Painting

  1. First Year
  2. Second Year
  3. Third Year

First Year

Discipline teoriche

CFA
6
HOUR
45
Professor
Course card

Educational objectives

The course will be carried out through frontal lessons, supported by PowerPoint presentations, dedicated to the main artists, art movements and key issues of the hiistorical-philisophical-artistic events that characterized the period that went all the way to The Renaissance and to Neo-Classicism.

Skills acquired

The student must show knowledge of disciplinary contents, must be able to analyze works, authors and art periods in a coherent and articulate way, historically contextualizing them, expressing  a correct and motivated critical evaluation ( also personal ones) also referring to the study career and the experience acquired. Therefore, the student must be able to place the work both in the correct timeframe and recognize style and technique .

Methods of evaluation

The final test shall verify the degree of knowledge of the main protagonists of Art History, from the end of the fifteenth century to the beginning of the nineteenth century, of the main artistic movements and of the historical-aesthetic aspect of art language.

The student will have to prove that he can place the work in the appropriate historical-artistic context, within the personal experiences and relationships of the artist ( commissions, work contents and finality, technical-formal characteristics) i.e. he must show that he can properly read and understand the style of the work itself.

 

Bibliography

C. Bertelli, G. Briganti, A. Giuliano, Storia dell’arte italiana, Milano, Electa Mondadori, vol. 3, unità 15, 16, 17 18; vol. 4, unità 19.

Ernst Hans Josef Gombrich: Storia dell’arte racconta da E. H. Gombrich, Einaudi, dal capitolo XII al XXIII.

Other books must be agreed with the professor.

 

CFA
6
HOUR
45
Professor
Course card

The finality of this course is to deepen the knowledge of contemporary artists developing their artistic path and placing it in the context they had lived in.

We will also analyze the dynamics that govern the world of art, mainly of contemporary art.

Students will be placed in groups and a research on a specific artist will be assigned to each group.

Members of each group shall illustrate their research to all lesson participants, explaining it in a correct and professional way.

Curiosity and question asking are welcomed and kindly expected.

This is an Academy therefore a place where philosophy is pursued. Plato started his activity in the garden of an Academy. Please do the same….

CFA
6
HOUR
75
Professor
Course card

Emotive temperature and colour physicality from Giotto’s frescoes to the performance of Achille Lauro.

First module (70 hours)

We will analyze colour and its use both in connection with physicochemical  and emotional  implications deriving from it, through a trip that retraces the history of art and the connections with other arts and disciplines. The course will be characterized by a comparison between different eras and, therefore, between images used and predominant colours (Giotto ultramarine blue/Picasso blue/ International Klein Blue and blue after  Klein. Titian red and Cardinal red, Matisse red, Burri red, Rothko red, all the way to the red shirts chosen by combat sports athletes, and so forth and so on with more colour shades…), indirectly reviewing also all the art works and contamination with design, advertising, cinema, fashion.

Monographic course (5 hours)

Vanessa Beecroft (Genoa 1969) merges in her works perfection and suffering, aestheticization and forms of asceticism based on resistance and control. Since the beginning of her career she centered her research on the female body, displayed  according to a formal, geometric and colouristic rigor that composes articulated tableaux vivants. The point of departure for her work  was, in 1993, Despair or the Food Book, with typewritten  lists of foods- divided by quality and colour-, eaten by the artist from 1983 to 1991, when she was suffering from anorexia. Her first performance, VB01, was correlated to this work. Thirty girls she met in the streets, at the Academy, or in the surrounding areas, that reminded her of paintings of the Renaissance or of movie actresses of the sixties, wore her clothes, whose colours referred to a group of water colours placed on the floor. More than a hundred performances followed the first one, all  titled with her initials, VB (that became sorts of a trademark, a logo) and the action number. During the monographic course we shall take a trip among these warm but frozen bodies, simulating with their representations, Renaissance painting,  classic sculpture, cinema, architecture; bodies lent to fashion glam, to video clips, with a continuous reflection on contemporary western society, shown by media exposure with all its contradictions and obsessions.

