Contemporary Art I

 1st semester

Prof.ssa Carlotta Sylos Calò

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  MS Teams Class

 Academic Year 2022/2023

 Art Patronage over the Centuries

 Prof. Andrea Lauria

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The "Art Patronage over the centuries" course traces the history of the Museum and Collecting through the centuries. Starting from Petrarch's studiolo will be studied the Renaissance studiolo's evolution up to the private gallery and the creation of the public museum. By analyzing the genesis of the museum building, European and US museums will be compared to understand their differences. In the last part of the course, we will study the twentieth-century phenomenon of 'hypermuseums' and 'archistars' that have revolutionized contemporary Museology and Museography. The course will end by analyzing the current museums' international set-up with a  particular focus on the Middle East 'hypermuseum' proliferation trying to find the analogy with the Western museums.

Dutch and Flemish Art 15th-17th centuries

 2nd semester

 Prof.ssa Tania De Nile

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 Aula virtuale_2023-2024 | Generale | Microsoft Teams

PROGRAMME a.a. 2023/2024

Dutch and Flemish artists in Rome, 1575-1700

The course aims at introducing students to the knowledge of the most important Dutch and Flemish artists who worked in Rome between the last quarter of the 16th and the end of the17th century, but also of the genres, the circulation, and reception of their works of art in the Eternal City. A particular attention will be devoted to the aspects of the social history of art, the artistic mobility, and the history of patronage and collecting in Rome, which was the main place of exchange and contamination between Italian and Nordic traditions.

1)      Basics of Dutch and Flemish Art History, 1575-1700

2)      The trip to Rome

3)      The Bril brothers and the nordic community

4)      Rubens in Rome

5)      The Caravaggists from Utrecht

6)      The Bentvueghels

7)      The Bamboccianti

8)      The Italianate Landscape

9)      The genres of painting: portraiture, landscape, still-life, night scenes, spoockerijen

Students will be given the opportunity to learn about the sites, the artists, and the major Flemish and Dutch works of art also through on-site visits in Roman churches and museums.

LEARNING GOALS

Knowledge of the main aspects of the History of Dutch and Flemish Art in Rome between the 16th and 17th centuries, through  an accurate comparison with the Roman figurative and collecting context; ability to read and interpret works of art, artistic geographies, to read and interpret primary sources of the modern age, to perform literature searches autonomous (also using electronic resources), and to rebuild the critical debate about authors and contexts; development of related critical skills, also in relation to the other disciplines of the Degree Course.

PREREQUISITES

Basic knowledge of Italian art in the modern age; ability to operate the stylistic analysis of a work of art.

RECOMMENDED BIBLIOGRAPHY

Students must demonstrate an accurate knowledge of the ppt of the lessons and the following texts, provided by the professor:

a)

H. Vlieghe, Flemish Art and Architecture 1585-1700, New Haven, Yale University Press, 1998, pp. 1-10.

S. Slive, Dutch Painting 1600-1800, New Haven, Yale University Press, 1995, pp. 1-6, 18-27.

W. T. Kloek, Northern Netherlandish Art 1580-1620, in Dawn of the Golden Age, exhibition catalogue edited by G. Luijten, A. van Suchtelen, R. Baarsen, W. Kloek, M. Schapelhouman (Amsterdam, Rijksmuseum, 1993-1994), Zwolle, Waanders Uitgevers, 1993, pp. 88-108 (Specialisation).

Entry “Italy”, in Dutch Art. An Encyclopedia, edited by S. D. Mukkerm, New York/London, Garland Publishing Inc., 1997, pp. 196-198.

A.Tamvaki, The Experience of the South. Flemish and Dutch Painters in Italy in the 16th Century, in Greek Gods and Heroes in the Age of Rubens and Rembrandt, exhibition catalogue edited by P. Schoon e S. Paarlberg (Athens, Netherlands Institute and National Gallery-Alexandros Soutzos Museum, 2000-2001/Dordrecht, Dordrecht Museum, 2001), Dordrecht, Dordrecht Museum/Athens, Netherlands Institute and National Gallery-Alexandros Soutzos Museum, 2000, pp. 107-127.

