OVERVIEW

The course examines the development of sculpture in marble and wood from the second half of the sixteenth century through to the late Baroque period, with particular focus – in terms of the artists, cultural interconnections and the role of patrons – on the Genoa area and, to a lesser extent, the Roman centre.

AIMS AND CONTENT

LEARNING OUTCOMES

The teaching offers an 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.

AIMS AND LEARNING OUTCOMES

The course provides a comprehensive overview of the development of sculptural production between the 16th and 17th centuries, through an in-depth examination of aspects relating to artists’ training, their relationships with patrons, the circulation of models, and the use of techniques and materials. The course will examine the achievements of major sculpture, with a focus on the pivotal role played by the Roman context.

Students will therefore be able to:
- gain an in-depth understanding of the sculptural output of the key figures covered in the course (Michelangelo, Giambologna, Bernini)
- understand the influences and connections between Genoese, Florentine (second half of the 16th century) and Roman (17th century) sculpture
- understand the reasons for the major stylistic changes from the 16th to the 17th century through the development of formal constants
- acquire the correct terminology for interpreting sculptural works

PREREQUISITES

A knowledge of modern art history is considered essential.

TEACHING METHODS

Classes are held in person. Attendance, whilst not compulsory, is recommended. 
The lecturer enables remote access to classes via the Teams platform.

SYLLABUS/CONTENT

Topics covered (for both attending and non-attending students):

- a brief overview of sources on modern sculpture
- profiles of key sculptors who set the standard: Michelangelo, Giambologna, Bernini
- the development of sculpture in Genoa from the 16th century to the Baroque period
- parallels between Genoa and Rome. In fact, the Roman centre of influence will be examined in depth for having decisively shaped much of the artistic inspiration adopted in the area under consideration (namely Genoa), together with neighbouring regions linked to Genoa by virtue of cultural connections, the movement of artists and the export of works.

RECOMMENDED READING/BIBLIOGRAPHY

STUDENT PROGRAMME (ATTENDING STUDENTS)

1) Lecture content via lecture notes

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

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

4) G. Briganti, Millseicentotrenta, ossia il Barocco, in "Paragone", 1951, 13, pp. 8-17.

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

6) L. Magnani, La scultura dalle forme della tradizione alla libertà dello spazio barocco, in Genova nell'età barocca, catalogo della mostra, a cura di E. Gavazza, G. Rotiìondi Terminiello, Bologna 1992, pp. 291-302.

PROGRAMME FOR STUDENTS (NON-ATTENDING)

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

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

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

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

5) La scultura a Genova e in Liguria dal Seicento al primo Novecento, Genova 1988, ed. Cassa di Risparmio di Genova e Imperia: le seguenti pagine 25-40, 87-101, 102-126, 127-165, 176-194, 215-227.

TEACHERS AND EXAM BOARD

LESSONS

LESSONS START

Second term: the week of 15 February 2027.

Class schedule

The timetable for this course is available here: Portale EasyAcademy