OBJECTIVES

This course wishes to see colour used when realizing an image and emotional stimulation. We wish the student to develop an expertise in the cultural, historical, alchemical, symbolic, psychological and healing meaning of colour itself, supplying the analytical and critical methods for proper design.

The exam will consist of an oral interview and a written essay.

BIBLIOGRAPHY

Any art history book is advisable in order to have a general knowledge of the various historical periods together with those suggested by teachers of  history of modern and contemporary art. As for biographies I suggest Giunti monographies, while for eighteenth century art:  Hal Foster, Rosalind Krauss, Yve-Alain BoisArte dal 1900. Modernismo, antimodernismo, postmodernismo, Zanichelli, 2017 / Angela Vettese, Si fa con tutto. Il linguaggio dell’arte contemporanea, Laterza, 2015).
Philip Ball, Colore. Una biografia. Tra arte storia e chimica, la bellezza e i misteri del mondo del colore, BUR Rizzoli, 2004
Manlio Brusatin, Storia dei colori, einaudi, 1999
Johann Wolfgang von Goethe, La teoria dei colori, Luni, 2013 (saggio scritto nel 1810)

Rudolf Steiner, L’essenza dei colori, Editrice Antroposofica, 2013 (prima edizione 1929)
Johannes Itten, Arte del colore, ediz. Il Saggiatore, 2010 (prima edizione 1961)
Kassia St. Clair, Atlante sentimentale dei colori, De Agostini, 2018
Riccardo Falcinelli, Cromorama, Einaudi, 2017
David Batchelor, Cromofobia. Storia della paura del colore, Mondadori, 2006
John Gage, Colore e cultura. Usi e significati dall’antichità all’arte astratta, Istituto Poligrafico
dello Stato, 2001
Manlio Brusatin, Vittorio Mandelli, Un colore mai visto. Il colore nell’epoca della sua
riproducibilità tecnica, Property Scala, 2003
Vasilij Vasil’evič Kandinskij, Lo spirituale dell’arte, SE, 2005
Marcella Beccaria, Vanessa Beecroft. Performances 1993-2003, Catalogo della mostra (Torino, ottobre 2003-gennaio 2004), Skira, 2003
Michel Pastoureau, Il piccolo libro dei colori, Ponte delle grazie, 2006
Nero. Storia di un colore, Ponte delle grazie, 2016
Blu. Storia di un colore, Ponte delle grazie, 2018
Rosso. Storia di un colore, Ponte delle grazie, 2016

Two or more books to be chosen among:

Michel Pastoreu I colori dei nostri ricordi, Ponte delle grazie, 2011
Marc Augé, Un etnologo nel metrò, Eleuthera, 2017
Alison Lurie, Il linguaggio dei vestiti, Armando, 2017
Federico Pierotti, Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni, ETS, 2006
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018
Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018
Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica, Einaudi, Phaidon, 2009
Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008
Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996

Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998
Un colore tira l’altro. Diario cromatico, Ponte delle grazie, 2019
Marc Augé, Un etnologo nel metrò, Eleuthera, 2017
Alison Lurie, Il linguaggio dei vestiti, Armando, 2017

Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018
Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018
Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica,
Einaudi, Phaidon, 2009
Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008
Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996
Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998
Anna Starmer, Enciclopedia degli schemi di colore, Il Castello, 2018
Sean Adams, Colorpedia. Guida ai colori per grahic designer, Logos, 2017
Stephen Farthing, David Scott Kastan, Sul colore, Einaudi, 2018
Simon Garfield, Il malva di Perkin. Storia del colore che ha cambiato il mondo, Garzanti, 2002
Hans Silverster, Natural Fashion – Decorazioni tribali d’Africa, 2007
Guy Deutscher, La lingua colora il mondo: Come le parole deformano la realtà, Bollati Boringhieri, 2016
Derek Jarman, Chroma, Ubulibri, 1995
Enrica Antonioni, Il silenzio a colori di Michelangelo Antonioni, Campisano, 2006
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
Dominique Paini, Alain Bergala, M. L. Pacelli, Lo sguardo di Michelangelo. Antonioni e le arti, Ferrara Arte, 2013
Michele Scapino. Cromoterapia, EDITORIALE OLIMPIA, 2002
Vicky Wall, Guarire con i colori, Mediterranee, 1996
E. H. Gombrich, Ombre, Einaudi 1996

