BAXANDALL PITTURA ED ESPERIENZE SOCIALI NELL ITALIA DEL QUATTROCENTO PDF

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Teacher Fabrizio Lollini. Credits Teaching Mode Traditional lectures. Language Italian. Classes will try to offer a general approach to history of medieval art from 5th to 15th century. Students are hoped to acquire on one side the abilities which are necessary for the knowledge of the artistic production of the period - attribution, and skill in the "reading" of the work - and on the other a conscious methodology. The last lessons will offer a more specific topic, as a research example.

The first part A , an orientation part or if you prefer the "institutional part" , will deal with general issues of the discipline. This course aims to offer a guidance for students to prepare at best the final examination and, of course, it introduces them in the study of the discipline.

The list of the course topics includes two main lines. On the one hand, several methodological themes: the periodization of the Middle Ages and medieval art; historical and historical-artistic geography; the relationship between center and periphery; materials and their use; the relationship with the Ancient; the workshop of the medieval artist; reading an artwork, and so on.

On the other hand, they will be treated in a more chronological way some key moments of the artistic history of the medieval period also with the help of seminars held by collaborators. In the second part B , as usual, students will deal with a research exemplification "monographic course" , this year focusing on "Middle Age as seen by posterity: from the definition of Romanesque to our days", and will consider how much what we think about Medieval Art cathegories, perceptions, iconographic analysis depends on subsequent sensitivities and awareness.

I Students are required to develop a knowledge of the general outline of art history in Italy from the end of the 5th century to the first Renaissance generation around chronological limits should be understood with common sense. The final examination will be in a written form for the preparation of which it is recommended the intelligent use of art history manuals covering the period treated, except reduced editions and the texts of Adorno and Argan — the manual and its use will still be dealt with in the first lectures; one of the recommended manuals is C.

Cova, E. Daffra, S. Nicolini, Bruno Mondadori ed. Azzurra, Of course, during the oral examination, students are expected to discuss also about these general outlines especially if the result of the written part has not been excellent. This part I of the syllabus corresponds to part A of course.

Non-attending students, like those attending, shall follow these same indications; those attending will use their presence as a guide for a better preparation. II Students are required to study in a critical and in-depth way not a summary or a banal exposition of one text or, in one case, a group of texts chosen among the following list further indications will be provided during the lectures :.

A - three essays from the volumes published in the series Arte e Storia del Medioevo , Turin Turin and later. Baxandall, Pittura ed esperienze sociali nell'Italia del Quattrocento , ed. Torino e succ. Castelnuovo a cura di , Artifex bonus.

Il mondo dell'artista medioevale , Bari Milano e succ. Panofsky, Rinascimento e rinascenze nell'arte occidentale , ed. Students are expected to choose the text after considering its contents. These indications are for both attending e non-attending students and could be integrated immediately before or during the lectures with other texts. III The monographic part B will be discussed in the second part of the course and divided in specific topics.

For the final examination, attending students shall choose and prepare one of the topics discussed, each of them with its specific bibliography, while those non-attending two topics. Curzi, La pittura dei Templari , Milano ; B. Frale, I Templari , Bologna ; F. Cardini, Templari e templarismo , Rimini Mazzei, Alfonso Rubbiani. Bologna , presentazione di F. Solmi, introduzione di M. I veri e i falsi storici , catalogo della mostra Bologna, febbraio-marzo , a cura di F.

Solmi e M. Dezzi Bardeschi, Bologna all the studies and a choice of entries ; Alfonso Rubbiani e la cultura del restauro nel suo tempo , atti delle Giornate di studio su Alfonso Rubbiani e la cultura del restauro nel suo tempo , Bologna, novembre , a cura di L. Bertelli e O. Mazzei, Milano two studies of your choice ; Miti e segni del Medioevo nella citta e nel territorio: dal mito bolognese di re Enzo ai castelli neomedievali in Emilia-Romagna , a cura di M.

