Art History
A.Y. 2023/2024
Learning objectives
The course illustrates fundamental issues of the History of Art, starting from the knowledge of the
chronology and the main methodologies, in order to contextualise works and protagonists in an
historical-critical framework of reference. Furthermore, topics related to contemporary art and
the post-war period will be explored in depth.
chronology and the main methodologies, in order to contextualise works and protagonists in an
historical-critical framework of reference. Furthermore, topics related to contemporary art and
the post-war period will be explored in depth.
Expected learning outcomes
Both lessons and exam program aim to provide students with a reference basis for the study of
the History of Art, during classroom time and individually, with specific reference to contemporary
art. Through the analysis of case studies and the in-depth analysis of specific personalities and
artistic contexts, the student will improve how to orient himself in reading the works and in
acquiring a method of studying the subject
the History of Art, during classroom time and individually, with specific reference to contemporary
art. Through the analysis of case studies and the in-depth analysis of specific personalities and
artistic contexts, the student will improve how to orient himself in reading the works and in
acquiring a method of studying the subject
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Lesson period
Second semester
Course syllabus
The course aims to investigate, through a historical excursus and, more intensely, in the 20th
century the idea of reuse within artistic production.
Since Roman era, there has been a tendency to integrate architecture and sculpture with what
already existed in the past, particularly in the Greek and Hellenistic contexts, and this attitude can
still be found in the Medieval age.
As the centuries progress, the tendency to reuse becomes less and less tangible and more
theoretical, like the gaze turned to the ancient from the Renaissance onwards, up to Neoclassicism
and the fortune and study of the classics.
In a more recent era, the practice of reusing already existing objects within the artistic production
- whether they belonged to a past era or coming from another place - breaks with the tradition of
previous centuries and introduces a profound cultural revolution which undermines the idea and
status of the work of art itself.
Therefore, we will analyze the tendency, over the centuries, to integrate the past with the
present, and as regards the twentieth century we will focus on the introduction of extra-pictorial
materials and the new techniques of the Avant-gardes, to then delve into the languages and
materials that in particular they characterize the art of the Second World War: from Informal to
Nouveau Réalisme and Pop Art, up to Arte Povera and Land Art.
Particular emphasis will be given to the experiments of the 1960s, looking not only at the Italian
but also international panorama.
century the idea of reuse within artistic production.
Since Roman era, there has been a tendency to integrate architecture and sculpture with what
already existed in the past, particularly in the Greek and Hellenistic contexts, and this attitude can
still be found in the Medieval age.
As the centuries progress, the tendency to reuse becomes less and less tangible and more
theoretical, like the gaze turned to the ancient from the Renaissance onwards, up to Neoclassicism
and the fortune and study of the classics.
In a more recent era, the practice of reusing already existing objects within the artistic production
- whether they belonged to a past era or coming from another place - breaks with the tradition of
previous centuries and introduces a profound cultural revolution which undermines the idea and
status of the work of art itself.
Therefore, we will analyze the tendency, over the centuries, to integrate the past with the
present, and as regards the twentieth century we will focus on the introduction of extra-pictorial
materials and the new techniques of the Avant-gardes, to then delve into the languages and
materials that in particular they characterize the art of the Second World War: from Informal to
Nouveau Réalisme and Pop Art, up to Arte Povera and Land Art.
Particular emphasis will be given to the experiments of the 1960s, looking not only at the Italian
but also international panorama.
Prerequisites for admission
Have already studied History of Art at High school is preferred.
Teaching methods
Lectures devoted to the presentation of the main issues and methods in the study of History of
Art, and in particular Contemporary art, as well as to the in-depth analysis of exemplary works of
art.
Art, and in particular Contemporary art, as well as to the in-depth analysis of exemplary works of
art.
Teaching Resources
SUBJECTS AND BIBLIOGRAPHY FOR STUDENTS WHO ATTENDED THE LECTURES
· Subjects treated in lectures
· Ernst H. Gombrich, La storia dell'arte, (chapters: 3, 4, 6, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18,
19, 20, 21, 22, 23, 24, 25, 26, 27, 28) Ediz. Illustrata, Et. al.
· S. Settis, Short circuits: When (Art) History Collapses (pp. 488-495); A. Anguissola, Utili rovine:
pratiche ed economia del reimpiego (pp. 495-498); Patrick R. Crowley, Reperti digitali:
elaborare le antichità nell'arte contemporanea (pp. 531-535) in Recycling Beauty, Fondazione
Prada, Milano, 2022
One volume chosen from the following*:
· Yves Klein e Lucio Fontana. Milano-Parigi 1957-1962, cat. della mostra (Milano, Museo del
Novecento, 16 ottobre 2014 - 15 marzo 2015) a c. Di S. Bignami e G. Zanchetti, Milano, Electa,
2004
· Carla Lonzi, Autoritratto, Milano, Et. al, 2010
· M. Meneguzzo, E. Morteo, A. Saibene, Programmare l'arte: Olivetti e le neoavanguardie
cinetiche, Johan & Levi, Milano, 2012
· Silvia Bignami, Lucio Fontana e l'artventure parigina, Milano, Scalpendi, 2014
· Arte Italiana 1960-1964. Identità culturale, confronti internazionali, modelli americani a c. Di F.