F. Cappelletti, The Enticement of the North: Landscape, Myth and Gleaming Metal Supports, in The Genius of Rome 1592-1623, exhibition catalogue edited by B. L. Brown (London, Royal Academy of Arts, 2001/Rome, Palazzo Venezia 2001), London, Thames & Hudson, 2001, pp. 174-205.

b) the texts connected to at least 1 of the following teaching units (1, 2, 3); to at least 2 teaching units for those who can not attend the course regularly:

Unit 1

THE BRIL BROTHERS AND THE NORDIC COMMUNITY

L. Wood Ruby, Landscape in Rome: Adam Elsheimer and Paul Bril, in Adam Elsheimer, edited by A.Thielemann and S. Gronert, München, Hirmer, 2008, pp. 51-70.

N. Sluijter-Seijffert, Cornelis van Poelenburch 1594/5-1667. The paintings, Amsterdam, John Benjamins Publishing Company, 2016, pp. 41-61 (Developments in landscape painting from around 1590 to 1620).

S. Quach McCabe, Many hands, many lands: collaborative copper painting by Hans Rottenhammer, Pail Bril, and Jan Brueghel I, in Many Antwerp Hands. Collaborations in Netherlandish Art, edited by A. D. Newman e L. Nijkamp, Turnhout, Harvey Miller Publishers, 2021, pp. 93-111.

Biography of Paul Bril, in Drawn to the warmth. 17th-century Dutch artists in Italy, exhibition catalogue edited by P. Schatborn (Amsterdam, Rijksmuseum, 2001), Amsterdam, Waanders Publishers, 2001.

Biographies of Jan Brueghel I and Adam Elsheimer, in The Genius of Rome 1592-1623 (cit.).

Unit 2

M. Jaffé, Rubens in Italy, Oxford, Phaidon, 1977, pp. 59-66 (His Undertakings 1600-1603), pp. 85-99 (Working for the Oratorians 1606-1608).

R. Morselli, Rubens and the Spell of the Gonzaga Collections, in The Age of Rubens. Dyplomacy, Dynastic Politics and the Visual Arts in Early Seventeenth-Century Europe, edited by L. Duerloo and R. Malcolm Smuts, Turnhout, Brepols, 2016, pp. 21-37.

N. Büttner, Rubens, the First of the Caravaggisti, in Rubens e la cultura italiana 1600-1608, edited by R. Morselli and C. Paolini, Rome, Viella, 2020, pp. 103-116.

A. Aymonino e E. Dodero, The Smell of Stone: Rubens and the Statues of Rome, Los Angeles, J. Paul Getty Museum, 2021, pp. 29-41.

Biography of Rubens, in The Genius of Rome 1592-1623 (cit.).

Unit 3

THE CARAVAGGISTS FROM UTRECHT

G. J. van der Sman, Caravaggio and the Painters of the North, in Caravaggio and the Painters of the North, exhibition catalogue edited by G. J. van der Sman (Madrid, Museo Thyssen-Bornemisza, 2016), Madrid, Fundación Colección Thyssen-Bornemisza, 2016, pp. 13-23.

G. Capitelli, Dutch Caravaggists in Rome, in Caravaggio and the Painters of the North (cit.), pp. 32-41.

F. Cappelletti, Northern Artists in Vincenzo Giustiani’s Palazzo: Living in a Baroque Palace in Rome, 1600-38, in Caravaggio and the Painters of the North (cit.), pp. 25-31.

W. Franits, The paintigs of Dirck van Baburen. Catalogue Raisonné, Amsterdam, John Benjamins Publishing, 2013, pp. 5-34 (An Extended Stay in Italy ca. 1612/1613-1620).

