Learning objectives
The student must: - master the critical tools suitable to formally and conceptually interpret images in their historical development. - know how to carry out a detailed iconographic and stylistic analysis of a Renaissance work of art, using an appropriate descriptive lexicon;
Prerequisites
learn about the history of Italian art, medieval and modern
Course unit content
The student must: - master the critical tools suitable to formally and conceptually interpret images in their historical development. - know how to carry out a detailed iconographic and stylistic analysis of a Renaissance work of art, using an appropriate descriptive lexicon;
Full programme
Warburg and the iconological school; d - The Rebirth of ancient paganism - Hieroglyphics; - The illustrated book - Ideal portraits -; foresight; the art of memory; Fate and Fortune; Correggio, Parmigianino and the School of Parma
Bibliography
Aby Warburg, Immagini permanenti. Saggi su arte e divinazione, a cura di Stefano Calabrese e Sara Ubaldi, Bologna 2011; E. Fadda, La Fortezza a Parma, in La Vertu de force du Moyen Âge au siècle des Lumières, Paris, Classiques Garnier 2024, pp. 183 - 212.
Alla lettura di questi testi scegliere di aggiungere o la bibliografia su Correggio, o quella su Parmigianino:
Correggio:
E. Fadda, Come in un rebus: Correggio e la camera di San Paolo, Firenze Olschki, Biblioteca dell’Archivium Romanicum, 2018 + E. Fadda, “Et così mi chiamo contento”: Antonio Allegri detto il Correggio, l’uomo e l’artista attraverso la lettura dei documenti, in Correggio e l’antico, catalogo della mostra (Roma, Galleria Borghese
22 maggio – 14 settembre 2008) a cura di A. Coliva, Milano Motta, 24Ore cultura, 2008, pp. 182 – 185.
Parmigianino
1. E. Fadda, Parmigianino ‘mio amicissimo’ a Roma, in Correggio e Parmigianino. Arte a Parma nel Cinquecento (Roma, Scuderie del Quirinale 12 marzo – 26 giugno 2016) a cura di D. Ekserdjian, Silvana ed. Cinisello Balsamo 2016, pp. 49 – 59 + E. Fadda, Arte e alchimia negli ultimi anni del Parmigianino, in L’Art de la Renaissance entre science et magie, atti del Colloque International, (Paris, Université Paris I Sorbonne, Centre d’histoire de l’Art de la Renaissance, Institut d'Art et d'Archéologie, 20, 21, 22 giugno 2002) a cura di Philippe Morel, Paris, Collection d’histoire de l’art de l’Académie de France à Rome, Somogy éditions d'art 2006, pp. 295 - 324 + E. Fadda, Un ‘soggetto acquaticcio’: Diana al bagno. Negli affreschi di Parmigianino a Fontanellato il ritratto emblematico dei committenti, in Il mito di Diana Arte, letteratura, musica, (atti del convegno, Reggia di Venaria, 2010), a cura di A. Colturato, G. Barberi Squarotti, C. Goria, Leo Olschki, Firenze 2018, pp. 55 – 82;
Teaching methods
Frontal lessons with slides
Assessment methods and criteria
The evaluation will consist of an oral test, inherent specifically i topics covered in the course and those included in the recommended bibliography. A question will be on a topic chosen by the candidate; The assessment will take place through an oral exam lasting about 20-30 minutes. During the examination, images and reference texts can be shown. Students will have the texts adopted with them.The evaluation
will consist of an oral test, inherent specifically i
topics covered in the course and those included in the recommended bibliography. A question will be on a topic chosen by the candidate. A fail is determined by the lack of an understanding of the minimum content of the course, the inability to express oneself adequately, by a lack of autonomous preparation, the inability to solve problems related to information retrieval and the decoding of complex texts, as well as an inability to make independent judgments. A pass (18-23/30) is determined by the student’s possession of the minimum, fundamental contents of the course, an adequate level of autonomous preparation and ability to solve problems related to information retrieval and the decoding of complex texts, as well as an acceptable level of ability in making independent judgments. Middle-range scores (24-27/30) are
assigned to the student who produces evidence of a more than sufficient level (24-25/30) or good level (26-27/30) in the evaluation indicators listed above. Higher scores (from 28/30 to 30/30 cum laude) are awarded on the basis of the student’s demonstration of a very good or excellent level in the evaluation indicators listed above
