HISTORY OF MODERN ART
The evaluation includes an oral test during which, with the help of images, the student will have to analyze (from a cultural, authorial, formal, stylistic, iconographic, and context point of view) at least three works of art (architecture, painting, sculpture). The score of the examination is given by means of a mark expressed in thirtieths. The final evaluation will take into account the knowledge acquired, analytical skills (reading of technical-formal, iconographic and style characters; recognition of the author or cultural context of reference) and criticism, terminological precision, expressive mastery and the ability to establish links between the various topics of the program.
In order to pass the exam, and thus obtain a grade of not less than 18/30, the student has to demonstrate that he/she has acquired sufficient knowledge of the topics covered during the course. In order to obtain a score of 30/30 cum laude, the student has to demonstrate that he/she has acquired an excellent knowledge of all the topics.
The course aims to provide the methodological, critical and technical tools for the study of the historical-artistic panorama in Italy and Sardinia during the modern age (XV-XVIII century) in relation to the political, economic, social and cultural context and in the wider European and Mediterranean panorama.
Methodological introduction to the study of early modern art history; basic notions of artistic techniques.
Fundamentals of art history between XV and XVIII century with particular reference to the following topics:
The International Gothic; The Florentine early 15th century: Brunelleschi, Donatello and Masaccio. The "discovery" of perspective, anatomy, human feelings; Piero della Francesca; The Renaissance in Northern Italy; Art in Southern Italy between Angevins and Aragonese: Antonello da Messina; Florence: The age of Lorenzo the Magnificent; The Modern Manner in Northern Italy; The Modern Manner between Florence and Rome; The great artistic sites in the Rome of Julius II and Leo X; Mannerism; The Art of the Counter-Reformation; The Carracci and the “Accademia degli Incamminati”; The followers of the Carracci; The activity of Caravaggio between Rome, Naples and Malta; The diffusion of Caravaggio's naturalism through the experiences of his followers; The affirmation of the Baroque language in Rome; Other centres of the Baroque; 17th century classicism; From the late Baroque to Arcadia; Giambattista Tiepolo; Vedutism.
Fundamentals of art history in Sardinia between the 15th and 18th century with particular reference to the following topics:
Late Gothic Sardinian-Catalan architecture; Catalan influence in painting and sculpture of the 15th century; The Master of Castelsardo; Sculpture between the 15th and 16th century; The School of Stampace; The Master of Ozieri; The first classicist examples and Jesuit architecture; Late Mannerist painting imported from Campania; Architecture of the 17th century in Sardinia; Wooden sculpture and the technique of the “estofado de oro”; Piedmontese military engineers; Foreign and local workers in 18th century painting; Wood sculpture of the 18th century between import and local production.
For the general part it is recommended:
S. Settis, T. Montanari, Arte. Una storia naturale e civile, edizione blu vol. 2 (p. 1 to p. 734), Milano, Mondadori Education/Einaudi Scuola, 2020.
For the part about art in Sardinia it is recommended:
M.G. Scano Naitza, Storia dell’Arte Moderna in Sardegna. Introduzione allo studio, Cuec, Cagliari 2008 (available to students at the end of the course).
M. Salis, Scultura in legno in Sardegna nei secoli XV-XVI. Apporti esterni e produzione locale, Roma, Gangemi, 2020.
Any other text must be agreed with the professor.
Direct lectures and exercises in reading images and critical texts; possibility of teaching seminars.
All students, both attending and non-attending, are required to know the contents of the lessons, during which further bibliographical information on specific topics and research updates may be provided. In addition to the texts, the preparation of the exam should be conducted on a selection of images, commented in class, available at the end of the course.
The reception of students is held on Teams by appointment to be agreed by writing to maurosalis.uniss@gmail.com.
The teacher communicates with students also through the Forum Comunicazioni Docenti DISSUF (https://edissuf.uniss.it/mod/forum/view.php?id=8).