OVERVIEW

The choice of a theme, in this case landscape and its relations with figures, offers the opportunity to assess expressive methods and compositional models and to read the different solutions in relation to society and contemporary culture.

AIMS AND CONTENT

LEARNING OUTCOMES

To give tools and knowledge for analysis of artefacts, purchaser-artist issues, historical-artistic themes in general in the framework of cultural relations and European society in the modern era. 

AIMS AND LEARNING OUTCOMES

As part of the figurative dynamics that took place in Italy in the modern age, it is possible to return a network of contacts and exchanges between areas as evidence of the intense circulation of artists and models attributable to the broader scenario of the European cultural circuit.

At the end of the course, the student will be able to have a thorough knowledge of figurative solutions developed in certain cultural areas. In particular, he will be able to recognize the works in relation to the creators and the context that produced them as well as identifying the source of the models and their declination. He will also be able to acquire awareness of the problems faced as cultural experiences to be compared in a broad panorama, readable in different social, economic, cultural and historical contexts in the modern age.

TEACHING METHODS

Classes are held in person. Attendance, although not compulsory, is recommended. The lecturer, at the specific request of a student (by e-mail), may allow him/her to follow classes remotely via “Teams” platform.

SYLLABUS/CONTENT

Artists, functions and models of the portrait in the modern age

The course investigates the development of the portrait genre as an evolutionary phenomenon in the modern age in contact with the dense network of exchanges, presences and international references.
The theme, in a continuous change of scenarios within the main Italian and European realities, will be presented through a chronological path among the most significant artists active from the 15th to the end of the 18th century.
A brief analysis of the perception of the portrait by contemporaries through art literature will serve as a necessary introduction.

The program described concerns both attending and non-attending students.

RECOMMENDED READING/BIBLIOGRAPHY

PROGRAM FOR STUDENTS

1) The two texts:

• E. Castelnuovo, Ritratto e società in Italia. Dal Medioevo all’avanguardia, Einaudi, Torino, 2015.
• E. Pommier, Il ritratto. Storie e teorie dal Rinascimento all’età dei Lumi, Einaudi, Torino, 2003.

2) A book from the following recommended bibliography (or other books - scientific monographs or catalogs of monographic exhibitions - relating to the same artists):  

JAN VAN EYCK

H. Belting, Specchio del Mondo. L'invenzione del quadro nell'arte fiamminga, Roma 2016.

Van Eyck, a cura di M. Martens, T.H. Borchert, J. Dumolyn, J. De Smet, F. Van Dam, catalogo della mostra (Ghent, Museum voor Schone Kunsten, 2020), Themes & Hudson, 2020 (inglese).

JOOS VAN CLEVE

Joos van Cleve. Il trittico di San Donato, a cura di G. Zanelli, Genova, Sagep, 2016.

HANS MEMLING

Memling. Rinascimento fiammingo, a cura di T.H. Borcher, caratlogo della mostra (Roma, Scuderie del Quirinale, 2014-2015), Milano, Skira, 2014.

ANTONELLO DA MESSINA

Antonello da Messina. L'opera completa, a cura di M. Lucco, catalogo della mostra (Roma, Scuderie del Quirinale, 2006), Cinisello Balsamo, Silvana Editoriale, 2006.

ALBRECHT DÜRER

Dürer e il Rinascimento tra Germania e Italia, a cura di B. Aikema, catalogo della mostra (Milano, Palazzo Reale, 2018), Milano, 24 ore cultura, 2018.

RAFFAELLO

Raffaello 1520-1483, a cura di M. Faietti, M. Lanfranconi, catalogo della mostra (Roma, Scuderie del Quirinale, 2020), Milano, Skira, 2020 (in particolare le pagine dedicate alla ritrattistica).

BRONZINO

Bronzino. Pittore e poeta alla corte dei Medici, a cura di C. Falciani, A. Natali, catalogo della mostra (Firenze, Palazzo Strozzi, 2010-2011), Firenze, Mandragora, 2010 (in particolare le pagine dedicate alla ritrattistica).

SEBASTIANO DEL PIOMBO

C. Barbieri, Sebastiano del Piombo. I ritratti, Edizioni Stauros, 2012.

TIZIANO

Tiziano e il ritratto di corte da Raffaello ai Carracci, catalogo della mostra (Napoli. Museo di Capodimonte, 2006), Napoli, Electa Napoli, 2006.

SOFONISBA ANGUISSOLA

Sofonisba Anguissola e le sue sorelle, catalogo della mostra (Cremona, Vienna, Washington, 1994-1995), Leonardo Arte, Milano, 1994.

PIETRO PAOLO RUBENS

Rubens e la nascita del Barocco, a cura di A. Lo Bianco, catalogo della mostra (Milano, Palazzo Reale, 2017), Venezia, Marsilio, 2017.

ANTON VAN DYCK

Van Dyck pittore di corte, a cura di A.M. Bava, M.G. Bernardini, catalogo della mostra (Torino, Galleria Sabauda, 2018-2019), Arthemisia books, Pisa, 2018.

DIEGO VELÁZQUEZ

T. Montanari, Velázquez e il ritratto barocco, Torino, Einaudi, 2018.

REMBRANDT

S. Aloers, L’officina di Rembrandt, Torino, Einaudi, 1990.

Rembrandt et les peintres-graveurs italiens de Castiglione à Tiepolo, a cura di M. Gilles, B.A. Kowalczyk, J. Rutgers, catalogo della mostra (Épinal, Musée départemental d’art ancien et contemporain), Ludion, Skira, 2003.

The non-attending student must prepare two texts among those indicated in point 2.

TEACHERS AND EXAM BOARD

Exam Board

DANIELE SANGUINETI (President)

MATTEO CAPURRO

LAURA STAGNO (President Substitute)

VALENTINA BORNIOTTO (Substitute)

LESSONS

LESSONS START

September 27, 2022

The lessons will respect the following weekly times:

Tuesday 8.00-10.00 (that is to say 8.30 - 10.00)

Wednesday 8.00-10.00 (that is to say 8.30 - 10.00)

Class schedule

HISTORY OF MODERN ART IN EUROPE

EXAMS

EXAM DESCRIPTION

Oral examination.

Students will have to demonstrate that they know the history of the evolution of the portrait genre through the study of the proposed texts and notes.

The examination, in fact, will be divided into three phases:

1) Verification of compulsory readings (i.e. those listed in point 1 of the bibliography).

2) The exhibition of the path of a chosen artist (through the analysis of one of the volumes proposed in point 2 of the bibliography).

3) The recognition of some images among those proposed in class (available in the AulaWeb of the course and selected from those shown in class).

Consultation of the dedicated AulaWeb is recommended.

ASSESSMENT METHODS

The evaluation of the candidate's preparation will be considered sufficient on the basis of the skills acquired - through the lessons and / or the proposed readings - to correctly place the artistic production considered in time and in the cultural context. Higher and excellent evaluations will be attributed by verifying the student's ability to grasp critical aspects and cultural links in the topics addressed in the course of study and discussed in the recommended texts.

Exam schedule