History of Modern Art
A.Y. 2025/2026
Learning objectives
The course aims to provide an overview on the History of Art (architecture, sculpture, painting) from the beginning of the fifteenth to the end of the eighteenth century: from the Late Gothic to Neoclassicism (inclusive).
Expected learning outcomes
After completing the course students will have the historical and critical tools to understand the History of Art from late XIV to late XVIII Century.
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
Responsible
Lesson period
Second semester
Course syllabus
Monographic course
Cremonese painters of the sixteenth century: Giulio Campi
Part A (20 hours): Exercises in visual analysis: an introduction to the study of early modern art history:
Part B (20 hours): Along the nave of the Cathedral: Cremona in the first quarter of the sixteenth century
Part C (20 hours): A profile of Giulio Campi
Born in Cremona around 1506, Giulio Campi was the eldest of three brothers, all artists, who rank among the leading figures of sixteenth-century painting in Lombardy.
On the basis of a careful re-examination of the historiographical tradition, the course aims to retrace the painter's biographical and artistic trajectory. For nearly fifty years, Campi was able to maintain a leading role between Milan and Cremona, cultivating relationships with highly prominent patrons and continuously updating his figurative culture in response to the major developments of the contemporary artistic scene, from Giulio Romano to Pordenone, from Parmigianino to Primaticcio.
Prior to this, it will be necessary to reconstruct the context of early sixteenth-century Cremona in which Giulio Campi's training took place, within his father's workshop and still under the influence of the artistic legacy of Boccaccio Boccaccino. This figurative milieu will be evoked using as a guiding thread the cycle of fresco paintings begun in 1514 in the nave of Cremona Cathedral, one of the most significant decorative complexes of the sixteenth century in northern Italy.
Cremonese painters of the sixteenth century: Giulio Campi
Part A (20 hours): Exercises in visual analysis: an introduction to the study of early modern art history:
Part B (20 hours): Along the nave of the Cathedral: Cremona in the first quarter of the sixteenth century
Part C (20 hours): A profile of Giulio Campi
Born in Cremona around 1506, Giulio Campi was the eldest of three brothers, all artists, who rank among the leading figures of sixteenth-century painting in Lombardy.
On the basis of a careful re-examination of the historiographical tradition, the course aims to retrace the painter's biographical and artistic trajectory. For nearly fifty years, Campi was able to maintain a leading role between Milan and Cremona, cultivating relationships with highly prominent patrons and continuously updating his figurative culture in response to the major developments of the contemporary artistic scene, from Giulio Romano to Pordenone, from Parmigianino to Primaticcio.
Prior to this, it will be necessary to reconstruct the context of early sixteenth-century Cremona in which Giulio Campi's training took place, within his father's workshop and still under the influence of the artistic legacy of Boccaccio Boccaccino. This figurative milieu will be evoked using as a guiding thread the cycle of fresco paintings begun in 1514 in the nave of Cremona Cathedral, one of the most significant decorative complexes of the sixteenth century in northern Italy.
Prerequisites for admission
A basic familiarity with the overall chronology of modern and contemporary history and with Italian and European geography is required.
Teaching methods
Lectures supported by PowerPoint presentations.
Teaching Resources
Examination programme for attending students:
1. Students are required to demonstrate knowledge of the development of the history of art (architecture, sculpture, and painting) from the early fifteenth century to the late eighteenth century, that is, from Late Gothic to Neoclassicism (inclusive). For this purpose, any reputable upper secondary school art history textbook may be used (the instructor is available to provide recommendations). Above all, however, students are expected to acquire visual familiarity with as many works of art as possible. To this end, visits to churches and museums are essential, beginning with those in Milan, with the aid of guidebooks; among these, the "red" guides published by the Touring Club Italiano are recommended.
Students are also encouraged to expand their repertoire of known works—within the period under consideration—through the study of images in high-quality illustrated publications intended for a general readership, such as the I classici dell'arte series published by Rizzoli, or the fascicles published by Fabbri in the series I maestri del colore and I maestri della scultura.
Preparation of the institutional component must be supplemented by:
L. Bellosi, La rappresentazione dello spazio, in Storia dell'arte italiana, vol. IV, Torino, Einaudi, 1980, pp. 5-39.
2. For the monographic course, in addition to knowledge of the topics covered during lectures, students are required to read:
J. Shearman, Il Manierismo, Firenze, S.P.E.S., 1983 (original edition: J. Shearman, Mannerism, London, Penguin Books, 1967).
Examination programme for non-attending students:
1. Students are required to demonstrate knowledge of the development of the history of art (architecture, sculpture, and painting) from the early fifteenth century to the late eighteenth century, that is, from Late Gothic to Neoclassicism (inclusive). For this purpose, any reputable upper secondary school art history textbook may be used (the instructor is available to provide recommendations). Above all, however, students are expected to acquire visual familiarity with as many works of art as possible. To this end, visits to churches and museums are essential, beginning with those in Milan, with the aid of guidebooks; among these, the "red" guides published by the Touring Club Italiano are recommended.
