12105 - History of Contemporary Art (1)

Course Unit Page

  • Teacher Andrea Bacchi

  • Credits 6

  • SSD L-ART/03

  • Teaching Mode Traditional lectures

  • Language Italian

  • Course Timetable from Feb 19, 2018 to Mar 09, 2018

Academic Year 2017/2018

Learning outcomes

At the end of the course the student acquires basic skills on history of art covering the period from the Enlightenment to the current art trends. Each year the students will attend lectures on different issues and problems.

Course contents

The course aims to provide an overall picture of the main European artistic events of the nineteenth century.

In particular, the following topics will be addressed

Neoclassical Art in Europe

Goya

Painting of the early nineteenth century in France: Ingres, Géricault, Delacroix

German painting: Nazarenes, Friedrich

Pre-Raphaelites

Courbet and realism around the middle of the nineteenth century

Manet and Impressionism

The artistic scene at the end of the nineteenth century

Readings/Bibliography

For students needing 12 CFU:

R.Rosenblum, H.W.Janson, L'arte dell'Ottocento, Roma, Palombi, 1986


Due a scelta fra i seguenti titoli:

Hugh Honour, Neoclassicismo, Torino, Einaudi, 1980

 Antonio Pinelli, Nel segno di Giano. Passato e futuro nell'arte europea Tra Sette e Ottocento, Roma, Carocci, 2000.

 Robert Rosenblum, Trasformazioni nell'arte. Iconografia e stile tra Neoclassicismo e Romanticismo, Roma, Carocci, 2002.

 Francis Haskell, Le metamorfosi del gusto. Studi su arte e pubblico nel XVIII e XIX secolo, Torino, Bollati Boringhieri, 1989.

 Matthew Kraske, Art in Europe 1700-1830, Oxford, Oxford University Press, 1997.

 Hugh Honour, Il Romanticismo, Torino, Einaudi, 2007.

 Stefano Susinno, L'Ottocento a Roma. Artisti, cantieri, atelier tra età napoleonica e Restaurazione, Milano, Silvana Editoriale, 2009.

 Linda Nochlin, Il realismo nella pittura europea del XIX secolo, Torino, Einaudi, 2003.

 Meyer Schapiro, L'impressionismo. Riflessi e percezioni, Torino, Einaudi, 2008.

 T.J.Clark, The Painting of Modern Life. Paris in the Art of Manet and His Followers, Princeton, Princeton University Press, 1999.

 Anne Wagner, Jean Baptiste Carpeaux Sculptor of the Second Empire, New Haven-London, Yale University Press, 1986.

Kirk Varnedoe, Una squisita indifferenza: perche l'arte moderna è moderna, Milano, Leonardo, 1990.

For students needing 6 CFU

R.Rosenblum, H.W.Janson, L'arte dell'Ottocento, Roma, Palombi, 1986, parti I e II,  pp. 1-203

Uno a scelta fra i seguenti titoli:

Hugh Honour, Neoclassicismo, Torino, Einaudi, 1980

 Antonio Pinelli, Nel segno di Giano. Passato e futuro nell'arte europea Tra Sette e Ottocento, Roma, Carocci, 2000.

 Robert Rosenblum, Trasformazioni nell'arte. Iconografia e stile tra Neoclassicismo e Romanticismo, Roma, Carocci, 2002.

 Francis Haskell, Le metamorfosi del gusto. Studi su arte e pubblico nel XVIII e XIX secolo, Torino, Bollati Boringhieri, 1989.

 Matthew Kraske, Art in Europe 1700-1830, Oxford, Oxford University Press, 1997.

 Hugh Honour, Il Romanticismo, Torino, Einaudi, 2007.

 Stefano Susinno, L'Ottocento a Roma. Artisti, cantieri, atelier tra età napoleonica e Restaurazione, Milano, Silvana Editoriale, 2009.


Teaching methods

Lectures supported by powerpoint projection

Assessment methods

The final examination consists of a first written part and a second oral part, which can be taken only if students pass the written part (the interview will be held on the same day as the written part).

The written part is based on the recognition of some of the images (usually 20 ca.) projected during the course (or extracted from the recommended bibliography), with questions related to the works. The images projected during the course are available on the site (http://campus.cib.unibo.it [http://campus.cib.unibo.it/] ). The time available is 45/60 minutes. Students who have passed the written part are expected to take a second oral part, which usually takes place on the same day of the written part. During the interview, they shall demonstrate their analysis capabilities of works and artistic movements.

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 the analysis tools of contemporary 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 contemporary 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 contemporary art. 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 analyze the contemporary art.

Teaching tools

Lectures supported by powerpoint projection

Office hours

See the website of Andrea Bacchi