The First Modern Museums of Art: The Birth of an Institution in 18th- and Early-19th-Century Europe, a cura di Carol Paul, Getty Publications 2000

Subject: Art and figurative dissemination in the Mediterranean world. Ravenna and Byzantium
Course description
The purpose of the course is meant to undertake an all round analysis of the artistic relationships between Ravenna and the Byzantine empire: from urban development to architecture, from mosaic to marble, from carved ivories to illumination.
A special focus will be given to the mosaic decorations of San Vitale in Ravenna and Hagia Sophia in Constantinople, as they are significant examples of the two attitudes – iconic and aniconic – that lie within byzantine painting.

Bibliography
Attending students
- S. V. Ravenna, in Enciclopedia dell’Arte Medievale, v. IX, Roma 1998, pp. 847-863.
- S. V. Teodorico, in Enciclopedia dell’Arte Medievale, v. XI, Roma 2000, pp. 118-125.
- R. Farioli Campanati, Ravenna, Costantinopoli. Aspetti topografico-monumentali e iconografici, in Storia di Ravenna, a cura di A. Carile, II, 2, 1992, pp. 127-157.
- R. Krautheimer, Costantinopoli, in Tre capitali cristiane. Topografia e politica, Torino 1987, pp. 61-105.
- C. Mango, L’età di Giustiniano, in Architettura bizantina, Milano, Electa 1978, pp. 55-86.
-R. Krautheimer, Santa Sofia e gli edifici annessi, in Architettura paleocristiana e bizantina, Torino, Einaudi 1986, pp. 202-213 e figg. 88-94; 239-267 e figg. 105-131.
- E. Kitzinger, Alle origini dell’arte bizantina. Correnti stilistiche nel mondo mediterraneo dal III al VII secolo, trad. it., Milano, Jaca Book 2004, pp. 49-68, 136-140 e figg. 81-117; 83-100, note pp. 143-145 e figg. 154-181.
- R. Farioli Campanati, La cultura artistica nelle regioni bizantine dal VI all'XI secolo, in I Bizantini in Italia, Milano, Garzanti-Scheiwillwer 1982, pp. 137-180.
- I. Andreescu-Treadgold, Materiali, iconografia e committenza nel mosaico ravennate, in Storia di Ravenna cit., II, 2, 1992, pp. 189-208.
- M. Andaloro, Tendenze figurative a Ravenna nell'età di Teoderico, in Teoderico il Grande e i Goti d'Italia, Atti del XIII Congresso Internazionale di Studi sull'Alto Medioevo (Milano, 2- 6 novembre 1992), Spoleto 1993, pp. 555-583.
- G. Bovini, Antichi rifacimenti nei mosaici di S. Apollinare Nuovo di Ravenna, in Corsi di cultura sull’arte ravennate e bizantina, Ravenna 1966, pp. 51-81.
- G. Bovini, Principali restauri compiuti nel secolo scorso da Felice Kibel nei mosaici di S. Apollinare Nuovo di Ravenna, in ibidem, pp. 83-104.
- K. Weissel, Il mosaico di S. Michele in Africisco, in Corsi di cultura sull’arte ravennate e bizantina, Ravenna 1961, pp. 369-392.
- G. Bovini, S. Michele in Africisco di Ravenna, in Corsi di cultura sull’arte ravennate e bizantina, Ravenna 1969, pp. 81-96.
- S. McCormack, San Vitale, in Arte e cerimoniale nell'antichità, trad. it., Torino, Einaudi 1995, pp. 385-393, note 169-185 pp. 405-406.
- M. L. Fobelli, La recinzione presbiteriale; La strategia delle immagini; Luce e luci nella Megale Ekklesia, in Un tempio per Giustiniano. Santa Sofia di Costantinopoli e la Descrizione Paolo Silenziario, Roma, Viella 2005, pp. 181-186; 187-191; 193-207 e figg. 1-146
- R. Farioli Campanati, Cattedra di Massimiano, in Splendori di Bisanzio. Testimonianze e riflessi d’arte e cultura bizantina nelle chiese d’Italia, catalogo, Milano 1990, pp. 253-257.
- M. R. Menna, Mosaici della Basilica Ursiana, in Splendori di Bisanzio. Testimonianze e riflessi d’arte e cultura bizantina nelle chiese d’Italia, catalogo, Milano 1990, pp. 277-281.
- Further information will be provided during the course.

