Adriano AMENDOLA | HISTORY OF MODERN ART: GLOBAL CONTEXT
Adriano AMENDOLA HISTORY OF MODERN ART: GLOBAL CONTEXT
cod. 4322200091
HISTORY OF MODERN ART: GLOBAL CONTEXT
| 4322200091 | |
| DEPARTMENT OF CULTURAL HERITAGE | |
| EQF7 | |
| THEATRE AND MEDIA STUDIES | |
| 2024/2025 |
| YEAR OF COURSE 1 | |
| YEAR OF DIDACTIC SYSTEM 2020 | |
| AUTUMN SEMESTER |
| SSD | CFU | HOURS | ACTIVITY | |
|---|---|---|---|---|
| L-ART/02 | 6 | 30 | LESSONS |
| Exam | Date | Session | |
|---|---|---|---|
| APPELLO GENNAIO | 14/01/2025 - 10:00 | SESSIONE ORDINARIA | |
| APPELLO GENNAIO | 14/01/2025 - 10:00 | SESSIONE DI RECUPERO | |
| APPELLO FEBBRAIO | 11/02/2025 - 10:00 | SESSIONE ORDINARIA | |
| APPELLO FEBBRAIO | 11/02/2025 - 10:00 | SESSIONE DI RECUPERO |
| Objectives | |
|---|---|
| GENERAL LEARNING OUTCOMES: THE COURSE INTENDS TO EXAMINE, WITHIN THE CHRONOLOGICAL FRAMEWORK OF THE HISTORY OF MODERN ART, HOW AND TO WHAT EXTENT CROSS-CULTURAL EXCHANGES OF ARTISTIC OBJECTS (PAINTINGS, ENGRAVINGS, SCULPTURES, FURNITURE) HAVE INFLUENCED THE PERCEPTION OF THE OTHER THAN ONESELF. THE FOCUS WILL THEREFORE BE ON SOME CASE STUDIES THAT WILL EXPLORE THE WAYS IN WHICH ENCOUNTERS BETWEEN DIFFERENT SOCIETIES FROM THE NEW AND OLD WORLD HAVE INFLUENCED VISUAL CULTURES AND ARTISTS. IN PARTICULAR, AN ATTEMPT WILL BE MADE TO UNDERSTAND HOW THE RELATIONSHIP WITH THE OTHER HAS INFLUENCED THE UNDERSTANDING OF THE ARTISTIC HISTORIES OF COUNTRIES NEAR AND FAR, BETWEEN THE RENAISSANCE AND THE AGE OF ENLIGHTENMENT, IN A NEVER-ENDING VISUAL AND VALUE EXCHANGE. KNOWLEDGE, UNDERSTANDING): THROUGH THE EVALUATION OF HISTORIC-CRITICAL CONTEXTS PARTICULARLY SIGNIFICANT OF ART HISTORY IN ITALY, EUROPE AND IN OTHER CONTINENTS THE TEACHING WILL PROVIDE THE KNOWLEDGE FOR THE STUDY OF PAINTING WORKS, SCULPTURE, ARCHITECTURE, GRAPHIC AND APPLIED ARTS IN THE MODERN AGE. WITH A VIEW TO A WIDER GLOBAL UNDERSTANDING OF ARTISTIC PHENOMENA THE ANALYSIS OF STYLE OF WORKS IS SUPPORTED BY THE ICONOGRAPHIC STUDY AND BY DOCUMENTARY AND LITERARY SOURCES. THUS, THE STUDENT STRENGTHENS HIS METHODOLOGICAL KNOWLEDGE, UNDERSTANDING AND THE CAPACITY OF ANALYSIS. APPLYING KNOWLEDGE AND UNDERSTANDING: THE STUDENT IS ABLE TO PROVIDE A CORRECT INTERPRETATION OF THE ART WORKS, CONSIDERED PARTICULARLY SIGNIFICANT, IN THE HISTORICAL CONTEXT AND GEOGRAPHIC LOCATION AND IDENTIFY THE SPECIFIC LANGUAGE OF THE MAJOR ARTISTS ACTIVE IN MODERN ERA. AGAIN THE STUDENT IS ABLE TO ANALYZE THE CULTURAL CONTEXT AND INSERT THE ARTISTIC PRODUCTION IN THE HISTORICAL AREAS. MAKING JUDGEMENTS: THE STUDENT IS ABLE TO CONCEIVE AND GIVE CRITICAL INTERPRETATION TO DATA AND HISTORICAL FACTS VALUABLE TO DEEPEN ONE OR MORE SPECIFIC AREAS OF INTEREST, ALSO INDEPENDENTLY IDENTIFIED. COMMUNICATION SKILLS: THE STUDENT IS ABLE TO COMMUNICATE, USING ADEQUATE LANGUAGE REGISTERS, TO AN AUDIENCE OF NON-SPECIALISTS THE SKILLS ACQUIRED, SUITABLY EXPLAINING HIS INTERPRETATIVE CHOICES. LEARNING SKILLS: THE STUDENT ACQUIRES THE SKILLS OF PROPERLY USING THE METHODOLOGICAL TOOLS AND DATA NECESSARY TO FURTHER ENRICH HIS KNOWLEDGE AND TO APPLY IT TO OTHER COURSE UNITS. |