Biographies of Dirck van Baburen, Gerard van Hontorst, Hendrick Terbrugghen, in Dutch Art. An Encyclopedia (cit.).

c) the texts connected to at least 1 of the following teaching units (4, 5, 6); to at least 2 teaching units for those who can not attend the course regularly:

Unit 4

THE BENTVEUGHELS

J. Verberne, The Bentvueghels (1620/1621-1720) in Rome, in Drawn to the warmth (cit.), pp. 22-32.

T. Kren, Chi non vuol Baccho. Roeland van Laer’s burlesque painting about Dutch artists in Rome, in «Simiolus», 1980, 11, pp. 63-80.

S. Janssens, Between conflict and recognition: the Bentvueghels, in «Jaarboek Koninklijk Museum voor Schone Kunsten», 2001, pp. 56-85.

Unit 5

THE BAMBOCCIANTI

D. A. Levine, The Roman limekilns of the Bamboccianti, in «The Art Bulletin», 70, pp. 569-589.

S. Baverez, Bambocciata: Investigatig a “Would-be Genre”, in Definitions, Artistic Practices, Market & Society, edited by M. Osnabrugge, Turnhout, Brepols, 2021, pp. 101-121.

Biography of Pieter van Laer in in Drawn to the warmth (cit.).

Unit 6

THE ITALIANATE LANDSCAPE

P. Schatborn, Dutch artists in Italy and The Journey to the South, in Drawn to the warmth. 17th-century Dutch artists in Italy, exhibition catalogue edited by P. Schatborn (Amsterdam, Rijksmuseum, 2001), Amsterdam, Waanders Publishers, 2001, pp. 10-21.

Biographies of Cornelis Poeleburch, Barthomoeus Breenbergh, Herman van Swanewelt, Karel Dujardin, Jan Both, Jan Asselijn, in Drawn to the warmth (cit.).

d) 2 of the following essays (at your choice), focusing on different pictorial genres; 4 for those who can not attend the course regularly:

PORTRAITURE

C. Whitfield, Portraiture: From the “Simple Portrait” to the “Ressemblance Parlante”, in The Genius of Rome 1592-1623 (cit.), pp. 142-171.

LANDSCAPE

P. Cavazzini, Towards the Pure Landscape, in The Genius of Rome 1592-1623 (cit.), pp. 208-243.

STILL-LIFE

L. Laureati, Painting Nature: Fruit, Flowers adn Vegetables, in The Genius of Rome 1592-1623 (cit.), pp. 68-88.

NIGHT SCENES

L. J. Slatkes, “An Ineffable Light and Splendour”: Nocturnes, Night Scenes and Artificial Illumination, in The Genius of Rome 1592-1623 (cit.), pp. 306-325.

SPOOCKERIJEN

T. De Nile, Rethinking Swanenburg. The Rise and Fortune of New Iconographies of the “hell” in Italy and the Northern Netherlands, in Questioning Pictorial Genres in Dutch Seventeenth-Century Art (cit.), pp. 291-309.

ASSESSMENT METHODS

The final evaluation consists of an oral discussion focused on themes, works, and artists treated in textbooks and during the course, as well as on autonomous commentary, and on the contextualization of works of art, on their possible recognition. The student will have to demonstrate specific knowledge and to be able to integrate it into a critical synthesis framework, adequately using the specific vocabulary of the discipline.

The examination will be assessed according to the following criteria:

Not pass: important deficiencies and/or inaccuracies in the knowledge and understanding of the topics; limited capacity for analysis and synthesis, frequent generalizations and limited critical and judgmental capacity, the topics are set out inconsistently and with inappropriate language.

18-20: knowledge and understanding of the topics just sufficient with possible generalisations and imperfections; sufficient capacity of analysis, synthesis and autonomy of judgement, the topics are frequently exposed in an inconsistent way and with inappropriate/technical language.

21-23: routine knowledge and understanding of the topics; ability to analyse and synthesise correctly with sufficiently coherent logical argumentation and appropriate/technical language.

24-26: fairly good knowledge and understanding of the subjects; good ability to analyse and synthesise with arguments expressed in a rigorous manner but with language that is not always appropriate/technical.

27-29: complete knowledge and understanding of the subject matter; considerable capacity for analysis and synthesis; good autonomy of judgement; arguments presented in a rigorous manner and in appropriate/technical language.

