Prof. Irene Baldriga
Description: the course will be focused on the
most important artistic movements which developed in Italy between 1860 and
1970 ca. The constant reference to European culture will be the leit-motiv of
the course, which will try to underline not only the peculiarities of Italian
modern art, but also its strong connections to the international context.
Political and historical references will help students to better understand
the meaning of artists’ choices and experiences, while literary texts and
additional, heterogeneous, visual materials will enhance their awarness of the
sincretistic aspect of 20th century art.
Click on the thumbnails to
Syllabus - Readings - Field
Trips - Class Time - Grading
- Research Papers -
Course Objectives -
Instructor's Profile - Links -
Gallery of Pictures
the famous scooter produced since 1946)
By the end
of the course students will have:
an outline of the European history between Italian Unification and WW
a familiarity with the principal European and Italian artistic
movements of 20th century;
an awareness of the interaction between different artistic expressions
which is on the basis of the evolution of Italian contemporary art;
a comprehension of the relation between art and politics during the 20th
a basic ability to describe and to interpret contemporary art.
a knowledge of the different materials and techniques used in modern
format: since the work of art will be the
central focus of the course, classes will be held – partly – in situ (see the
list of visits below).
Method of presentation:
lectures, seminar discussions, visits to monuments and sights, slides, use of
multimedia and internet resources (selected by the instructor).
(Giorgio De Chirico, L'enigma dell'ora, 1911, detail)
Class Time: Monday and Wednesday 16,30-18,00 (Classroom 26, LUISS, Via Pola)
- Field studies will mostly take place on Friday.
(Fortunato Depero, Lettrice e Ricamatrice Automatiche, 1920)
The readings for this course are particularly engaging. Modern Art necessarily
involves some interdisciplinary connections, especially with history and
philosophy. The study of readings will take, thus, a major role in the
successfull result of attentants.
Paulicelli, “Art in Modern Italy: from the Macchiaioli to the Transavanguardia”
in The Cambridge Companion to Modern Italian Culture, by Zygmunt G.
Baranski (ed.), Rebecca J. West (ed), Cambridge: 2001, pp. 243-263
(introduction to the course).
R. Humphreys, Futurism, Cambridge University Press,
Modernism in Italian Architecture, 1890-1940, Cambridge, Mass., and
London, 1991 (pp. 377-390 and pp. 482-516).
E. Braun (ed.), Italian Art in the 20th century:
painting and sculpture, 1900-1988, exhibition catalogue, London: Royal
Academy of Arts, 1989 (selected chapters)
Modern Art: Painting, Sculpture, Architecture, Photography,
ed. by S. Hunter, J. Jacobus, D. Wheeler, Prentice Hall: New York, 2004 (selected
H. Honour&J. Fleming, The visual arts: a history,
Prentice Hall: London, 2002 (selected chapters)
sources to be discussed in class will be selected from:
Art in Theory, 1900-2000. An Anthology of Changing Ideas, ed. by Ch.
Harrison and P. Wood, Blackwell: Malden MA, USA; Oxford, UK; Victoria, AUS;
ADDITIONAL SUGGESTED READINGS
“The visual arts: modernism and fascism” in Liberal and fascist Italy,
1900-1945, ed. By A. Lyttelton, Oxford: Oxford University Press, 2002.
A History of Italian Art in 20th century, Milan: Skira,
Sironi, Urban Landscape, 1919)
Galleria Comunale d’Arte Moderna; Galleria Nazionale d’Arte Moderna; La Casina
delle Civette; La Casa di Giorgio de Chirico; the EUR; la Città Universitaria.
Possible visits to Art Galleries in Rome.
Changes to this list of field trips may be made on
the basis of the possibility to obtain special permission to visit sights
usually closed to the public. Priority will be given to monuments and
sights not easily accessible. For field trips
requiring special permissions, students will be asked to sign in advance a
sheet of reservation.
Students are strongly encouraged to visit on their own sights and
monuments treated by the course which, for evident didactic reasons and
lack of time, it will not be possible to visit together.
The research paper will be focused on the
presentation of a the work of an artist to be
chosen from a list suggested by the teacher. By examining a specific work
of art, main goal of the student should be making logical connections to
the main topics treated in class. It is mandatory to know directly the
painting/sculpture/building which is the object of the paper. Any attempts
to avoid such unavoidable request, will involve severe penalizations. The research paper may be of approximately 4-5,
pages, possibly typewritten and double spaced with footnotes, bibliography
and (if possible) illustrations. An elementary bibliographic research
is required. Presentations of the paper in class are welcome and may
involve the attribution of extra-credits to be considered in the final
N.B.: Cheating and plagiarism will
be not tolerated in any form and will automatically imply strict disciplinary
action. Papers which should result to be copied, even in parts, from other
written sources or internet sites will be graded F.
(Sergio Tofano alias Sto, Il Signor Bonaventura, popular cartoon published in
Italy since 1917)
The final grade will be based on the exams, the paper and class
participation (which requires that students attend class).
work and form of assessment:
Class attendance and participation (20%); midterm (25%); research paper
(25%); final exam (30%). Final exams will be based on both the course
lectures and the assigned readings.
(Fausto Melotti, The Seven Wise Men, 1935, Rovereto, MART)
Our Virtual Classroom:
A Virtual Classroom has been created to encourage
discussion among the group. Students are strongly encouraged to participate,
sending materials and sharing thoughts and opinions about the topics treated in
the real class, assignments and readings. Proposals are welcome.
You can join the Virtual Classroom from the site www.nicenet.org,
typing the code you will be provided by the Instructor after the add-and-drop
(Arnaldo Pomodoro, Sfera, Trinity College)
Useful Links from the Internet:
Giorgio De Chirico
Official Web Site
Campigli Official Web Site
Fortunato Depero Official
Mario Ceroli Web Site
Modern Architecture in Italy, 1928-38 (in Italian)
Tofano alias Sto (on cartoons)
Historical Archive of the Istituto Luce (original documentaries and films
since the 30's)
The Scuola Romana:
art in Rome between the two WW wars
exhibition 1996-1997 (many images and information)
(Mario Ceroli, Andromaca, 1982)
Irene Baldriga is art
history Ph.D.; she graduated from Rome’s University “La Sapienza” and was
awarded with several fellowships from Italian and foreign cultural institutions.
She has a wide experience in teaching art history and regularly participates to
international academic projects. She has published extensively in Italian and English on art history
topics from medieval to contemporary times and participated to the organization
of several exhibitions. She recently published a book for the Accademia
Nazionale dei Lincei. Her favourite field of research is Renaissance and Baroque
art, the history of collecting and patronage and the relation art-science in
early modern Europe.
also her other courses: Rome as a Living Museum
(Fall 2005 - with Prof. Racioppi); XVI and XVII century Art and Papal Patronage
"Late Antique and Early Christian Art in the
Mediterranean World" (Fall 2005)
Gallery from previous courses
Baldriga's Home Page
Gallery of Images from the course:
Go to the page
www.irenebaldriga.it/modern_password.htm and type the password you will
receive from your Instructor.
(Alida Valli, Italian actress very popular in the 30's)