Non-attending students
Must add to the above texts:
- R. Krautheimer, Tre capitali cristiane. Topografia e politica, trad. it., Torino, Einaudi 1987.
- E. Kitzinger, Alle origini dell’arte bizantina. Correnti stilistiche nel mondo mediterraneo dal III al VII secolo, trad. it., Milano, Jaca Book 2005.
- M. Andaloro, Bisanzio e il Novecento, in Splendori di Bisanzio. Testimonianze e riflessi d’arte e cultura bizantina nelle chiese d’Italia, catalogo, Milano 1990, pp. 55-67.

Attendance
Attendance to the course is highly recommended. Those who, due to serious circumstances, are unable to attend the lectures, should supplement the programme (see above) fixing an appointment with the teacher.

Assessment
Oral examination.

N.B. Apart from whole books, which can be either found at public libraries or bought, and additional readings for non-attending students, any other materials will be available as photocopy or PDF at:
- Mario Mefistofele e Antonio Rossi, Segreteria Didattica di Beni Culturali, Dipartimento di Studi Umanistici, Via Ostiense 234, Roma.

In the first unit, students will be given an introduction to the vocabulary and problems of aesthetics. In particular, we will follow the historical path of the terms: Aesthetics, Imitation, Art, Beauty.
The unit will be divided into three parts:
1) Introduction to the term aesthetics, as experience and as a philosophical discipline. Concerning the birth of the term: reading and commentary by Baumgarten, Aesthetica, Introduction.
2) Art and mimesis, from antiquity to the eighteenth century: (partial) reading and commentary of Plato, Republic X; Aristotle, Poetica; Batteux, Le belle arti
3) The beautiful: reading and commentary of Kant, Analitica del bello.
N.B. All the texts are collected in the anthology Estetica, edited by P. D'Angelo, E. Franzini, G. Scaramuzza Raffaello Cortina, Milan.

The second part will explore the concept of sublime from Kant to some of interpretations of the twentieth century.
It will then be articulated in the following way:
1) Reading and commentary of Kant, Analitica del Sublime.
2) Explanation of the interpretation of Deleuze, with reading of selected passages of the text in the program.
3) Explanation of the interpretation of Lyotard, with reading of selected passages of the text in the program.

P. D’Angelo, Estetica, Laterza, Roma-Bari.
Estetica, a cura di P. D’Angelo, E. Franzini, G. Scaramuzza, Raffaello Cortina, Milano.
I. Kant, Analitica del sublime, in Critica della facoltà di giudizio (a cura di E. Garroni, H. Hohenegger, Einaudi, Torino, o altra edizione).
G. Deleuze, Lezioni su Kant, Mimesis, Milano.
J.-F. Lyotard, Anima Minima, Pratiche, Parma (testo fuori commercio, fotocopie fornite dalla docente).

The course classes and visits, during which space will be given for practical exercise, take highly into consideration the specialized nature of the laboratory and the heterogeneity of its participants.
The archaeo-lab course focuses on the study and on the handling of the archaeological materials.
Within the frame of a long chronological timespan and of a large geographical horizon, several types of materials, together with their production processes, will be examined (from the pre-historic phase to the more recent and modern ones). A further analysis on the decoration of selected productions (in ceramic, metal or vitreous materials) will be then carried out.
The issues related to the cataloguing and classification of the archaeological findings and the compilation of the data records entry will be preliminary discussed.
Nevertheless, aspects related to the acquisition of scientific information (for the purpose of study or restoration of the materials) will be explored and a few notions about technical drawing and data digitization will be provided. The practical side of the lessons will be exploited throughout lectures, simulations, exercises and external visits.
During the course, the students will be trained in the field of the pottery studies, of the architectonic decoration (in terracotta or marble). Furthermore, they will be also introduced, thanks to the use of optical instrumentation and digital tools, to the study of the different types of materials (clay, vitreous, metal and stone).

Specific bibliography will be provided during the lessons; one to one meetings during the teacher’s office hours are recommended.

