|SCIENTIFIC DISCIPLINARY SECTOR||L-ART/02|
|MODULES||Questo insegnamento è un modulo di:|
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
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.
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.
Artists, functions and models of the portrait in the modern age
The teaching 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.
A brief analysis of the perception of the portrait by contemporaries through art literature will serve as a necessary introduction.
The theme, in a continuous change of scenarios within the main Italian and European realities, will be presented through a chronological itinerary among the most significant artists active from the fifteenth to the seventeenth century.
The program described concerns both attending and non-attending students.
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.
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.
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 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. 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 e il ritratto di corte da Raffaello ai Carracci, catalogo della mostra (Napoli. Museo di Capodimonte, 2006), Napoli, Electa Napoli, 2006.
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.
T. Montanari, Velázquez e il ritratto barocco, Torino, Einaudi, 2018.
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
Ricevimento: Reception by appointment (the Teams platform or, if necessary, in presence at the studios in via Balbi 4, 5th floor) by writing an email: email@example.com
DANIELE SANGUINETI (President)
LAURA STAGNO (President Substitute)
VALENTINA BORNIOTTO (Substitute)
Lessons start: week of February 19, 2024.
Oral exam: attending students will have to demonstrate knowledge of the history of the evolution of the portrait genre through the study of the proposed texts and the notes (i.e. the contents of the lessons). The exam, in fact, will be divided into three phases:
1) Verification of compulsory readings (ie those listed in point 1 of the bibliography).
2) The exhibition of the career 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 shown in class (available in the course Web Room).
Intermediate optional assignment (reserved for attending students only): attending students will be given, during the delivery of the lessons and near the end of the lessons themselves, the possibility of carrying out a written assignment focused on the recognition of the images shown in class (made available on AulaWeb). The positive result of this optional intermediate task will make it possible to capitalize a partial vote on a portion of topics that will no longer be verified during the oral exam (ie in fact point 3 will no longer be asked during the oral exam).
Oral exam only: non-attending students will have to demonstrate knowledge of the history of the evolution of the portrait genre by studying the proposed texts. The exam, in fact, will be divided into three phases:
- Verification of compulsory readings (ie those listed in point 1 of the bibliography).
- The exhibition of the career of a chosen artist through the analysis of two of the volumes proposed in point 2 of the bibliography.
- The recognition of some images available in the course Web Room.
IMPORTANT: Students are reminded of the introduction of the following rule: from the moment they have taken the exam of one module among the two that make up the course Themes of modern art, the exam of the second module (the one useful for the registration of the final career mark) must necessarily take place no later than the three subsequent sessions of appeals.
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.