• Bacci Michele

Starting from the Renaissance, artistic forms identified as “Greek”, that is, “Byzantine”, especially in the medium of painting, were long despised and accused of having slowed down or misdirected the development of the arts in the Western world. In general, this involved a devaluation of medieval art as a whole, characterized as lacking originality and trapped in repetitive formulas. These stereotypes, which survive to the present day, stand in contrast to the perception that prevailed for centuries regarding the arts associated with Constantinople, which were considered the true standard against which “Latin” artists, as well as their colleagues active in Scandinavia, in Kievan Rus’, in Georgia and Armenia, among Christian communities of the Middle East, and even in the worlds of Islam, were expected to measure themselves. In this model they saw an absolute measure of beauty, technical mastery, religious and political authority, and mimetic effectiveness.

The course will analyze the dynamics through which Byzantine art was imitated, appropriated and transformed in different cultural contexts, giving rise to unique and original forms of artistic expression.

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