HISTORY OF THE MEDIEVAL ART - II

The course part of the historical-artistic disciplines characterizing the degree course in Conservation and management of cultural heritage and activities. The course is the second module of History of medieval art (6 out of 12 credits).
The course aims to offer in-depth knowledge on a topic that will allow to address more aspects of medieval art (architecture, sculpture, pictorial decoration).

- - knowledge and understanding: knowledge of terminology; knowledge of main works of art of the Medieval Art;
- ability to apply knowledge and understanding: knowledge of how to use a specific terminology and ability to recognize main artists and works of art using the tolls provided (bibliographie, lessons and texts given by the teacher)
- ability to understand: capability in analyzing a work of art, referring them to a correct temporal and cultural collocation; to be able to argue with property of language and correct formal analysis;
- communication skills: knowing how to use an appropriate and specific terminology, introduced and explained at lesson or on recommended texts and books; apply a good Italian syntax and grammar; being able to behave in a respectful and profitable way with professors and peers;
- learning skills: being able to recognize the fundamental protagonists of the arts and period of the Medieval Art; being able to understand how to connect a work of art to a specific cultural moment.

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

LITURGICAL FURNISHINGS. We will examine various artistic products, materials, and themes, some of which are diverse, linked by their long-standing use as liturgical furnishings (from the Early Middle Ages to the Late Middle Ages).
Church spaces were organized and divided; fixed or movable structures were assigned to specific functions. Precious materials (textiles and metals) contributed to the furnishings (decorating them and conveying messages), the liturgy (sacred vessels), and the preservation/display of relics.
During the Middle Ages, the organizational methods of the liturgy and the artifacts associated with it changed or remained constant.
We will study the fixed elements (altar, ciborium, ambo, liturgical enclosures/gates) and the movable elements (antependia, altarpieces, textiles, reliquaries, liturgical vessels, books), evaluating the constants/variants and moments of innovation, with particular attention to Venetian contexts.

• L'arte medioevale nel contesto.300-1300. Funzioni, iconografia,tecniche, a cura di P.Piva, Milano, Jaca Book 2006
in particolare i saggi :
P. Piva, Lo "spazio liturgico": architettura, arredo iconografia (secoli IV-XII), pp. 141-180
J.-P. Caillet, L'arredo dell'altare, pp. 181-204
V.M. Schmidt, Tavole dipinte. Tipologie, destinazioni e funzioni (secoli XII-XIV), pp.205-244
• Voci dell’«Enciclopedia dell’Arte Medioevale»: Ambone, Altare, Bema, Ciborio, Oreficeria, Pulpito, Reliquiario
• S. Lusuardi Siena-P.Piva, Scultura decorativa e arredo liturgico a Cividale e in Friuli tra VIII e IX secolo, in Paolo diacono e il Friuli altomedievale, Udine 2001, pp. pp. 493-594
• W.Dorigo, Le opere del patriarca Fortunato II in Grado, in Florilegium artium.Scritti in memoria di Renato Polacco, a cura di G. Trovabene, Padova 2006, pp.89-96
• Il Tesoro di San Marco, catalogo della mostra, Milano 1986
• R. Polacco,Una nuova lettura della pala d’oro, in La pala d’oro, a cura di H.Hahnloser-R.Polacco, Venezia 1994, pp. 113-47
• Il Museo di San Marco, a cura di I. Favaretto - M. Da Villa Urbani, Venezia 2003
• A. De Marchi, Andrea, La postérité du devant-d’autel à Venise : retables orfévrés et retables peints. in The altar and its environment , eds. Justin E. A. Kroesen and Victor M. Schmidt, Turnhout 2009, pp. 57-86
• F. L. Bossetto, L’ iconostasi della cattedrale di Caorle : nuove osservazioni a partire da alcuni documenti dell’Archivio Storico Patriarcale di Venezia, in Le arti a confronto con il sacro / Università degli Studi di Padova, Scuola di Dottorato in Storia e Critica dei Beni Artistici, Musicali e dello Spettacolo, a c. di V. Cantone e S. Fumian, Padova 2009, pp. 81-93, 263-266
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• C. Guarnieri, C. (2019) Lo svelamento rituale delle reliquie e le pale ribaltabili di Paolo Veneziano sulla costa istriano-dalmata, in La Serenissima via mare, a cura di Valentina Baradel e Cristina Guarnieri, Padova, 2019, pp.39-53
https://www.padovauniversitypress.it/system/files/download-count/attachments/2023-09/9788869381775.pdf
• A. Missagia, Andrea, Oreficerie veneziane a smalto traslucido (secoli XIV-XV) : immissioni, importazioni e produzioni locali, novità, continuità e abbandoni, in «Convivium», 2020, pp.136-151

• M. L. Mezzacasa, Sacred Objects by Venetian Goldsmiths (Late 13th-15th Centuries) : Economics, Seriality, Identity, in Typical Venice, the art of commodities, 13th-16th centuries Eds. Ella Beaucamp, Philippe Cordez, Turnhout, 2020, pp. 45-66

• S. Gerevini, S. (2022) Dynamic Splendor : the metalwork altarpieces of medieval Venetia, in «Convivium», 2022, pp.102-123
• M. Agazzi, D. Valenti, S. Maria Assunta di Torcello. Scultura altomedievale architettonica e di arredo liturgico, in contesto e fuori contesto, in «Arte medievale», vol. IV s., XII, 2022, pp. 65-90
• L’iconostasi della basilica di Santa Maria Assunta di Torcello. Il restauro finanziato da Venice in Peril Fund e Save Venice, (in corso di stampa), saggi di M. Agazzi ( Il recinto scolpito dell'antico coro della cattedrale di Torcello), D. Valenti - P. Roma (L'architrave ligneo), V. Baradel, L'iconostasi di Zanino di Pietro).

Oral exam, structured as follows: 3 questions will be asked, relating to the topics covered during the lessons and the bibliography.
To pass the exam, it will be necessary to answer at least two out of three questions. Each answer contributes to the achievement of the score based on the criteria indicated in GRADUATION OF GRADES.
The overall evaluation involves a unitary understanding of the test provided, also weighing the acquisitions achieved with respect to the expected results. Exam texts and methods of learning assessment are the same also for students who cannot follow the lessons in the classroom, who are however invited to contact the teacher (by e-mail) to acquire an understanding of the structure of the course and its difficulties and adequately prepare for the exam.

oral

The lecturer has a duty to ensure that the rules regarding the authenticity and originality of exam tests and papers are respected. Therefore, if there is suspicion of irregular conduct, an additional assessment may be conducted, which could differ from the original exam description.

Regarding the grading scale for the oral exam:

A. Scores in the range of 18-22 will be assigned for:

- Sufficient knowledge of the textbooks and related topics

- Limited ability to use data and form independent judgments

- Sufficient communication skills.

B. Scores in the range of 23-26 will be assigned for:

- Fair knowledge of the textbooks and related topics

- Fair ability to use data and form independent judgments

- Fair communication skills.

C. Scores in the range of 27-30 will be assigned for:

- Good or excellent knowledge of the textbooks and related topics

- Good or excellent ability to use data and form independent judgments

- Fully appropriate communication skills.

D. The “laude” will be awarded to students with excellent knowledge and comprehension of the textbooks and related topics.

Lectures with projected images.
Visits and inspections are planned (subject to the number of students).

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