Students are also encouraged to expand their repertoire of known works—within the period under consideration—through the study of images in high-quality illustrated publications intended for a general readership, such as the I classici dell'arte series published by Rizzoli, or the fascicles published by Fabbri in the series I maestri del colore and I maestri della scultura.
Preparation of the institutional component must be supplemented by:
L. Bellosi, La rappresentazione dello spazio, in Storia dell'arte italiana, vol. IV, Torino, Einaudi, 1980, pp. 5-39.
2. Students are also required to read:
M. Baxandall, Pittura ed esperienze sociali nell'Italia del Quattrocento, Torino, Einaudi, 1978 (original edition: M. Baxandall, Painting and Experience in Fifteenth-Century Italy, Oxford, Oxford University Press, 1972).
R. Longhi, Caravaggio, edited by G. Previtali, Roma, Editori Riuniti, 2006.
6-credit examination
The examination covers the institutional component only (i.e., section 1).
1. Students are required to demonstrate knowledge of the development of the history of art (architecture, sculpture, and painting) from the early fifteenth century to the late eighteenth century, that is, from Late Gothic to Neoclassicism (inclusive). For this purpose, any reputable upper secondary school art history textbook may be used (the instructor is available to provide recommendations). Above all, however, students are expected to acquire visual familiarity with as many works of art as possible. To this end, visits to churches and museums are essential, beginning with those in Milan, with the aid of guidebooks; among these, the "red" guides published by the Touring Club Italiano are recommended.
Students are also encouraged to expand their repertoire of known works—within the period under consideration—through the study of images in high-quality illustrated publications intended for a general readership, such as the I classici dell'arte series published by Rizzoli, or the fascicles published by Fabbri in the series I maestri del colore and I maestri della scultura.
Preparation of the institutional component must be supplemented by:
L. Bellosi, La rappresentazione dello spazio, in Storia dell'arte italiana, vol. IV, Torino, Einaudi, 1980, pp. 5-39.
2. For the monographic course, in addition to knowledge of the topics covered during lectures, students are required to read:
J. Shearman, Il Manierismo, Firenze, S.P.E.S., 1983 (original edition: J. Shearman, Mannerism, London, Penguin Books, 1967).
Examination programme for non-attending students:
1. Students are required to demonstrate knowledge of the development of the history of art (architecture, sculpture, and painting) from the early fifteenth century to the late eighteenth century, that is, from Late Gothic to Neoclassicism (inclusive). For this purpose, any reputable upper secondary school art history textbook may be used (the instructor is available to provide recommendations). Above all, however, students are expected to acquire visual familiarity with as many works of art as possible. To this end, visits to churches and museums are essential, beginning with those in Milan, with the aid of guidebooks; among these, the "red" guides published by the Touring Club Italiano are recommended.
Students are also encouraged to expand their repertoire of known works—within the period under consideration—through the study of images in high-quality illustrated publications intended for a general readership, such as the I classici dell'arte series published by Rizzoli, or the fascicles published by Fabbri in the series I maestri del colore and I maestri della scultura.
Preparation of the institutional component must be supplemented by:
L. Bellosi, La rappresentazione dello spazio, in Storia dell'arte italiana, vol. IV, Torino, Einaudi, 1980, pp. 5-39.
2. Students are also required to read:
M. Baxandall, Pittura ed esperienze sociali nell'Italia del Quattrocento, Torino, Einaudi, 1978 (original edition: M. Baxandall, Painting and Experience in Fifteenth-Century Italy, Oxford, Oxford University Press, 1972).
R. Longhi, Caravaggio, edited by G. Previtali, Roma, Editori Riuniti, 2006.
6-credit examination
The examination covers the institutional component only (i.e., section 1).
Assessment methods and Criteria
Examination:
The assessment consists of an oral exam, including the identification of works of art based on photographic images.
Notes:
International students and Erasmus exchange students are strongly encouraged to contact the course instructor well in advance.
Examination arrangements for students with disabilities and/or specific learning disorders (SLD) should be agreed upon with the instructor, in coordination with the relevant office.
The assessment consists of an oral exam, including the identification of works of art based on photographic images.
Notes:
International students and Erasmus exchange students are strongly encouraged to contact the course instructor well in advance.
Examination arrangements for students with disabilities and/or specific learning disorders (SLD) should be agreed upon with the instructor, in coordination with the relevant office.
Modules or teaching units
Unita' didattica A
L-ART/02 - HISTORY OF MODERN ART - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/02 - HISTORY OF MODERN ART - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/02 - HISTORY OF MODERN ART - University credits: 3
Lessons: 20 hours
Educational website(s)
Professor(s)