Sophie Duplaix, Gina Pane (1939-1990). È per amor vostro, catalogo della mostra MART, Rovereto, 17 marzo – 8 luglio 2012, Hoepli, 2012
Neville Wakefield, Thyrza Nichols Goodeve, Nancy Spector, Henry Jenkins, Matthew Barney: The Cremaster Cycle, Guggenheim Museum Pubns, 2002
Marc Augé, Un etnologo nel metrò, Eleuthera, 2017
Alison Lurie, Il linguaggio dei vestiti, Armando, 2017
Federico Pierotti, Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni, ETS, 2006
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018
Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018
Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica, Einaudi, Phaidon, 2009
Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008
Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996
Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998

CFA
4
HOUR
30
Discipline teorico-pratiche

CFA
8
HOUR
100
Professor
Course card

Educational objectives

The objective of the first year is to give students solid foundations of human anatomy , in particular of osteology. Bone structure is studied using a synthetic-geometric approach to allow easy decoding in the external morphology of the living model.

The geometric approach of the anatomical study will help not only to solve, in a conscious way, a complex transposition of a tri-dimensional figure on a bi-dimensional surface, but also to acquire a spatial reasoning such as to lay the foundation for the design of pure invention.

Lessons will have practical demonstrations made by the teacher, a Lab design phase and correction of all exercises.

Skills acquired

Knowledge of the whole bone and joint structure of the human skeletal structure and capacity for geometric simplification.

Knowledge of main proportions and bone structure inclinations and ability to graphic re-proposition from different observation points.

Conscious use of acquired anatomic knowledge in life drawing.

Methods of evaluation

The exam is divided into a practical part and an oral part.

The practical part consists in life drawing of a living model and in drawing, without reference, of the human skeletal structure.

The oral part focuses on knowledge of the human skeletal structure. All exercises made in class and all assignments will also be evaluated.

 

Bibliography

LA FIGURA – Walt Reed – LA BIBLIOTECA DI D&D
STRUTTURA UOMO vol. 1 – Lolli, Zocchetta, Peretti – Neri Pozza
THE COMPLETE GUIDE TO ANATOMY FOR ARTISTS & ILLUSTRATORS – Gottfried Bammes – Search Press
FIGURE DRAWING DESIGN AND INVENTION – Michael Hampton

CFA
12
HOUR
150
Professor
Course card

Educational objectives

The First year of painting is centered on still life. The student acquires a basic knowledge of painting techniques, correct image reading and conscious management of materials and their possible interaction, by re-proposing different objects from life.

This path allows achievement of effective tonal and chromatic image management.

Skills acquired

Image geometrical and spatial decoding.

Knowledge of oil and non-oil  painting techniques in their main performing dynamics.

Handling of pictorial materials and possible interactions.

Comprehension of image tonal and chromatic values.

Re-proposition of still life based on acquired skills.

Methods of evaluation

The final exam focuses on evaluation of works done by the student during the course and on a practical exam consisting in realization of a still life from life.

Bibliography

Philip Ball – Colore – Una biografia – edizioni BUR
Mauro Matteini, Arcangelo Moles – La chimica nel restauro – I materiali dell’arte pittorica – Nardini Editore
Maria Bazzi – ABECEDARIO PITTORICO – Neri Pozza Editore

CFA
6
HOUR
75
Professor
Course card
  • Psychology and Art, between philosophy and psychology.
  • Art and aesthetics of beauty, the hedonic dimension of pleasure, art and  the appeal of its seducing power.
  • Art cognitive dynamics: the ability to perceive, to give a meaning and subjective aesthetic preferences.
  • Sensory perception, why sensory activities contribute, so unequally, to the construction of aesthetic experience.
  • Art seen as a Lab for new forms of communication.
  • The creative act, artist psychology (analysis and comprehension of the artistic language of some authors).
  • Labs of sensory perception and synesthesia.

The cycle of lessons will be held during the second semester and they will end with an oral exam. Attendance to the course is mandatory for experimental workshops. The exam, which provides training credits will be on the contents of the bibliographic part and on the knowledge of topics analyzed during frontal and experimental lessons.

