Marco Collareta, Arredi, suppellettili, decorazioni mobili, in Arti e storia nel Medioevo, a cura di Enrico Castelnuovo e Giuseppe Sergi, II, Del costruire: tecniche, artisti, artigiani, committenti, Einaudi, Torino 2003, pp. 303-328
Michele Tomasi, Avori, ivi, pp. 453-467
Fulvio Cervini, Le vie del classicismo tra iconografie e linguaggi, in Eburnea Diptycha. I dittici d'avorio tra Antichità e Medioevo, a cura di Massimiliano David, Edipuglia, Bari 2007, pp. 163-186
Chiara Bianchi, Strumenti e tecniche di lavorazione dell'avorio e dell'osso, ivi, pp. 349-385
Gli Avori del Museo Nazionale del Bargello, a cura di Ilaria Ciseri, Officina Libraria, Milano 2018
Collezioni del Museo Civico d'Arte Antica di Torino. Avori medievali, a cura di Simonetta Castronovo, Fabrizio Crivello, Michele Tomasi, L'Artistica, Savigliano 2016
Alessandra Squizzato, Francesca Tasso, Gli avori Trivulzio. Arte, studio e collezionismo antiquario a Milano fra XVIII e XX secolo, Il Poligrafo, Milano 2017
The Salerno Ivories. Objects, Histories, Contexts, a cura di Francesca Dell'Acqua, Anthony Cutler, Herbert L. Kessler, Avinoam Shalem, Gerhard Wolf, Mann, Berlin 2016
Recommended: Ferdinando Bologna, Dalle arti minori all'industrial design. Storia di una ideologia, Artstudiopaparo, Napoli 2019 (I edizione 1972)
The course aims to provide a start to the critical study of sumptuary works of art, with particular regard to the European Middle Ages. In this perspective, particular emphasis is placed on ivories, which admirably exemplify an idea of ??preciousness and miniature sculpture. This is not a history of art and goldsmithing in the traditional and diachronic sense, but a reflection on themes and problems, which also affects the forms of perception and representation of medieval art after the Middle Ages. In particular, some significant ivories from the 5th to the 14th century will be examined, favoring those preserved in the Bargello Museum, of which the scientific catalog has just come out.
The course may also benefit, according to availability, from contributions from other university teachers and guest scholars. A lively and assiduous contact on the field with works and monuments is encouraged: the lectures can be integrated by some guided visits to significant collections, but this does not mean that the student deprives himself of the pleasure of individual discovery.
The course therefore aims to transmit in-depth knowledge of medieval sumptuary art and the arts that interact with it, with particular regard to the XII and XIII centuries and in a European perspective; to increase the critical reading skills of these works, both on a philological and historical level; to develop the maturity and autonomy of judgment around the history of the applied arts in general and medieval art in particular; to increase the ownership of language and communication around these topics.
Basic knowledge of the history of medieval art, in Italy and in Europe. Notions of medieval history
Lectures with projections of images and films, with possible visits and seminars. Some lessons will held in the ivories room at the Bargello Museum, Florence
Type of Assessment
Oral examination. It is foreseen the possibility of an ongoing verification, in the form of a questionnaire, on the general knowledge of medieval art history. The examination will be a conversation around the bibliography, aimed at ascertaining the actual knowledge of the texts, but, above all, the critical spirit and the argumentative capacity of the candidates. Other questions will cover the topics covered in the lessons and may provide for the recognition and commentary of images projected in the classroom.