HISTORY OF THE MEDIEVAL ART II

The course is scheduled among the fundamental art-historical disciplines in the Master’s Degree Programme in Conservation of Cultural Heritage and Performing Art Managment, and it is the second module of the teaching History of Medieval Art (12 cfu).
The course aims to deepen the Roman art over the centuries XI and XII. Through the examination of the main monuments of Rome, the course aims to provide the iconographic and iconological analysis tools and, more generally, of historical and critical methodology.

In particular, the course aims to develop
1) knowledge in the field of Romanesque art in Rome and Latium (sculpture, paintings, mosaics, jewelers);
2) ability to locate and examine the works in their historical and geographical context; identify the iconographic themes and their significance iconological;
4) learning skills: being able to understand how to connect a work of art or an author to cultural and artistic movements / groups or to a specific cultural moment, making comparisons between different works of art, authors and themes;
3) improve communication skill addressed to describe the works of art by adopting the specific vocabulary of the Art History; analyze and summarize the art historical texts.

It is necessary to have attended the course of History of Medieval Art I

The course aims to deepen the Roman art over the centuries XI and XII. It is a historical period characterized by intense conflicts and major changes both within the Church and the political institutions in the emerging Europe. The city of Rome experienced an artistic renewal due to new patrons and to new political and religious demands and provides, therefore, a very significant scenario of this period of "Reforms". In particular will be illustrated, among others, the pictorial cycles of S. Crisogono, S. Clemente (lower church), S. Pudenziana and S. Giovanni a porta latina. Regarding sculpture, the course will provide the analysis of altars from G. Galla and S. Pantaleo, the architraves of S. Pudentiana and S. Apollinare (now at the Vatican Grotte), but also the complex sculptural program in S. Maria in Cosmedin. Particular attention will be paid to the mosaics of S. Clement, S. Maria in Trastevere, S. Maria Nova. Finally, a special focus will be given to the examination of the lost decoration of the Oratory of St. Nicholas at the Lateran Patriarchio and to the cycle of paintings in the church of S. Felice in Ceri (near Rome).

The following texts are fundamental:
H. Toubert, Un art dirigé: réforme grégorienne et iconographie, Paris, 1990, pp. 11-21; 177-228 [trad. it. Un’arte orientata: riforma gregoriana e iconografia, a cura di L. Speciale, Milano, 2001]
Arte e iconografia a Roma da Costantino a Cola di Rienzo, a cura di M. Andaloro, S. Romano, Milano 2000, pp. 23-54; 55-72; 73-102.
X. Barral i Altet, Arte medievale e Riforma gregoriana: riflessioni su un problema storiografico, in «Hortus artium medievalium», 16 (2010), 73-82.
E. Kitzinger, The Gregorian reform and the Visual Art: a problem of method, in «Transaction of Royal Histrical Society», 5/22, 1972, pp. 87-102.
G. Orofino, La decorazione delle Bibbie atlantiche tra Lazio e Toscana nella prima metà del XII secolo, in Roma e la Riforma gregoriana, Roma, 2007, pp. 357-379.
La pittura medievale a Roma. 312-1431. Corpus e Atlante. IV. Riforma e tradizione, 1050-1198, a cura di S. Romano, Milano, 2006, pp. 15-35; schede nn. 1-3, pp. 37-55; schede nn. 8f-9a, pp. 79-92; scheda n. 21, pp. 129-150; scheda n. 32, pp. 209-215-218; scheda n. 49, pp. 290-293; scheda n. 51, pp. 296-297; scheda n. 55, pp. 305-311; scheda n. 58, pp. 335-343. (see Moodle).
Roma e la Riforma gregoriana. Tradizione e innovazioni artistiche (secc. XI-XII), Actes du colloque (Lausanne, 10-11 dicembre 2004), a cura di S. Romano, J.Enckell Julliard, Roma, 2007, pp. 25-48; 49-60; 289-304.
S. Riccioni, Gli altari di S. Galla e di S. Pantaleo. Una “lettura” in chiave riformata dell’Antico, in «Hortus Artium Medievalium», 11 (2005), pp. 189-200 (PDF Moodle)
Idem, The Visual Experience of Triumphant Church. The Mosaic of S. Maria in Trastevere, Roma, Scienze e Lettere, 2021.

Students not attending, should read also:
S. Riccioni, Il mosaico di S. Clemente. Exemplum della chiesa riformata, Spoleto, CISAM, 2006
Idem, La décoration monumentale à Rome aux xie et xiie siècles : révisions chronologiques, stylistiques et thématiques, in «Perspective», 2 (2010-2011), pp. 319-360 (PDF Moodle)

Oral. The oral examination will focus on the topics discussed during the course. In particular: recognition of the works treated (30% of the vote), the exposure of their history, their meaning also taking into account the historical and architectural context (30 ‰ per vote); reading of texts in bibliography (40% of the vote).

Lecture with projected images; tutorials on style and iconography in artworks. Iconological and symbolic interpretation of monuments and objects. On site visit in Rome (the last week of the course), pending on student availbility. This year's tour will also include a visit to the upcoming exhibition on "Rome in the Middle Ages"

Italian

The attendance of the course is strongly recommended.

Students not attending should meet the teacher by appointment.

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