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: