Iconology and Iconography
A.Y. 2024/2025
Learning objectives
The course aims to provide new elements for students to help them 'read' images through a series of exercises in formal analysis, in-depth historical and patronage analysis, and iconographic investigation. Questions about "how do we arrive at - or have arrived at - an attribution?", "what might be the function of the work?", "how do we relate it to the artistic context from which it came?" will be able to be answered and contribute to students' educational and critical growth.
Expected learning outcomes
Students, by the end of the course, will see their ability to approach the forms of the artwork consolidated, having in mind what are the fundamental elements to be taken into account: the style of the work, its subject, its possible function, the technique with which it is executed, its current location and the context from which it came, as well as its relationship to works of the same period and of other artists in contact with the author.
Lesson period: First 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
First semester
Course syllabus
Giorgione and Venice
This programme expires in July 2026
Part A (20 hours and 3 cfu): Introduction to late 15th century Venice: Giovanni Bellini, Carpaccio and Giorgione's beginnings
Part B (20 hrs 3 cfu): Giorgione and the Revolution in Portrait and Landscape Painting
Part C (20 hours and 3 cfu): Giorgione's last years; Sebastiano Veneziano; Titian's beginnings
Course presentation:
The course aims to delve into one of the most mysterious figures in art history: Giorgio da Castelfranco, known as Giorgione (c. 1474-1510). His impact on the Venetian art scene left deep traces both in the artists of the older generations, Giovanni Bellini above all, and in the future protagonists of the 16th century such as Titian. His few autograph paintings are debated, and art historians rely on rare documents and sporadic sources. His career will be examined through the stylistic analysis of his known production, and new studies and discoveries will be included in the discourse.
Knowledge of the topics of the monographic course should be accompanied by the study of the development of art history (architecture, sculpture, painting) from the beginning of the 15th century to the end of the 18th century, i.e. from Late Gothic to Neoclassicism (inclusive). Any good textbook can be used for this (the lecturer is available to advise on this). But above all, a visual knowledge of as many works of art as possible is required. This is why it is essential to visit churches and museums, starting with those in Milan, with the help of guidebooks, among which the 'red' ones of the Italian Touring Club are recommended. It is also advisable to study - for the period in question - the images in the volumes of the series 'I classici dell'arte', published by the publishing house Rizzoli, and those in the fascicles, published by the publishing house Fabbri, of the series 'I maestri del colore' and 'I maestri della scultura'.
A secure knowledge of the general chronology of modern and contemporary history and of the main phenomena of Italian and European literature and culture is required.
This programme expires in July 2026
Part A (20 hours and 3 cfu): Introduction to late 15th century Venice: Giovanni Bellini, Carpaccio and Giorgione's beginnings
Part B (20 hrs 3 cfu): Giorgione and the Revolution in Portrait and Landscape Painting
Part C (20 hours and 3 cfu): Giorgione's last years; Sebastiano Veneziano; Titian's beginnings
Course presentation:
The course aims to delve into one of the most mysterious figures in art history: Giorgio da Castelfranco, known as Giorgione (c. 1474-1510). His impact on the Venetian art scene left deep traces both in the artists of the older generations, Giovanni Bellini above all, and in the future protagonists of the 16th century such as Titian. His few autograph paintings are debated, and art historians rely on rare documents and sporadic sources. His career will be examined through the stylistic analysis of his known production, and new studies and discoveries will be included in the discourse.
Knowledge of the topics of the monographic course should be accompanied by the study of the development of art history (architecture, sculpture, painting) from the beginning of the 15th century to the end of the 18th century, i.e. from Late Gothic to Neoclassicism (inclusive). Any good textbook can be used for this (the lecturer is available to advise on this). But above all, a visual knowledge of as many works of art as possible is required. This is why it is essential to visit churches and museums, starting with those in Milan, with the help of guidebooks, among which the 'red' ones of the Italian Touring Club are recommended. It is also advisable to study - for the period in question - the images in the volumes of the series 'I classici dell'arte', published by the publishing house Rizzoli, and those in the fascicles, published by the publishing house Fabbri, of the series 'I maestri del colore' and 'I maestri della scultura'.
A secure knowledge of the general chronology of modern and contemporary history and of the main phenomena of Italian and European literature and culture is required.
Prerequisites for admission
Knowledge of the topics of the monographic course must be accompanied by the study of the development of 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). For this you can use any good manual. Visual knowledge of the greatest possible number of works of art is required. Is essential to visit Churches and Museums, particularly in Milan (Italian Touring Club guides are recommended). It is also recommended to study "I classici dell'arte" (published by Rizzoli publishing house) and "I maestri del colore" e "I maestri della scultura" (by Fabbri publishing house).
