29647 - Etruscology and Italic Archaeology (1) (LM)

Learning outcomes

The aim of this course is to offer a thorough knowledge on some aspects and contexts of the Etruscan civilization. It will provide the critical tools needed to read archaeological documents as well as outlining  methods to carry out research on this civilization.

Course contents

THE ETRUSCAN PAINTING: ART AND IDEOLOGY.

Subjects covered: The first painting of the orientalizing period and aristocratic ideology. The crisis of the aristocracies, the new "timocratic" set-up and the beginning of the great Etruscan painting throughout the VI century B.C. Ranging from the architectural decoration to the first figurative friezes. The artistic relations with the East of Greece and the cultural roots of Etruscan painting. The painting and ceramics of the East of Greece and their interaction with Etruscan art. The major themes of the funeral painting between the end of the VI century and the beginning of  the V century B.C.. The subjects of the Etruscan painting and their meaning. The symposium and komos. The presentation of the dead and burial customs. The relationship between the wall painting and the vase painting.  The great progress of Greek painting and its repercussion in Etruscan painting.

 

Readings/Bibliography

 

S. Steingraber (a c.), Catalogo ragionato della pittura etrusca, Milano 1985 (only tombs presented during the course: the tombs of the Orientalizing period; the Tomb of the Bulls, Augures, Hunting and Fishing, Lionesses, Baron, Bartoccini, Olympiads, Mouse, Hunter, Dead Man, Chariots, Leopards, Banquet, Funeral Couch, Black Sow, Ship, Light blue Daemons; the tombs in Chiusi and in Orvieto). 

M. Torelli, Limina Averni. Realtà e rappresentazione nella pittura tarquiniese arcaica, in “Ostraka” VI, 1997, 63-86.

L. Cerchiai, La machaira di Achille. Alcune osservazione a proposito della Tomba dei Tori, in B. d'Agostino – L. Cerchiai, Il mare, la morte, l'amore, Roma 1999, pp. 91-106.

B. d'Agostino, L'immagine, la pittura e la tomba, in B. d'Agostino – L. Cerchiai, Il mare, la morte, l'amore, Roma 1999, pp. 13-30.

L. Cerchiai, Sulle tombe del Tuffatore e della Caccia e della Pesca. Proposta di lettura iconologica, in B. d'Agostino – L. Cerchiai, Il mare, la morte, l'amore, Roma 1999, 61-71.

B. d'Agostino, I pericoli del mare. Spunti per una grammatica dell'immaginario visuale, in B. d'Agostino – L. Cerchiai, Il mare, la morte, l'amore, Roma 1999, 73-80.

F. Roncalli, La Tomba dei Giocolieri di Tarquinia. Una proposta di lettura, in Aeimnestos. Miscellanea di Studi per Mauro Cristofani, Firenze 2005, pp. 407-23.

G. Colonna, Gli Etruschi e "l'invenzione" della pittura, in G. Colonna, Italia Ante Romanum Imperium, Roma 2005, pp. 1235-1248.

F. Gilotta, Pitture etrusche: discussioni e studi recenti, in Bollettino d'Arte, 140, 2007, pp.57-74.

At least three of the following texts are required readings for students that are unable to attend the course: 

B. d'Agostino, Oinops pontos. Il mare come alterità nella percezione arcaica, in B. d'Agostino – L. Cerchiai, Il mare, la morte, l'amore, Roma 1999, 81-88.

F. Roncalli, La definizione dello spazio tombale nella "età della crisi", in Crise et transformation des sociétés archaiques de l'Italie antique au V siécle av. J.C. (Actes de la Table ronde, Rome 1987), Roma 1990, pp. 229-243.

N. Scala, La tomba del letto funebre di Tarquinia. Un tentativo di interpretazione, in Prospettiva 85, 1997, pp. 46-52.

R. Benassai, Per una lettura del programma figurativo della Tomba delle Bighe di Tarquinia, in Orizzonti 2, 2001, pp.51-62.

F. Roncalli, Iconographie funéraire et topographie de l'au-delà en Etrurie, in Les plus religieux des hommes. Etat de la recherche sur la religion étrusque (Actes du colloque international, 17-19 novembre 1992), Paris 1997, 37-54.

 

Teaching methods

The teaching will include seminars. Students can also integrate lessons with practical activities such as workshop activities offered by the Archaeology Department. It is also possible to join excavation activities in the Etruscan town of Marzabotto (Bologna).

Assessment methods

Final test consists of an oral examination only. The examination consists in three general questions that are the starting point of a more detailed discussion. 

Teaching tools

During the lessons visual aids will be widely used, especially slides and power-point. Handouts concerning specific subjects of the course will be provided

 

 

Office hours

See the website of Giuseppe Sassatelli