B5351 - Medieval Art in Motion in Contemporary Culture (1) (LM)

Conoscenze e abilità da conseguire

Students acquire fundamental knowledge of medieval art history and develop the skills necessary to familiarize themselves with the artistic production of the period. In particular, they will analyze how medieval art is perceived and how it is valued in contemporary culture and in museum and exhibition systems. By the end of the course, students are able to analyze historically the main works of medieval art history and are able to implement specific choices for the knowledge and dissemination of medieval heritage.

Contenuti

The first part (I) will focus on the study of artistic phenomena and their development in the medieval age (XII-XV century) and their revival in the contemporary age.

The second part (II) will focus on the study of heritage and Museum and archive studies and digital heritage, media and communication. This course addresses state-of-the-art initiatives, as well as challenges and strategic issues, in developing a digital medieval heritage ecosystem within the broader context of an emerging digital culture. Case studies are drawn from Italy and showcase the breadth of innovative ideas in delivering, communicating, interpreting, and transforming cultural heritage content and experiences through multi-modal, multimedia interfaces. Aiming to offer a balanced overview of digital heritage and culture issues and technologies.

Testi/Bibliografia

For attending and not attending students

for the first part (I) I suggest studying these titles as “Manuale”: Gardner’s Art through the Ages. A Global Hisotry, vol. I, Fred S. Kleiner, cap. Early medieval art, Sixteenth Edition 2018, pp. 319-441; C. R. Dodwell, The pictorial arts of the West 800-1200, Yale University press, 1993, pp. 157-190.

For the European art (France, Germany and Italy), I suggest that book: Marylin Stokstad, Medieval Art, New York 2004, capp. 8, 9, 10.

It must also be chosen one chapter of the book: A Companion to Medieval Art, edited by Conrad Rudolph, New York 2019.

More in general I suggest: Veronica Sekules, Medieval Art, Oxford University press, 2001;

Roger Stalley, Early Medieval Architecture, Oxford University press, 1999.

I also recommend consulting related entries in:

The Grove Enciclopedia of Medieval Art e and Architecture, Editor in Chief Colum P. Hourihane, Oxford University press, 2012;

Dictionnaire d’Histoire de l’art du Moyen Age Occidental, sur la direction de Pascale Charron et Jean-marie Guillouët, Paris 2009;

The Dictionary of Art, Macmillan Publisher Limited 1996.

About Revival:

Manufacturing middle ages: entangled history of medievalism in Nineteenth-century Europe, edited by Patrick J. Geary and Gabor, Leiden ; Boston : Brill, 2013.

What is Medieval? Decoding Approaches to the Medieval and Medievalism in the 21 Century, ed. by C. kennam, E. J. Wells, Brepols 2024.

L'art Médiéval est-il Contemporain? Is Medieval Art Contemporain?, edit by C. Denoël, L. Dryansky, E. Verhagen, I. Marchesin, Brepols 2023.

Additional bibliography will be provided during the course.

for the second part (II): choose a reading from the list.

D. Cooper, Immercive Renaissance Florence: Research-Based 3D Modeling in Digital Art and Architectural History, in The Getty Research Journal, 15 (2002), pp, 203-227.

European Heritage, Dialogue and Digital Practices Critical Heritages of Europe, edited by Areti Galani, Rhiannon Mason, Gabi Arrigoni, Routledge 2019;

The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites, edited by Hanna Lewi, Wally Smith, Dirk von Lehn, Steven Cooke, Routledge 2019;

Museum and Archive on the Move. Changing cultural institutions in the digital era, edited by Oliver Grau, Göttingen 2017;

Additional bibliography will be provided during the course.

Non-attending students are invited to select the readings with the professor.

 

Metodi didattici

ILectures, site visits, and in-class lab exercises.

Modalità di verifica e valutazione dell'apprendimento

It will be an oral exam. The first part (I) tending to verify students’ ability to recognise the peculiarities of different artistic styles, main iconographic symbols, and to describe, through appropriate vocabulary, the work of art. This is why the practical exercise, carried out with the teacher in the classroom, as described above, is particularly important.

Examination will start by verifying the knowledge of development of Italian Art in the defined chronological period (XIII-XV centuries), through identification and comment of 3 images. For attending students, the images may be selected from the ones projected by the teacher (ppt will be made available to students), for non-attending students, they will be selected from the above mentioned handbook.

Excellent marking will be assigned for identification of all three images, an organic understanding of the treated topics, a fluent exposition of topics with the appropriate vocabulary, originality of personal reflections and comparative analysis of the history of art in European countries, plus a clear exposition of the chosen essay (ability to explain in detail the author’s position).

Identification of two out of three of the images, a scholastic, mechanic and mnemonic knowledge of the subject, synthesis and analysis accompanied by a flat, correct but inappropriate vocabulary, with unclear and not sufficiently detailed exposition of the chosen topic, even if critically correct, may lead, at the most, to a decent evaluation.

No more than a pass mark may be assigned for identification of only one image, accompanied by lack of background knowledge, inappropriate vocabulary, a poor bibliography and a merely basic knowledge of history of art in European countries, with unclear and undetailed exposition of the chosen topic, and a limited understanding of the critical dimension.

The inability to identify any of the three images, together with lack of background knowledge, inappropriate vocabulary, a poor bibliography and the inability to analyse history of art in Italy, plus an unclear and totally superficial exposition of the chosen topic, accompanied by complete incomprehension of the critical dimension, will necessarily lead to a negative assessment and the impossibility to move to the second part (II).

The positive assessment of the first part (I) will allow to move on the discussion of the second part (II).

Strumenti a supporto della didattica

Powerpoint, Archiui, Omeka.

Orario di ricevimento

Consulta il sito web di Fabio Massaccesi