OVERVIEW

The course deals with the evolution of the sculptural production in marble and wood from the second half of the sixteenth century until the late Baroque period, with particular reference, for the profiles of the artists, the cultural weaves and the role of the client, to the Genoese area and, tangentially, to the Roman pole.

AIMS AND CONTENT

LEARNING OUTCOMES

The course offers an articulated overview of the development of sculptural production between the 16th and 18th centuries, through the dialectical deepening of aspects connected with the training of artists, relations with the client, the circulation of models and the use of various techniques. The privileged point of view to proceed with a parallel reading between regional areas (in particular Tuscany, Lombardy, Veneto and Rome) will be the Genoese area.

AIMS AND LEARNING OUTCOMES

The course offers an articulated overview of the development of sculptural production between the 16th and 18th centuries, through the dialectical deepening of aspects connected with the training of artists, relations with the client, the circulation of models and the use of techniques and materials. We will examine not only the results of the large marble sculpture, with the pivotal role assumed and radiated by the Roman context, but also those of the wooden statuary, in its multiple functions, in the parallelism between regional areas, in the complex executive phases and in the wide diffusion of the artefacts in the Mediterranean basin.

PREREQUISITES

In order to successfully follow the course, knowledge of the history of modern art acquired during the attendance of the three-year degree course in Conservation of Cultural Heritage (or similar to the Old Order) is fundamental.

TEACHING METHODS

The course involves the use of the following teaching methods:

- Classroom lectures with PowerPoint presentation.

- Lessons in churches, oratories and museums in the city.

SYLLABUS/CONTENT

For students who use teaching for 9 cfu the topics developed by the teaching are:

- framing of sources on modern-age sculpture

- profiles of sculptors who dictated reference models: Michelangelo, Giambologna, Bernini

- development of sculptural production in Genoa from the sixteenth to the eighteenth century

- parallelism between Genoa and Rome. In fact, the Roman irradiation pole will be investigated in depth for having dictated, in a decisive way, most of the suggestions adopted in the context under examination (i.e. the Genoese one), together with territorial areas in consonance with Genoa (in particular Bologna and Venice) by virtue cultural tangencies, the circulation of artists and the export of works.

For students who use teaching for 6 credits, the topics developed by the teaching are:

- framing of sources on modern-age sculpture

- development of sculptural production in Genoa from the sixteenth to the eighteenth century

- parallelism between Genoa and Rome. In fact, the Roman irradiation pole will be investigated in depth for having dictated, in a decisive way, most of the suggestions adopted in the context under examination (i.e. the Genoese one), together with territorial areas in consonance with Genoa (in particular Bologna and Venice) by virtue cultural tangencies, the circulation of artists and the export of works.

RECOMMENDED READING/BIBLIOGRAPHY

They constitute study supports for the preparation:

A) FOR ATTENDING STUDENTS (9 credits)

1) content of the lessons

2) T. Montanari, Il Barocco, Einaudi, Torino 2012.

3) La scultura raccontata da Rudolf Wittkower dall'antichità al Novecento, Einaudi, Torino 1993.

4) A. Angelini, La scultura del Seicento a Roma, 5 Continents Editions, Milano 2005.

5) A. Angelini, Bernini, Jaca Book, Milano 1999.

6) La scultura a Genova e in Liguria dal Seicento al primo Novecento, Genova 1988, ed. Cassa di Risparmio di Genova e Imperia: the following pages 14-23, 46-67, 87-101, 102-126, 127-165, 176-194, 215-276

7) D. Sanguineti, Scultura genovese in legno dal secondo Cinquecento al Settecento, Allemandi, Torino 2013: the following pages 37-64, 71-80, 83-114, 117-238

other bibliography will be provided by the teacher during the lessons,

B) FOR ATTENDING STUDENTS (6 credits)

1) content of the lessons

2) T. Montanari, Il Barocco, Einaudi, Torino 2012.

3) A. Angelini, La scultura del Seicento a Roma, 5 Continents Editions, Milano 2005.

4) La scultura a Genova e in Liguria dal Seicento al primo Novecento, Genova 1988, ed. Cassa di Risparmio di Genova e Imperia: the following pages 14-23, 46-67, 87-101, 102-126, 127-165, 176-194, 215-276

5) D. Sanguineti, Scultura genovese in legno dal secondo Cinquecento al Settecento, Allemandi, Torino 2013: the following pages 37-64, 71-80, 83-114, 117-238

other bibliography will be provided by the teacher during the lessons,

C) FOR NON ATTENDING STUDENTS

Non-attending students will receive a specific program from the teacher (Daniele.Sanguineti@unige.it).

TEACHERS AND EXAM BOARD

Exam Board

DANIELE SANGUINETI (President)

SARA GARAVENTA

LAURO GIOVANNI MAGNANI (Substitute)

LAURA STAGNO (Substitute)

LESSONS

LESSONS START

Lessons start: 8 October 2020

Tuesday 8-10

Wednesday 8-10

Thursday 15-17

Class schedule

HISTORY OF SCULPTURE IN THE MODERN AGE

EXAMS

EXAM DESCRIPTION

The exam takes place through an oral interview aimed at verifying the learning of the contents dealt with during the lesson. The candidate will be required, during the oral exam, to demonstrate mastery of the topic in a general sense, starting from image proposals. The texts indicated allow you to deepen the topics presented in the classroom but cannot replace the plurality of topics (supported by images) discussed during lessons and visits.

ASSESSMENT METHODS

Each sufficient answer, resulting from the recognition of the images and the ability to contextualize the work, will be assigned an evaluation from 18 to 30 with honors and the final mark will be the average of the evaluations of the individual respects.

Exam schedule