The course aims to address both the artistic production in the periods of the history of art mentioned above and the acquisition of some basic principles useful for a critical reading of the artwork and its didactic transposition. In particular, the course aims to provide students with the knowledge and the understanding of:

• all major periods in the history of art, the development of the artistic language and of some of its protagonists;
• critical reading of the artwork from the iconographic and iconological point of view
• analysis of the artwork in accordance with poietic principles and operational principles of practice
• analysis of the cognitive aspects implied in the production and use of the artwork;
• methods and techniques of the didactic transposition of the art work

The course will address some periods of the history of art in order to let students acquire knowledge on the artistic production and also on the ontogenetic aspects - both graphic and cognitive - involved in the production processes themselves. In particular, the course will deal with Prehistoric art (sign and representation); Egyptian art (semantics of the sign); Greek art (canon, style and metarepresentation); Renaissance art (symbol, allegory and hermeticism); Modern art (pictorial language and reality). The lessons will take into account historical, artistic, cognitive and didactic aspects relative to the periods listed above.

None.

Conoscenza e capacità di comprensione (knowledge and understanding):

At the end of the course students have to:

• acquire the knowledge of the main historical periods and of the fundamental steps of the artistic language together with some of its authors.
• show an understanding of the main cognitive aspects related to pictorial and graphic production
• master the basic principles for the transposition of the artistic language and the main strategies for the learning of the artistic knowledge

Conoscenza e capacità di comprensione applicate (applying knowledge and understanding):

At the end of the course students have to be able to:

• Identify the key features and the salient themes of the selected historical periods
• Identify methodologically the constituent elements necessary for the reading, understanding and learning of the artwork
• Identify the main cognitive implications associated with the production and transposition of the artworks taken into consideration during the course
• Perform a didactic transposition of the tacit knowledge implicit in the artwork

Autonomia di giudizio (making judgements):

At the end of the course students have to be able to:

• Fathom the knowledge implicit in the selected artworks and related historical periods
• Critically evaluate the suitability of the didactical choices about the constitutive elements of the selected artworks and related historical periods
• Identify the most appropriate didactic mediators for the transfer of the constituent elements of the selected artworks and related historical periods

Abilità comunicative (communication skills):

At the end of the course students have to be able to:

• Express clearly the contents of the course explaining the meaning
• Communicate through the use of a specific disciplinary language the interpretation of artworks or other disciplinary themes;
• Discuss didactic-disciplinary topics and issues.

Capacità di apprendere (learning skills):
At the end of the course students will gain autonomy in understanding the iconographic language, in the selection of the constitutive principles of the artwork and in their didactic transposition.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

None.

Teaching

Frontal and dialogical lessons; cooperative activities.

Attendance

None.

Course books

• Ernst H. Gombrich, La storia dell'arte, Ernst H. Gombrich, Phaidon, 2008 (cap. 1-2-3-4; cap. 12-13-15; cap. 25-26).
• Alberto Argenton, Arte e cognizione. Introduzione alla psicologia dell'arte, Raffaello Cortina Editore, Milano, 1996 (cap.3, pp. 77-103; cap. 4, pp. 105-123; cap. 5, pp. 135-158; cap. 7, pp. 199-234; cap. 9, pp. 273-302).
• Bruno Munari, Design e comunicazione visiva. Contributo ad una metodologia didattica, Laterza, Bari, 2007 (cap. Crescita, pp.156-159; cap. Il sistema Mero, pp. 342-354). [Exercises present in the text may be added later on]
• Bruno Munari, Fantasia. Invenzione, creatività e immaginazione nelle comunicazioni visive, Laterza, Bari, 2006 (cap. Stimolazione alla creatività, pp. 121-128; cap. L'orribile mostro, pp. 107-112; cap. Da cosa nasce cosa, pp. 204-215). [Exercises present in the text may be added later on]

Assessment

Written exam.

The exam will consist in a written proof with three open questions.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

Study of the following texts: Ernst H. Gombrich, La storia dell'arte, Phaidon, 2008 (cap. 1-2-3-4; cap. 12-13-15; cap. 25-26); Alberto Argenton, Arte e cognizione. Introduzione alla psicologia dell'arte, Raffaello Cortina Editore, Milano, 1996 (cap.3, pp. 77-103; cap. 4, pp. 105-123; cap. 5, pp. 135-158; cap. 7, pp. 199-234; cap. 9, pp. 273-302).

Practical exercise according to the following texts: Bruno Munari, Design e comunicazione visiva. Contributo ad una metodologia didattica, Laterza, Bari, 2007 (cap. Crescita, pp.156-159; cap. Il sistema Mero, pp. 342-354); Bruna Munari, Fantasia. Invenzione, creatività e immaginazione nelle comunicazioni visive, Laterza, Bari, 2006 (cap. Stimolazione alla creatività, pp. 121-128; cap. L'orribile mostro, pp. 107-112; cap. Da cosa nasce cosa, pp. 204-215).

Attendance

None.

Course books

• Ernst H. Gombrich, La storia dell'arte, Ernst H. Gombrich, Phaidon, 2008 (cap. 1-2-3-4; cap. 12-13-15; cap. 25-26).
• Alberto Argenton, Arte e cognizione. Introduzione alla psicologia dell'arte, Raffaello Cortina Editore, Milano, 1996 (cap.3, pp. 77-103; cap. 4, pp. 105-123; cap. 5, pp. 135-158; cap. 7, pp. 199-234; cap. 9, pp. 273-302).
• Bruno Munari, Design e comunicazione visiva. Contributo ad una metodologia didattica, Laterza, Bari, 2007 (cap. Crescita, pp.156-159; cap. Il sistema Mero, pp. 342-354). [Exercises present in the text may be added later on]
• Bruno Munari, Fantasia. Invenzione, creatività e immaginazione nelle comunicazioni visive, Laterza, Bari, 2006 (cap. Stimolazione alla creatività, pp. 121-128; cap. L'orribile mostro, pp. 107-112; cap. Da cosa nasce cosa, pp. 204-215). [Exercises present in the text may be added later on]

Assessment

Written exam.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.