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 teaching offers a detailed overview of the development of sculptural production between the 16th and 17th centuries, through the dialectical study of aspects related to the training of artists, relationships with clients, the circulation of models and the use of techniques and materials. The results of large sculpture will be examined, with the pivotal role assumed and radiated by the Roman context.

The student can therefore:

- know in depth the sculptural production of the main personalities presented in class (Michelangelo, Giambologna, Bernini)

- understand the connections established between Genoese and Florentine (sixteenth century) and Roman (seventeenth century) production.

- understand the reasons for the greatest stylistic change from the sixteenth to the seventeenth century through the stylistic development of formal constants

- acquire correct terminology in the context of reading sculptural artefacts

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

Classes are held in person. Attendance, although not compulsory, is recommended. The lecturer may allow him/her to follow classes remotely via “Teams” platform.

SYLLABUS/CONTENT

Themes developed (for both attending and non-attending students):

- brief overview of the sources on sculpture of the modern age

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

- development of sculptural production in Genoa from the sixteenth to the Baroque age

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

RECOMMENDED READING/BIBLIOGRAPHY

PROGRAM FOR STUDENTS (ATTENDING)

1) contents of the lessons via 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.

PROGRAM FOR STUDENTS (NOT 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

Exam Board

DANIELE SANGUINETI (President)

SARA GARAVENTA

LAURA STAGNO (Substitute)

LESSONS

LESSONS START

Lessons start: Wednesday 21 February 2024.

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