The course is divided into  two thematic areas of reference. The first one covers the main constructs of psychology and allows the student to orient himself and become familiar with peculiarities of art psychology. The second area focuses on perception studies concerning the functioning of the senses and reactions, triggered in humans by sensory stimuli. This elaboration of sensory data is an active and creative process that replaces sensory experience of the surrounding environment, an experience that lies to the basis of how we perceive and decode the world. Perceptual processes are closely linked  to and inseparable from other cognitive faculties such as, attention, memory, reasoning, emotions.

Such approach requires the knowledge of the following books together with experience during sensory workshops.

 

Bibliography

E.R.Kandel, 2012, L’età dell’inconscio, arte, mente e cervello, dalla grande Vienna ai nostri giorni, Milano, Raffaello Cortina Editore.
Ernst Gombrich, 1992, Freud e la psicologia dell’arte, stile, forma e struttura alla luce della psicanalisi, Torino, Piccola Biblioteca Einaudi.
U. Eco (a cura), 2018, Storia della bellezza, Firenze, Bompiani.

Office hours: Thursday from 5.00 p.m. to 6.30. p.m. preferably by appointment.

CFA
8
HOUR
100
Professor
Course card

Educational objectives

Drawing, with its visual, emotional, design power, acquires today a new communicative feature. Graphic and segnic expression is not placed on a subsidiary communication plan, but on total expressive autonomy.

Sign, as means of pictorial investigation, takes on a specific language role , graphics become themselves a finished work of art.

To better address the issues herewith, we have to analyze four operational phases: practical-rational drawing, exploratory research drawing, personal autonomous drawing, segnic drawing.

Practical-rational drawing: contents of design drawing, preparatory to the work, aimed at artistic production. Drawing is the essence of creativity, it is a graphic language, incisive in the creative process of the work of art.

Exploratory research drawing: drawing seen as investigation and method of analysis, aid as an understanding of form; creative drawing; drawing as reality of continual experimentation, a bridge between conscious and unconscious creativity, the sketch or the graphic note, as a moment of spontaneous creativity devoid of language pattern; study drawing, copying of  real life models, synthesis of Nature’s image.

Personal autonomous drawing: the student will work with independent graphic drawing in search for pure feelings-ideas. The graphic work will be an end in itself, autonomous and representative.

Segnic drawing: during exercises the student will be constantly stimulated and urged in a quest for its own personal  expressive mark, which is at the base of the unique creative signature.

Teaching methods

Topics will be taught in two different ways:

Graphic diary/book – (research and functional drawing): students must always carry a scrapbook/notebook where they will draw on a daily basis and where they will write suggestions, visions, shapes, intuitions, images, with the utmost expressive immediacy.

Lab – (autonomous drawing): during Lab activity drawing will be seen as an autonomous and finished work of art. Students will be guided towards the search for the sign and for the most appropriate support to express personal themes, in order to reach a final exhibition artwork.

Methods of evaluation

We will evaluate works done by the student during the academic year.

CFA
4
HOUR
50
Professor
Course card

Programme

Proliferation of digital devices and their continuous daily use in the most different areas, calls for an indispensable basic knowledge of computer use and of computer tools in approaching the artistic, graphic, illustration world.

This course wishes to supply basic knowledge on the use of personal computer and, specifically, to illustrate the main functions of the most popular digital processing  programs for rastel and vector images (Adobe Photoshop, Adobe Illustrator) and basic knowledge for digital publishing (Adobe InDesign).

TOPICS COVERED:

Management of file dimensions, colour  methods and formats.

Adobe Illustrator:

  • complex and simple vector forms manipulation and combination
  • use of the “pen” tool (Beziér curves)
  • text management and manipulation
  • image tracing operations bitmap.

The finality is to acquire basic technical knowledge to realize text compositions and vector drawings.

 

Adobe InDesign:

  • creation and management of multipage documents
  • master pages management  and simple  text automatisms
  • creation of styles and interaction between text, graphics and images.

The finality is to acquire basic technical knowledge to realize simple printed products.

