ICONOGRAPHY AND ICONOLOGY

Iconography and Iconology one of the core educational activities Master's degree in History of Arts and Conservation of Artistic Heritage. The course aims to provide students with basic tools in order to understand iconographic and iconological approaches and the most recent debates about image theories.

Knowledge and understanding : deep knwoledge of the main concepts and terms of the discipline ; kwnowledge in history of iconology and its principal scolars ; deep kwoledge on the case studies discussed during the course.
Ability to employ knowledge and understanding : good use of the main concepts and terms referring to iconography and iconology ; capacity to elaborate a personal and critical speech based on the tools provided by the teacher.
Capacity of judgment : students will be able to develop a critical and personal point of view on the different iconological theories.
Communicative skills : students will be able to discuss specific subjects, respecting Italian syntax and enjoying the dialogue with teacher and other students.
Understanding skills : students’ understanding skills will be stimulate by seminar approach and discussions with teacher, scholars and other students.

Good knowledge of History of Modern Art, especially Italian Renaissance painting (XVIth century).

The course will be held in two sessions. The first part will be mainly theoretical, starting from the traditional iconografic and iconological approaches to the most recent debates aboute images (Bildwissenschaft, new icology by H. Belting, etc.)
The second part will be dedicated to the Venetian Renaissance painting . Students, together with the class, will be required to take part actively in order to analyze and discuss the case study and bibliography.
This year the methodological investigations will focus on the theme of the representation of otherness in the figurative culture of Renaissance Venice. A specific bibliography will be provided during the course and may be taken into consideration for the student's paper.

BIBLIOGRAPHY
For the theoretical part :
- A. Warburg, La rinascita del paganesimo antico, Firenze 1966, in particolare l’Introduzione e saggio su Schifanoia.
- E. Panofsky, « Introduzione », in Studi di iconologia. I temi umanistici nell’arte del Rinascimento, Torino 1975, pp. 3-38 e E. Panofsky, « Introduzione. La storia dell’arte come disciplina umanistica », in Il Significato delle arti visive, Torino 1962 e 1996, pp. 3-28.
- M. A. Holly, Iconologia e iconografia : saggio sulla storia intellettuale, Milano, Jaca Book, 1993 (sta anche in L'Arte. Critica e Conservazione, Milano,Jaca Book, 1993, pp. 41-74).
- R. von Straten, Introduzione all’iconografia, Milano, Jaca Book, 2009, capp. 1-5, pp. 11-118.
- A. Pinotti, A. Somaini (a cura di), Teorie dell’immagine. Il dibattito contemporaneo, Roma, Raffaello Cortina Editore, Introduzione e capp. 1-4, pp. 9-154.

For the monographic part - this year we will analyse in particular the representation of otherness in Venetian Renaissance painting - three essays to choose from:
- A. Gentili, « Le storie dei santi Giorgio, Trifone, Gerolamo (e Agostino) per la Scuola degli Schiavoni », in Le storie di Carpaccio. Venezia, i Turchi e gli Ebrei, Venezia, Marsilio, 1996, pp. 47-90 (non per gli studenti che frequentano il corso di Laboratorio di Storia dell'Arte moderna).
- F. Sorce, « Il drago come immagine del nemico turco nella rappresentazione di età moderna », Rivista dell’Istituto Nazionale di Archeologia e Storia dell’Arte, III serie, XXX-XXXI (2007-2008), 62-63, pp. 173-197 (su Academia).
- F. Sorce, Conflictual Allegories. The Image of the Turk as the Enemy in Italian Renaissance Art, M. Bernardini, A. Taddei, in collaborazione con M. D. Sheridan (a cura di), Atti del 15° Convegno Internazionale di Arte turca, Napoli, Università di Napoli “L’Orientale”, 16-18 Settembre 2015, Ankara, 2018, pp. 553-567, 2018 (su Academia).
- S. Carboni (a cura di), Venezia e l’Islam, cat., Venezia, Palazzo Ducale, 28 luglio – 25 novembre 2007, Venezia, Marsilio, 2007: intro e prima parte (saggi di J. C. Hocquet, G. Curatola, D. Howard, C. Schmidt Arcangeli, M. Barry…).
- T. Nichols, « Secular Charity, Sacred Poverty: Picturing the Poor in Renaissance Venice », Art History, 30 (2007), pp. 139-169.
- L. Pavanello, « ‘Una donna in piedi sta mirando’. Vedere diversamente nel dipinto di Tintoretto a Milano », in G. Cassegrain, A. Gentili, M. Hochmann, V. Sapienza (a cura di), La giovinezza di Tintoretto, Atti del Convegno internazionale di Studi, Venezia, Fondazione Cini, 28-29 maggio 2015, Venezia 2017, pp. 115-132.
- V. Sapienza, «‘…à la Femme n’est rien impossible’. La principessa che cavalca il drago: donne, visioni e riscatti dell’altro mondo », Guillaume Cassegrain, Michel Hochmann, Augusto Gentili, Valentina Sapienza (a cura di), La jeunesse de Tintoret, atti del convegno internazionale, Venezia, Fondazione Giorgio Cini, 28-29 maggio 2015, Venezia, Lineadacqua Edizioni, 2017, p. 133-146
- P. Lüdemann, «"Col tempo impara scientia e virtude". Spunti per una rilettura iconologica della "Vecchia" di Giorgione», in Studi tizianeschi, 2016, 9, pp. 11-35

Other essays of your choice will be indicated during the lessons.

The oral exam will focus on the contents of the course and the bibliography, while the written one consists in a brief paper (term paper: 15 days before the date of the oral exam) that the student will discuss during the oral exam and/or in the classroom.

The course provides lectures for the theoretical part and seminars on Venetian Renaissance painting. Academic scholars will be invite to increase specific aspects.

Italian

The attendance at this course is strongly recommended. Students who could not participate have to plan the exam's program together with the professor (additional lectures and subject's paper).

written and oral

This subject deals with topics related to the macro-area "Human capital, health, education" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development