THE MAIN STEPS OF THE HISTORICAL PROCESS OF THE RESTORATION/CONSERVATION AND PROTECTION, FROM GREEK-ROMAN WORLD UNTIL THE SECOND HALF OF THE TWENTIETH CENTURY. THE THEORIES OF THE RESTORATION OF THE NINETEENTH AND TWENTIETH CENTURY. THE THEORY OF THE RESTORATION OF CESARE BRANDI AND ITS CONSEQUENCES FOR RESTORATION/CONSERVATION OF WORKS OF ART (PAINTING, SCULPTURE AND ARCHITECTURE). CONNECTIONS WITH OTHER DISCIPLINES THAT CHARACTERIZE THE COURSE OF STUDY: ART HISTORY, HISTORY OF CRITICISM OF ART, MUSEOLOGY, HISTORY OF ARTISTIC TECHNIQUES.

L. Vlad, Conservazione e restauro delle antichità. Profilo storico, Roma, 2010. Volume integrale.

C. Brandi, Teoria del Restauro, Milano, Milano (qualsiasi edizione). Volume integrale.

A. Conti, Storia del restauro e della conservazione delle opere d'arte, Milano, 2002, pp. 154-328.

see Fondamenti di Letteratura artistica 1

see Fondamenti di Letteratura artistica 1

This lecture class offers an introduction to the history of photographic languages, practices, and cultures from the origins to the end of the 19th century. Lectures will focus on the "close reading" of different types of photographic texts (including individual images, series, photo-texts, books, and exhibitions) and will discuss case studies associated with the crucial moments in the medium's affirmation as an intellectual and artistic field.

Reference text:
- A. Gunthert, M. Poivert, Storia della fotografia dalle origini ai giorni nostri, Electa, Milano 2009 (or. ed. 2007), pp. 10-301;

Further materials will be provided in class.

Regular attendance is warmly suggested. A basic knowledge of Modern History and Modern Art History is required.

Distant learning
Students who cannot attend on a regular basis must inform the instructor of their distant learning status by March 15, 2020. In any case, they are warmly advised to set up at least one appointment with the instructor during their study period, in order to discuss class objectives and learning strategies.

For the final exam, distant learning students are responsible for the following text, including all photographs and artworks reproduced therein:
- A. Gunthert, M. Poivert, Storia della fotografia dalle origini ai giorni nostri, Electa, Milano 2009 (or. ed. 2007), pp. 10-301;
- W. Guadagnini (a cura di), La fotografia. Le origini 1839-1890, Skira, Ginevra-Milano 2011, pp. 34-111, 144-199, 200-225, 226-277;
- M. Mozzo, Note sulla documentazione fotografica in Italia nella seconda metà dell’Ottocento, tra tutela, restauro e catalogazione, in Arti e storia nel Medioevo, vol. IV, E. Castelnuovo, G. Sergi (eds), Il Medioevo al passato e al presente (Turin: Einaudi, 2004), pp. 847-870.

This lecture class offers an introduction to the history of photographic languages, practices, and cultures during the 20th century. Lectures will focus on the "close reading" of different types of photographic texts (including individual images, series, photo-texts, books, and exhibitions) and will discuss case studies associated with the crucial moments in the medium's affirmation as an intellectual and artistic field.
Regular attendance is warmly suggested. A basic knowledge of Modern History and Modern Art History is required.

Reference texts:
- A. Gunthert, M. Poivert, Storia della fotografia dalle origini ai giorni nostri, Electa, Milano 2009 (or. ed. 2007);
- Jean-Claude Lemagny, André Rouillé, Storia della fotografia, Sansoni, Firenze 1988 (or. ed. 1986).

Further materials will be provided in class.


Distant learning
Students who cannot attend on a regular basis must inform the instructor of their distant learning status by March 15, 2020. In any case, they are warmly advised to set up at least one appointment with the instructor during their study period, in order to discuss class objectives and learning strategies.

For the final exam, distant learning students are responsible for the following text, including all photographs and artworks reproduced therein:
- A. Gunthert, M. Poivert, Storia della fotografia dalle origini ai giorni nostri, Electa, Milano 2009 (or. ed. 2007);
- M. Mozzo, Note sulla documentazione fotografica in Italia nella seconda metà dell’Ottocento, tra tutela, restauro e catalogazione, in Arti e storia nel Medioevo, vol. IV, Il Medioevo al passato e al presente, a cura di E. Castelnuovo e G. Sergi, Einaudi, Torino 2004, pp. 847-870;
- O. Lugon, Lo stile documentario in fotografia. Da August Sander a Walker Evans, 1920-1945, Electa, Milano 2008 (or. ed. 2001), pp. 9-134.