Knowledge of the basic concepts of historical chronology and main movements of Italian and European literature and culture is recommended. Classes are in Italian language.
Knowledge of the basic concepts of historical chronology and main movements of Italian and European literature and culture is recommended. Classes are in Italian language.
Teaching methods
The lessons take place in the classroom, through reading exercises and examining some images.
Teaching Resources
Bibliography:
Examination programme for attending students:
Part A.
G. Romano, Verso la Maniera Moderna. Da Mantegna a Raffaello, in Storia dell'arte italiana. VI.1, Torino 1981, pp. 3-85.
Part B.
A. Ballarin, Una nuova prospettiva su Giorgione: òa ritrattistica degli anni 1500-1503 [1979], in A. Ballarin, Giorgione e l'umanesimo veneziano, 7 voll., Verona 2016, I, pp. 83-112.
A. Mazzotta,
Part C.
A. Ballarin, Giorgione Tiziano Sebastiano 1505-1510. Problemi di catalogo e di cronologia [1981-1982], in A. Ballarin, Giorgione e l'umanesimo veneziano, 7 voll., Verona 2016, I, pp. 125-234.
Examination programme for non-attending students:
Part A.
G. Romano, Verso la Maniera Moderna. Da Mantegna a Raffaello, in Storia dell'arte italiana. VI.1, Torino 1981, pp. 3-85.
R. Longhi, Viatico per cinque secoli di pittura veneziana, Milano 2021.
Part B.
Tiziano 1508, catalogo della mostra, a cura di R. Battaglia, S. Ferrari e A. Mazzotta, Firenze 2023.
J. Wilde, Venetian Art from Bellini to Titian, Oxford 1974.
Part C.
E. Panofsky, Studi di Iconologia. I temi umanistici nell'arte del Rinascimento, Torino 2009.
Examination programme for attending students:
Part A.
G. Romano, Verso la Maniera Moderna. Da Mantegna a Raffaello, in Storia dell'arte italiana. VI.1, Torino 1981, pp. 3-85.
Part B.
A. Ballarin, Una nuova prospettiva su Giorgione: òa ritrattistica degli anni 1500-1503 [1979], in A. Ballarin, Giorgione e l'umanesimo veneziano, 7 voll., Verona 2016, I, pp. 83-112.
A. Mazzotta,
Part C.
A. Ballarin, Giorgione Tiziano Sebastiano 1505-1510. Problemi di catalogo e di cronologia [1981-1982], in A. Ballarin, Giorgione e l'umanesimo veneziano, 7 voll., Verona 2016, I, pp. 125-234.
Examination programme for non-attending students:
Part A.
G. Romano, Verso la Maniera Moderna. Da Mantegna a Raffaello, in Storia dell'arte italiana. VI.1, Torino 1981, pp. 3-85.
R. Longhi, Viatico per cinque secoli di pittura veneziana, Milano 2021.
Part B.
Tiziano 1508, catalogo della mostra, a cura di R. Battaglia, S. Ferrari e A. Mazzotta, Firenze 2023.
J. Wilde, Venetian Art from Bellini to Titian, Oxford 1974.
Part C.
E. Panofsky, Studi di Iconologia. I temi umanistici nell'arte del Rinascimento, Torino 2009.
Assessment methods and Criteria
Oral: The oral test, which takes place in Italian, consists of an interview - through the identification of images of works of art - on the history of Early Modern Art, on the topics presented in the lectures and on the required readings. It is an exam comparable to the one of 'storia dell'arte moderna'. An essential condition to pass the exam is the knowledge of the Italian language.
Oral test: recognition of works by photographic images.
THIS PROGRAM EXPIRES IN JULY 2026
Warning
International or Erasmus incoming students are invited to promptly contact the teacher in charge of the course.
The examination procedures for students with disabilities and / or with DSA must be agreed with the teacher, in agreement with the competent Office.
Oral test: recognition of works by photographic images.
THIS PROGRAM EXPIRES IN JULY 2026
Warning
International or Erasmus incoming students are invited to promptly contact the teacher in charge of the course.
The examination procedures for students with disabilities and / or with DSA must be agreed with the teacher, in agreement with the competent Office.
L-ART/02 - HISTORY OF MODERN ART - University credits: 9
Lessons: 60 hours
Professor:
Mazzotta Antonio Carlo
Professor(s)
Reception:
Tuesday, 3pm
Room 1, 5th floor, via Noto 8 (to be agreed by email)