30-30L: very good knowledge and understanding of the topics; excellent capacity for analysis, synthesis and independent judgement; arguments expressed in an original way and with appropriate technical language.

History of Roman Civilization

Academic Year 2023/2024 

 Prof. Claudia Tavolieri

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MS TEAMS class

Visual Power in Ancient Rome

The course "Visual Power in Ancient Rome2 aims to provide students with knowledge of the artistic representation of Roman imperial power through particular media: inscriptions, coins, monuments,

ornaments, insignia (symbols). This will provide a basic knowledge of the historical framework of the artistic representation and perception of Roman imperial power. This is a multifaceted area of research, which greatly assists our understanding of Roman society.

This course focuses on:

1) the representation and perception of Roman Imperial Power in the city of Rome and in the various provinces.

2) the representation of power by the individual emperors.

3) the link between artistic representation and the imperial policy.

This topic will allow us to understand how artistic representation became a powerful tool for cultural dissemination and political propaganda among the Romans. Emperors, in order to establish their power over an ever-expanding empire and to influence public opinion, used a variety of means, including iconography. Objects from the Roman imperial period were often political statements reflecting the government, the army, society, the economy and everyday life.

These forms of propaganda also helped to unify the empire, promote the Pax Romana (Roman peace) and inform Roman citizens about current events. When Rome passed to soldier emperors, propaganda became ineffective due to the instability of society. Visits to museums or places of historical and artistic interest in Rome are planned to better understand the role of art in imperial Rome.

Bibliography

- P. Zanker, The Power of Images in the Age of Augustus, The University of Michigan Press, 1990;

- T. Hölscher, The Visual Power in Ancient Greece and Rome. Between Art and Social Reality, University of California Press, 2018.

History of Architecture - Integrative course (20 hours) of Early modern Art B

Prof.ssa Maria Richiello 

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A.Y.  2021-2022

 Lectures on

 Roman Baroque Architecture

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Syllabus

The course will examine the historical period of architecture from the second half of the 16th century in Rome to the Council of Trent and the ecclesiastical reform that led to changes in the architectural systems of the churches of religious orders, and the early Baroque period. The architecture that transformed the city from the pontificate of Sixtus V to that of Paul V and their architects. The course will deal with the Baroque revolution in architecture with a focus on new themes: meanings and themes of the Baroque, general characteristics, history and fortune of the term, the urban space of Roman Baroque architecture, infinity, and illusionism, which will be illustrated through a few visits to architectural emergencies in the city of Rome. The visits will focus on some architecture of the early Baroque period and on some architectural works by Francesco Borromini, Pietro da Cortona and Gian Lorenzo Bernini. 

Lecture n.1: 7^th March (ore 10.00-14.00).

1)     Introduction to the course. Main objectives and explanation of the exercise required

Early Baroque Period:

1)     Villa Mondragone

2)     From Sixtus V to Paul V (1585-1621). The council of Trent and the Arts – The Church and the Reformers. The architecture at the time of Sixtus V. The architecture at the time of Paolo V and Cardinal Scipione Borghese.

Lecture n.2: 25^th March (ore 9.00-12.00). Visit.  Appointment via degli Astalli 16.

Early Baroque Period.

      1)  La chiesa del Gesù, Sant’Ignazio, Sant’Andrea della Valle, San Carlo ai Catinari

Lecture n.3:  8^th April (10.00-14.00)

Baroque Architecture

1)     Meanings and themes of the Baroque. General features, history and fortune of the term, themes of the Baroque architecture. Urban space of Roman Baroque architecture, infinity, illusionism.

Baroque Architecture

2)     Francesco Borromini. San Carlo alle Quattro Fontane, Sant’ Ivo alla Sapienza, San Giovanni in Laterano, Santa Agnese a piazza Navona, Sant’Andrea delle Fratte (Tower and Dome), Collegio di Propaganda Fide, Oratorio di San Filippo Neri.