The frescoes of the Sistine Chapel under Sixtus IV: the work of art, the artists, the workshops.

The course will consider the artists active in the Sistine Chapel under Sixtus IV, focusing on their careers and the role in the Vatican work.
In addition, the course will offer some exercises of connoisseurship, in order to provide the skills for understanding styles and geographic areas of the artistic Italian production in Early Modern age.

BIBLIOGRAPHY:

Sistine Chapel:

J. Shearman, La costruzione della cappella e la prima decorazione al tempo di Sisto IV, in La cappella Sistina. I primi restauri, la scoperta del colore, Novara 1986, pp. 22-87.

M. Calvesi, La cappella Sistina e la sua decorazione da Perugino a Michelangelo, Roma 1997, pp. 21-70.

A. Nesselrath, La cappella di Sisto IV, la decorazione del Quattrocento e la sua importanza nel contesto attuale, in La Sistina e Michelangelo, Milano 2003, pp. 25-29.

A. Nesselrath, The Painters of Lorenzo the Magnificent in the Chapel of Pope Sixtus IV in Rome, in The Fifteenth Century Frescoes in the Sistine Chapel, Roma 2003, pp. 39-75.

P. N. Pagliara, The Sistine Chapel, Its Medieval Precedent, and Reconstructions, in The Fifteenth Century Frescoes in the Sistine Chapel, Roma 2003, pp. 77-85.

J. M. Meja, Biblical Reading of the Frescoes on the Walls of Sistine Chapel, in The Fifteenth Century Frescoes in the Sistine Chapel, Roma 2003, pp. 9-38.

Perugino:

Perugino il divin pittore, catalogo della mostra (Perugia 2004), a cura di V. Garibaldi, F. F. Mancini, pp. 47-115.

Botticelli:

Alessandro Cecchi, Botticelli, Milano 2008, pp. 30-283.

Ghirlandaio:

R. Keks, Ghirlandaio, Firenze 1995.

Maestri e botteghe, catalogo della mostra (Firenze 1992-1993), a cura di C. Acidini Luchinat, M. Gregori, A. Paolucci, pp. 23-59.

Signorelli:

Cecilia Martelli, Luca Signorelli dalla cappella Sistina a Loreto, in Luca Signorelli, catalogo della mostra, Perugia 2012, pp. 59-71.

Tom Henry, La vita e l’arte di Luca Signorelli, Città di Castello 2014, pp. 37-65.

Pinturicchio:

P. Scarpellini, M. R. Silvestrelli, Pintoricchio, Milano 2003, pp. 57-205; 233-247


For downloading the bibliography in pdf and the slides of the course, please refer to this web page:

http://studiumanistici.uniroma3.it/persone/aUs3RUlNcmlmODJSVTRvUVpFbENSNTM1L29kOWJvMExYT1JOTDk4UCs3cz0=/

A Look at the Archaeology and History of Fine Arts of the Ancient Near East- The Supremacy of Mesopotamia in the Third Mill.B.C: Urbanization,Society,
Ecomics, Religion. The Sumerian’s and Akkadian’s Leadership
II sixt-month period

The bibliography on topics will be shown during the courses.

The course aims to analyze the figurative art, monumental achievements and urban planning of the Greek world in the centuries from the twelfth to the first century. B.C. Although chronologically structured, the course does not offer a decontextualized analysis of the various artistic expressions, that will be placed in social, political, and cultural context.

Students can select one of the following books

Enzo Lippolis, Giorgio Rocco, Archeologia greca, Cultura, società, politica e produzione, Torino, Milano, Bruno Mondadori 2011.
Giorgio Bejor, Marina Castoldi, Claudia Lambrugo, Arte greca: dal decimo al primo secolo a. C., Milano, Mondadori Università, 2008.

Information theory and coding, elaboration and structuring. Introduction to programming languages, in particular the Python language

slides and handouts available on the course webpage