| Prerequisites | |
|---|---|
| NONE |
| Contents | |
|---|---|
| THE COURSE INTENDS TO DEAL WITH THE MAIN HISTORICAL AND ARTISTIC EVENTS OF THE MODERN AGE THROUGH KEY-STUDIES THAT ARE SIGNIFICANT FOR UNDERSTANDING THE RELATIONSHIPS OF CULTURAL EXCHANGE AND FIGURATIVE MODELS THAT RADIATE FROM THE PROPULSIVE EUROPEAN CENTERS TO THE REST OF THE WORLD IN THE CONTEXT OF GLOBAL HISTORY. THE TEACHING WILL FOLLOW THE OUTLINE STRUCTURE: 1. THE INTERNATIONAL GOTHIC 2. THE DISCOVERY OF PERSPECTIVE IN ITALY AND ITS DIFFUSION 3. THE ABSENCE OF PERSPECTIVE IN THE EAST 4. ART OF FLANDERS AND ART OF ITALY 5. THE ROLE OF THE SPECTATOR 6. WAYS OF PORTRAYING AND PERPETRATING MEMORY 7. THE ENCOUNTER WITH THE OTHER IN THE MEDITERRANEAN SEA 8. THE ENCOUNTER WITH MESOAMERICAN POPULATIONS 9. ANCESTRAL AND LIVING WARNINGS 10. THE RELATIONSHIP BETWEEN THEATER AND THE ARTS 11. DISCLOSING IMAGES 12. THE ART MARKET 13. TRAVELING ARTISTS 14. MUGHAL INDIA AND EUROPE 15. TRANSITIVE PASSAGES BETWEEN DIFFERENT IDENTITIES |
| Teaching Methods | |
|---|---|
| THE TEACHING IS DEDICATED TO MODERN ART HISTORY, FOR 30 HOURS IN TOTAL. POWER POINT PRESENTATIONS ARE EXPECTED DURING THE COURSE. |
| Verification of learning | |
|---|---|
| DURING THE LESSONS AND DURING THE FINAL EXAM, WHICH WILL BE CONDUCTED IN THE FORM OF AN INTERVIEW (THREE OR FIVE QUESTIONS), THE STUDENTS' ABILITY TO COMMUNICATE CLEARLY THE METHODOLOGICAL AND CONTENT KNOWLEDGE LEARNED WILL BE ASSESSED. |
| Texts | |
|---|---|
| A. AMENDOLA, L'ALTRO IN PROSPETTIVA. QUANDO L'ARTE AIUTA A CONOSCERE IL DIVERSO, PISA, ETS, 2021. - C.M. SICCA, DA SCHIAVI SULLE GALERE A CORTIGIANI DI BASSO SERVIZIO. "GIOVANI DI BARBARE NAZIONI" NELLA TOSCANA MEDICEA, IN LE RAPPRESENTAZIONI DEI NERI NELL'ETÀ MODERNA. TEMI E QUESTIONI METODOLOGICHE, A CURA DI C. SAVETTIERI, ROMA, CAROCCI, 2022, PP. 49-71. - C. SAVETTIERI, IL PORTRAIT D'UNE REGRESSE DI MARIE-GUGLIELMINE BENOIST: PROBLEMI INTERPRETATIVI E AMBIVALENZA DI UN'OPERA DI ROTTURA, IN LE RAPPRESENTAZIONI DEI NERI NELL'ETÀ MODERNA. TEMI E QUESTIONI METODOLOGICHE, A CURA DI C. SAVETTIERI, ROMA, CAROCCI, 2022, PP. 91-109. IF NECESSARY, THE STUDENT CAN SUPPLEMENT THE STUDY WITH: D. BIAGI MAINO, IL CANNIBALE E IL BUON SELVAGGIO. L'INVENZIONE DELL'AMERICA, IN IL MITO DEL NEMICO. IDENTITÀ, ALTERATA E LORO RAPPRESENTAZIONE, A CURA DI I. GRAZIANI, M.V SPISSU, ARGELATO (BO) 2019, PP. 245-255. |
| More Information | |
|---|---|
| POWERPOINT PRESENTATIONS WILL BE AVAILABLE TO STUDENTS DURING THE TEACHING. |
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