Lecture n. 4: 29^th April (10.00-14.00) Visit. Appointment piazza del Popolo

Baroque Architecture. Walking on an urban route of Roman Baroque

1)      Pietro da Cortona: Chiesa di santa Maria della Pace, Santa Maria in Via Lata, San Carlo al Corso.

2)     Francesco Borromini: Sant’ Ivo alla Sapienza, Santa Agnese a piazza Navona

3)     Gian Lorenzo Bernini. Santa Maria del Popolo, Palazzo di Montecitorio.

Lecture n.5:  4^th May (10.00-13.00) Visit. Appointment at Villa Mondragone

1)      Villa Mondragone

Lecture n. 6:  18^th May (10.00-12.00) Visit. Appointment via del Quirinale 23

Baroque Architecture

1)     San Carlino alle Quattro Fontane

2)     Sant’Andrea delle Fratte

A visit to the Quirinale Palace is planned for April /May.

Bibliography:

- R. Wittkower, Art and Architecture in Italy 1600 to 1750, Harmondsworth, Penguin Books, 1° ed. 1958 (ed. ital. Torino, Einaudi, 1958, many times reprinted).

- J. Connors, Alliance and enmity in Roman Baroque urbanism, in Römisches Jahrbuch der Bibliotheca Hertziana, XXV, 1989, pp. 207-294 (1° ed. ital. Roma-Bari, Laterza, 2005)

- J. Connors, Borromini and the Roman oratory: style and society, Cambridge (Mass.), MIT Press 1980 (1° ed. ital. Torino, Einaudi, 1989).

- C. Norberg-Schulz, Baroque Architecture, New York, Abrams, 1971.

- C. Norberg-Schulz, Late Baroque and Rococo Architecture, New York, Abrams, 1973.

- Handouts by the teacher and, on Villa Mondragone: M. Richiello, From construction phases (Altemps - Borghese) to restorations (XIX - XX century), in: Villa Mondragone "second Rome", Formica M. ed., Rome, Palombi 2015.

HOW TO GET TO VILLA MONDRAGONE

Villa Mondragone images

Villa Mondragone ITA

Villa Mondragone ENG

Prof. Luca Coniglio - Early Modern History

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ACADEMIC YEAR 2022/2023

MS TEAMS CLASS 2022/2023

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ACADEMIC YEAR 2021/2022

MS TEAMS class

Programme

The module focuses on the connections between the main events of European History and the social, institutional and cultural history of Rome during the Early Modern and Modern Age.

The political and social use of urban space (holy places, "polycentrism" of court and curia) as well as the cultural construction of the "Mith of Rome" from the tradition of the "Grand Tour" will also be investigated through guided tours. Particular attention will be devoted to recent interpretations of the Modern Papal State, also through appropriate reading, in-class presentations and written exercises.

Exam: The oral exam will allow evaluating the real ability of the students to understand the main events of Early Modern European History and its connections with the peculiar reality of Rome as the capital city of Papal State. Candidates should also display a proper register and the ability to wield historical sources. 

AIMS

LEARNING OUTCOMES: The module aims to display the main themes of political, social and economical History in the specific context of Rome during the Modern Age. 

KNOWLEDGE AND UNDERSTANDING: To acquire a good knowledge of the main processes of the Modern Age, including the peculiar aspects of the Roman context.

APPLYING KNOWLEDGE AND UNDERSTANDING: To develop the ability to analyze the main phases of Modern Rome and to recognize the relations between the City, the Italian peninsula and Europe. 

MAKING JUDGEMENTS:  To critically analyze information and sources. 

Bibliography

Students attending the courses:

1. Court and politics in papal Rome, 1492-1700, edited by Gianvittorio Signorotto and Maria Antonietta Visceglia, Cambridge : Cambridge University press, 2002 (a pdf version will be provided at the beginning of the course.

2. The Routledge Companion to Early Modern Europe, 1453-1763 / by Chris Cook and Philip Broadhead, London-New York : Routledge, 2006

3. Selections of essays from: A companion to Early Modern Rome, 1492-1692, edited by Pamela M. Jones, Barbara Wisch and Simon Ditchfield, Leiden : Brill, 2019

Students not attending the courses will have to contact the Professor in order to have a personalized programme. 

