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HISTORY OF MEDIEVAL ART

Francesca DELL'ACQUA HISTORY OF MEDIEVAL ART

0322400026
DEPARTMENT OF CULTURAL HERITAGE
EQF7
ART HISTORY AND CRITICISM
2020/2021

OBBLIGATORIO
YEAR OF COURSE 1
YEAR OF DIDACTIC SYSTEM 2016
SECONDO SEMESTRE
CFUHOURSACTIVITY
945LESSONS
FRANCESCA DELL'ACQUA T Curriculum
Objectives
THIS MODULE AIMS TO PROVIDE STUDENTS WITH HISTORICAL-CRITICAL INSTRUMENTS TO UNDERTAKE THE ANALYSIS OF ARTEFACTS AS ELEMENTS OF HISTORICAL UNDERSTANDING OF THE MEDIEVAL PERIOD. A TECHNICAL AND FORMAL ANALYSIS WILL BE ACCOMPANIED BY A HISTORICAL AND CRITICAL FRAMEWORK, WITH REFERENCE TO EXISTING HISTORIOGRAPHY AND THE POSSIBILITY OF OVERCOMING IT.
WHERE EXISTING, CONTEMPORARY WRITTEN SOURCES, EVEN IF NOT STRICTLY RELATED, WILL BE CONSIDERED IN ORDER TO BETTER CONTEXTUALIZE THE VALUE OF MEDIEVAL ARTEFACTS WITHIN BROADER SOCIAL AND POLITICAL STUDIES.
AT THE END OF THE MODULE, THE STUDENT SHOULD HAVE ACQUIRED A CERTAIN AUTONOMY OF JUDGMENT; COMMUNICATION SKILLS; THE KNOWLEDGE OF THE MAIN CENTERS OF ARTISTIC PRODUCTION AND OF THE QUESTION OF ARTISTIC PATRONAGE; THE ABILITY TO RECOGNIZE WORKS AND ANALYSE THEM FROM A HISTORICAL, STYLISTIC, ICONOGRAPHIC, AND TECHNICAL-MATERIAL POINT OF VIEW; THE UNDERSTANDING OF THE MAIN CRITICAL-METHODOLOGICAL PROBLEMS RELATED TO THE DISCIPLINE OF MEDIEVAL ART HISTORY; A CRITICAL POSITION TOWARDS SOURCES AND DOCUMENTS.
Prerequisites
A BASIC KNOWLEDGE OF FOREIGN LANGUAGES IS NECESSARY IN ORDER TO ACCESS RELEVANT BIBLIOGRAPHY
Contents
BETWEEN THE LATE SEVENTH AND THE MID-NINTH CENTURIES, A DEBATE ABOUT SACRED IMAGES – CONVENTIONALLY ADDRESSED AS ‘BYZANTINE ICONOCLASM’ – ENGAGED MONKS, EMPERORS, AND POPES IN THE MEDITERRANEAN AREA AND ON THE EUROPEAN CONTINENT. THE IMPORTANCE OF THIS DEBATE CANNOT BE OVERSTATED; IT CHALLENGED THE RELATION BETWEEN IMAGE, TEXT, AND BELIEF. A SERIES OF POPES STAUNCHLY IN FAVOUR OF SACRED IMAGES ACTED CONSISTENTLY DURING THIS PERIOD IN DISPLAYING A REMARKABLE ICONOPHILIA OR ‘LOVE FOR IMAGES’. THEIR MULTIFACETED REACTION INVOLVED NOT ONLY COUNCIL RESOLUTIONS AND DIPLOMATIC EXCHANGES, BUT ALSO PUBLIC RELIGIOUS FESTIVALS, LITURGY, PREACHING, AND VISUAL ARTS – THE MASS-MEDIA OF THE TIME. EMBRACING THESE TOOLS, THE POPES ESPECIALLY PROMOTED THEMES RELATED TO THE INCARNATION OF GOD – WHICH JUSTIFIED THE PRODUCTION AND VENERATION OF SACRED IMAGES – AND EXTOLLED THE ROLE AND THE FIGURE OF THE VIRGIN MARY.
METHODOLOGICAL ISSUES SUCH AS THE IMPORTANCE OF MATERIAL CULTURE IN THE HISTORICAL PRACTICE, THE CIRCULATION OF IDEAS AND IMAGES, ARTISTIC PATRONAGE AND ITS SOCIAL AND POLITICAL IMPACT, WILL BE AT THE CORE OF THE MODULE.
Teaching Methods
LECTURES IN THE CLASSROOM SUPPORTED WITH POWER POINT PRESENTATIONS. EVENTUAL, ONE-DAY VISIT TO ROME (SELF-SPONSORED)
Verification of learning
THE ACQUISITION OF COMPETENCES INHERENT TO THE ANALYSIS OF THEMES DEALT WITH OVER THE MODULE WILL BE VERIFIED THROUGH A WRITTEN ASSESSMENT DURING THE MODULE AND A FINAL ORAL EXAMINATION. THE WRITTEN ASSESSMENT WILL CONSIST OF AN ESSAY TO BE PRODUCED AT HOME AND CENTRED ON THE ANALYSIS OF AN EXAMPLE PREVIOUSLY AGREED WITH THE LECTURER.
Texts
M. ANDALORO, ‘LE ICONE A ROMA IN ETÀ PREICONOCLASTA,’ IN ROMA FRA ORIENTE E OCCIDENTE, 2 VOLS., SETTIMANE 49 (SPOLETO, 2002), 2: 719–53.

