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

Through the analysis of a theme investigated between the 16th and 18th centuries, the teaching aims to provide knowledge and tools for an in-depth study of the figurative evidence produced by Italian artistic culture in close connection with the patronage, the historical contexts of reference and the broader European dynamics.

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 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 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.

RECOMMENDED READING/BIBLIOGRAPHY

PROGRAM FOR STUDENTS (attending and non-attending)

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.

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 l'Italia, a cura di K. Herrmann Fiore, catalogo della mostra (Roma, Scuderie del Quirinale, 2007), Milano, Electa, 2007.

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, a cura di G.C.F. Villa, catalogo della mostra (Roma, Scuderie del Quirinale, 2013), Milano, Silvana Editoriale, 2013.

EL GRECO

El Greco. Un pittore nel labirinto, a cura di J.A. Garcia Castro, P. Martinez-Burgos Garcia, catalogo della mostra (Milano, Palazzo Reale, 2023-2024), Skira, Milano, 2023.

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.

The non-attending student will have to prepare the same bibliography proposed for the attending student.

TEACHERS AND EXAM BOARD

Exam Board

DANIELE SANGUINETI (President)

MATTEO CAPURRO

LAURA STAGNO (President Substitute)

VALENTINA BORNIOTTO (Substitute)

LESSONS

LESSONS START

Lessons start: Tuesday, February 18, 2025

Class schedule

The timetable for this course is available here: Portale EasyAcademy

EXAMS

EXAM DESCRIPTION

Attending students and non-attending students

Oral exam: attending students and non-attending student 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).

Optional intermediate assignment: during the lessons and near the end of the lessons, attending students will be given the opportunity to complete a written assignment focused on the readings referred to in point 1 of the bibliography. 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 (in fact point 1 will no longer be asked during the oral exam).

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.

Students with disabilities or learning disorders.

Students with disabilities or learning disorders are entitled specific adjustments, provided they upload the relevant certifications and documents on the University's dedicated webpage. See http://servizionline.unige.it under rubric 'Students'. The documents will be validated by the relevant office within the University (Settore servizi per l’inclusione degli studenti con disabilità e con DSA dell’Ateneo) (https://rubrica.unige.it/strutture/struttura/100111).

At least 10 days before the exam, students will have to email the instructor, Cc'ing the aforementioned office, as well as the School's deputy for matters concerning students with disabilities and learning disorders (elisabetta.colagrossi@unige.it). Please specify the following in your email:

- name, surname, student number
- course name and number
- date of your exam
- adjustments required

Once the School's representative confirms your eligibility, you will liaise with your instructor to finalize the details. The final decision on what adjustments are acceptable rests with your instructor.

Please note that any request must be sent at least 10 days before your exam, to successfully complete the process in time. Please also note that the mind maps to be used on the day of your exam have to be significantly more concise than those you use when you study.

For further information, please see:
https://unige.it/sites/unige.it/files/2024-05/Linee%20guida%20per%20la%20richiesta%20di%20servizi%2C%20di%20strumenti%20compensativi%20e_o%20di%20misure%20dispensative%20e%20di%20ausili%20specifici%20Maggio%202024.pdf

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