 

Adobe Photoshop:

  • use selection tools
  • make proper adjustments, tonal correction and selective edits.
  • Create and use levels and masks
  • use level styles, filters and blend methods.

 

The finality is to acquire basic technical knowledge to realize simple photo editing and photo-montage.

Some useful exercises will be suggested during classes to become familiar with program functions and iconographic examples taken from the art and communication world, emphasising ductility of image processing media and, consequently,  of the signifiers and the meaning inside of a fluid system.

Students will be invited to a personal approach to this discipline, keeping in mind rules and limitations as well as their particular inclination, wishing to stimulate them to develop their own artistic research using digital tools, both individually and with group work.

Second Year

Discipline teoriche

CFA
6
HOUR
45

CFA
6
HOUR
45

CFA
6
HOUR
45

CFA
6
HOUR
45

CFA
6
HOUR
45
Course card

Educational objectives

The student will be able to know and recognize the main communication models through media history of the twentieth century and the main experimental paradigms based on the influence of media on society. He will also be able to analyze the main characteristics of  creating a community and of on-line communication, to distinguish digital cultures and capture their philosophical aspects and the main artistic, aesthetic, economic and sociologic implications.

Skills acquired

The course aims to form a consciousness on kinds of influence and of socio-cultural changes and on the development of mass media through history.

Through analysis of the social fabric related to media influence,  the student will acquire the knowledge needed to understand communication dynamics, relationship and persuasion put in action by the media system and will mature a critical sense towards collective contemporary scenarios.

Examination procedures

The exam will be conducted in oral form, and will cover the concepts learned during classes, the study of text books and discussion of practical activity linked to project work.

Bibliography

Exam texts (compulsory):

– Paccagnella Luciano, Sociologia della comunicazione, Milano, Il Mulino, 2010 (frontespizio verde)

Further reading:

– Architetture digitali e comunicazione digitale – di E. Zuanelli – edizione 2016 – Aracne

– Lo spettacolo della merce. I luoghi del consumo dai passages a Disney World, di Vanni Codeluppi, maggio 2000, Edizioni Bompiani

Discipline teorico-pratiche

CFA
6
HOUR
100

CFA
12
HOUR
150

CFA
6
HOUR
75
Course card

EDUCATIONAL OBJECTIVES

Supply a general understanding  of painting techniques and of the main theoretical and practical dynamics of the use of colour, as well as management of image tones and chromaticity.

SKILLS ACQUIRED

Knowledge of oil and non oil painting techniques in their main performing dynamics.

Handling painting materials and possible interaction.

Image geometric and spatial decoding.

Understanding  image tonal and chromatic values.

Image re-elaboration ability based on skills acquired.

FINAL EXAM

The final exam will evaluate work done by the student during the course.

BIBLIOGRAPHY

Philip Ball – Colore – Una biografia – edizioni BUR
Mauro Matteini, Arcangelo Moles – La chimica nel restauro – I materiali dell’arte pittorica – Nardini Editore
Maria Bazzi – ABECEDARIO PITTORICO – Neri Pozza Editore

CFA
6
HOUR
75

Third Year

Discipline teoriche

CFA
6
HOUR
30

CFA
6
HOUR
45
Discipline teorico-pratiche

CFA
10
HOUR
75
Course card

Objectives
Snippets of History of Photography.
Acquire basic notions of photographic language and techniques.
Learn about and master the photographic tool through the use of Accademia equipment.
Recognize light as a fundamental design tool and the importance  of its influence on the human being.
Know the factors that influence natural light and be able to face resulting problems.
Know  methods of combination of natural light with artificial light for a complete lighting project.
Author analysis.

Contents

  • The Reflex as a multi-purpose tool in photography and video feed.
  • The Diaphragm, the shutter, advantages and limitations of different  focal lengths, and zoom.
  • Light and image formation: characteristics of light,  light sources, light measurement and evaluation techniques.
  • The photographic eye: image composition, capacity to assess its contents.
  • Natural and artificial light.
  • Transpose into video learnt photographic knowledge, image setting thought for the moment.

Teaching methods
Frontal lessons and exercises, group work and didactic visits.

CFA
12
HOUR
150
Altro

CFA
12

CFA
4

CFA
10