Muzzarelli, Bologna, Bernardini, D. Davanzo Poli, O. Castelnuovo e G. Sergi, Torino four studies at your choice d - street art e pittura medievale: F. Lollini, "Modelli dell'intenzione". Naldi, Bologna IV Finally, students are required to have the direct knowledge of at least one church, palace, painting, or any artistic work, chosen by students concerning, obviously, the medieval period. This indication applies both to attending and non-attending students. Those with 10 credits are required to prepare the same texts as the 12 credits program.

For examinations with different validity please contact the teacher. The written examination verifies the preparation of point I of the syllabus; students who passed the written part may take the oral examination only within the subsequent six exam dates: if they not take the interview in this time limit, students shall repeat the written part.

Erasmus and Overseas students are required to prepare Part I this part for the oral examination instead for the written part , II, III and IV, and section III may be replaced by a personal research minimum 5 pages long, at least 3 texts in bibliography, no notes ; for 5 or 6 credits it applies the same criterion as that for the Italian students.

Addendum: students who can be interested in these, can read for the exam, instead of point II and III, one of the following books, i will present on Tuesday, May 7th at 5. On the sacred ways", I. Foletti et alii edd. In addition to the general syllabus I , seminars by the teacher and his collaborators are also planned. Only and exclusively non-native students Erasmus, Overseas, other exchange programs, as well as individual "freelancers" may also discuss the part I at the oral examination.

The written part consists of examining 10 projected images, of which students shall give the stylistic coordinates chronological and geographic as precisely as possible; it is not a quiz, but a demonstration open answers to know how to orientate in a stylistic examination; obviously on the most descriptive and manual images, more precision is required; each image may receive 0 to 4 points, and together they will give the final vote sufficient is graded as 18, the final vote after the oral examination is based on the vote of the written part, a sufficient and acceptable interview confirms that vote; an inadequate interview lowers it while a brilliant interview increases it up to points.

The interview, which can only be taken after the written part, will be based on the points II, III and IV of the syllabus in the manner above and on questions about the recommended bibliography and the topics discussed. It will be assessed as excellent the performance of those students achieving an organic vision of the course contents, the use of a proper specific language, originality of reflection and familiarity with Medieval Art.

It will be assessed as discrete the performance of those students showing mostly mechanical or mnemonic knowledge of the subject, disarticulated synthesis and analysis capabilities, or a correct but not always appropriate language, as well as a scholastic study of Medieval Art.

It will be assessed as barely sufficient the performance of those students showing learning gaps, inappropriate language, lack of knowledge of the instruments of Medieval arts. It will be assessed as insufficient the performance of those students showing learning gaps, inappropriate language, no orientation within the recommended bibliography and inability to ANALISE Medieval Art.

See the website of Fabrizio Lollini. Search Search Close. People Structures Close. My e-mail for students My e-mail for staff Close. Facebook Twitter Linkedin Send to friend. Search Course unit catalogue. Course contents The first part A , an orientation part or if you prefer the "institutional part" , will deal with general issues of the discipline. II Students are required to study in a critical and in-depth way not a summary or a banal exposition of one text or, in one case, a group of texts chosen among the following list further indications will be provided during the lectures : A - three essays from the volumes published in the series Arte e Storia del Medioevo , Turin B - J.

Alexander, I miniatori medioevali e il loro metodo di lavoro , Modena C - M. Baxandall, Giotto e gli umanisti , ed. Milano e — M. Baxandall, Forme dell'intenzione , ed. Torino f — E. Il mondo dell'artista medioevale , Bari g — H.

Focillon, Vita delle forme , ed. Torino e prec. Ginzburg, Indagini su Piero , ed. Torino NON quelle precedenti i — E.

Torino n - S. Romano, Milano o - J. Von Schlosser-Magnino, L'arte del Medioevo , ed. Torino p - C. Tosco, L'architettura medievale in Italia , Bologna q — A. Warburg, La rinascita del paganesimo antico , ed. Firenze e succ. Wittkower, La scultura , ed. Torino Cardini, Templari e templarismo , Rimini b - neomedieval revivals in architecture - one text from the following list: O.

Muzzarelli, Bologna, c - neomedieval revivals in painting and decorative arts - one text from the following list: Aemilia ars,

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