 Early Modern Art - B

2021/2022

Prof. Frank Dabell  (This email address is being protected from spambots. You need JavaScript enabled to view it.) 

a.y. 2021-2022 – 2^nd semester

 -- MS TEAMS class --

Prof. Frank Dabell - Early Modern Art - B

The course will be dedicated to the arts in papal Rome between the late XVIth and the early XVIIIth century.

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Prof. Maria Richiello - Roman Baroque Architecture , Integrative course (20 hours) of Early modern Art B - see HERE.

ACADEMIC YEAR 2021/2022

Prof. Laura Franco

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Constantinian Age and the Imperial ideology: from the First to the Second Rome

The aim of the course is to offer an overview on the world of Late Antiquity.

It comprises an introductory part on the third century and the persecutions of the Christians, followed by two main sections: the first focusing on the rise of Christianity, the early cult of the saints, and the Roman martyrs in particular; the second one concerning the Constantinian policy of tolerance towards the Christians, the Christianisation of Rome, the growing importance of the Second Rome (Constantinople), and the imperial ideology on which the Byzantine theocracy is based.

Other sections will deal with the 'survival' of paganism, the development of the hagiographical genre in the Fourth and Fifth century (monasticism, cross-dressing saints, holy fools and stylite saints), daily life in Late antiquity, the importance of Byzantium for the transmission of ancient texts, concluding with the Plague at the age of Justinian.

We shall devote particular attention to the sources, historical, literary and religious, by reading selected passages of ancient authors in translation.

All the passages that we shall read and comment on during the classes shall be uploaded on the website and are part of the exam programme.

In order to take the oral exam, first you need to submit a written essay of 2500/3000 words.

Bibliography

O. Nicholson, "Constantine's Vision of the Cross", Vigiliae Christianae 54, n. 3, (2000) pp. 309-323

B.D. Shaw, "The Passion of Perpetua", Past and Present, 139 (May 1993), pp. 3-45.

P. Brown, The World of Late Antiquity, London 1971 (reprinted 2013).

A Cameron and S. G. Hall, Eusebius. The Life of Constantine, Oxford 1999, Introduction. pp. 1-53. 

S. Runciman, The Byzantine Theocracy, Cambridge 1977, Chapter 1. 

P. Brown "The raise and the Function of the Holy man in late Antiquity", Journal of Roman Studies (61) 1971, pp. 80-101 (not compulsory).  

K. Sessa, Daily Life in Late Antiquity, Cambridge 2018 (not compulsory).

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Academic Year 2020/2021

Programme

The aim of the course is to offer an overview on the world of Late Antiquity. 

It comprises an introductory part on the third century and the persecutions of the Christians, followed by two main sections: the first focussing on the raise of Christianity, the early cult of the saints, and the Roman martyrs in particular; the second one concerning the Constantinian policy of tolerance towards the Christians, the Christianisation of Rome, the growing importance of the Second Rome (Constantinople), and the imperial ideology on which the Byzantine theocracy is based. 

Other sections will deal with the 'survival' of paganism, the development of the hagiographical genre in the Fourth and Fifth century (monasticism, cross dressing saints, holy fools and stylite saints), daily life in Late antiquity, the importance of Byzantium for the transmission of ancient texts, concluding with the Plague at the age of Justinian.

We shall devote particular attention to the sources, historical, literary and religious, by reading selected passages of ancient authors in translation.

Selected Bibliography

• P. Brown "The raise and the Function of the Holy man in late Antiquity", Journal of Roman Studies (61) 1971, pp. 80-101 P. Brown, The World of Late Antiquity, London 1971 (reprinted 2013)
• A Cameron and S. G. Hall, Eusebius. The Life of Constantine, Oxford 1999
• R. Krautheimer, Rome, Profile of a City, Princeton University Press 1980
• S. Runciman, The Byzantine Theocracy, Cambridge 1977
• K. Sessa, Daily Life in Late Antiquity, Cambridge 2018