A. BALLARDINI, ‘FARE IMMAGINI TRA OCCIDENTE E ORIENTE: CLAUDIO DI TORINO, PASQUALE I E LEONE V L’ARMENO,’ MEDIOEVO MEDITERRANEO: L’OCCIDENTE, BISANZIO E L’ISLAM, I CONVEGNI DI PARMA 7, ED. A.C. QUINTAVALLE (MILAN, 2007), 194–214. (PDF)

L. BRUBAKER, L'INVENZIONE DELL'ICONOCLASMO BIZANTINO. COLLANA: I LIBRI DI VIELLA, 224 (ROMA, 2016).

F. DELL’ACQUA, ICONOPHILIA: RELIGION, POLITICS, AND THE USE OF IMAGES IN ROME C.680–880. BIRMINGHAM BYZANTINE AND OTTOMAN STUDIES 27, ABINGDON-ON-THAMES, ROUTLEDGE (BILIOTECA CENTRALE; O ACQUISTABILE COME EBOOK).

J. ELSNER, ‘ICONOCLASM AS DISCOURSE FROM ANTIQUITY TO BYZANTIUM,’ ART BULLETIN 94.3 (2012): 368–94. (JSTOR)

I. ORETSKAIA, ‘A STYLISTIC TENDENCY IN NINTH-CENTURY ART OF THE BYZANTINE WORLD,’ ZOGRAF 29 (2002–2003): 5–18. (PDF)

J. OSBORNE, ‘ROME AND CONSTANTINOPLE IN THE NINTH CENTURY,’ IN ROME ACROSS TIME AND SPACE. CULTURAL TRANSMISSION AND THE EXCHANGE OF IDEAS C. 500–1400, EDS. C. BOLGIA, R. MCKITTERICK, J. OSBORNE (CAMBRIDGE, 2011), 222–36. (PDF)

E. THUNØ, ‘MATERIALIZING THE INVISIBLE IN EARLY MEDIEVAL ART. THE MOSAIC OF SANTA MARIA IN DOMNICA IN ROME,’ IN SEEING THE INVISIBLE IN LATE ANTIQUITY AND THE EARLY MIDDLE AGES, EDS. G. DE NIE, K.F. MORRISON, M. MOSTERT, UTRECHT STUDIES IN MEDIEVAL LITERACY 14 (TURNHOUT, 2005), 265–89. (PDF)




OTHERS TEXT WILL BE SUGGESTED IF NEEDED, BUT WILL NOT BE COMPULSORY
More Information
THE MODULE WILL BE FOCUSSED ON “THE PAPAL AND MONASTIC REACTION TO BYZANTINE ICONOCLASM” AND WILL BE TAUGHT DURING THE SECOND SEMESTER
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