Fergonzi e F. Tedeschi, Scalpendi, Milano, 2017
· L. Calvi, Tonino Casula. Ostinato Continuo, Ilisso, Nuoro, 2023
· Piero Manzoni: nuovi studi a c. Di R. Pasqualino di Marineo, G. Marcore, Poggibonsi, Carlo
Cambi, 2017
· "Memofonte. Rivista online semestrale", n. 28/2022 (introduzione e tutti i saggi), Fondazione
Memofonte onlus, 2023
SUBJECTS AND BIBLIOGRAPHY FOR STUDENTS WHO COULD NOT ATTENDED THE
LECTURES
· Ernst H. Gombrich, La storia dell'arte, Ediz. Illustrata, Et. Al (full book).
· Alessandro del Puppo L'Arte contemporanea. Il secondo Novecento, Piccola Storia dell'Arte,
Einaudi, 2013
· S. Settis, Short circuits: When (Art) History Collapses (pp. 488-495); A. Anguissola, Utili rovine:
pratiche ed economia del reimpiego (pp. 495-498); Patrick R. Crowley, Reperti digitali:
elaborare le antichità nell'arte contemporanea (pp. 531-535) in Recycling Beauty, Fondazione
Prada, Milano, 2022
· One volume chosen from the above selection
· Subjects treated in lectures
· Ernst H. Gombrich, La storia dell'arte, (chapters: 3, 4, 6, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18,
19, 20, 21, 22, 23, 24, 25, 26, 27, 28) Ediz. Illustrata, Et. al.
· S. Settis, Short circuits: When (Art) History Collapses (pp. 488-495); A. Anguissola, Utili rovine:
pratiche ed economia del reimpiego (pp. 495-498); Patrick R. Crowley, Reperti digitali:
elaborare le antichità nell'arte contemporanea (pp. 531-535) in Recycling Beauty, Fondazione
Prada, Milano, 2022
One volume chosen from the following*:
· Yves Klein e Lucio Fontana. Milano-Parigi 1957-1962, cat. della mostra (Milano, Museo del
Novecento, 16 ottobre 2014 - 15 marzo 2015) a c. Di S. Bignami e G. Zanchetti, Milano, Electa,
2004
· Carla Lonzi, Autoritratto, Milano, Et. al, 2010
· M. Meneguzzo, E. Morteo, A. Saibene, Programmare l'arte: Olivetti e le neoavanguardie
cinetiche, Johan & Levi, Milano, 2012
· Silvia Bignami, Lucio Fontana e l'artventure parigina, Milano, Scalpendi, 2014
· Arte Italiana 1960-1964. Identità culturale, confronti internazionali, modelli americani a c. Di F.
Fergonzi e F. Tedeschi, Scalpendi, Milano, 2017
· L. Calvi, Tonino Casula. Ostinato Continuo, Ilisso, Nuoro, 2023
· Piero Manzoni: nuovi studi a c. Di R. Pasqualino di Marineo, G. Marcore, Poggibonsi, Carlo
Cambi, 2017
· "Memofonte. Rivista online semestrale", n. 28/2022 (introduzione e tutti i saggi), Fondazione
Memofonte onlus, 2023
SUBJECTS AND BIBLIOGRAPHY FOR STUDENTS WHO COULD NOT ATTENDED THE
LECTURES
· Ernst H. Gombrich, La storia dell'arte, Ediz. Illustrata, Et. Al (full book).
· Alessandro del Puppo L'Arte contemporanea. Il secondo Novecento, Piccola Storia dell'Arte,
Einaudi, 2013
· S. Settis, Short circuits: When (Art) History Collapses (pp. 488-495); A. Anguissola, Utili rovine:
pratiche ed economia del reimpiego (pp. 495-498); Patrick R. Crowley, Reperti digitali:
elaborare le antichità nell'arte contemporanea (pp. 531-535) in Recycling Beauty, Fondazione
Prada, Milano, 2022
· One volume chosen from the above selection
Assessment methods and Criteria
The exam interview aims to ascertain the full knowledge of the topics presented in lectures and
bibliography. There will be one answer about lectures as well as others related to the bibliography.
bibliography. There will be one answer about lectures as well as others related to the bibliography.
L-ART/03 - HISTORY OF CONTEMPORARY ART - University credits: 6
Lessons: 48 hours
Professor:
Calvi Laura
Educational website(s)
Professor(s)