Teaching code

4S010513

Teacher

Giorgio Fossaluzza

Coordinator

Giorgio Fossaluzza

Credits

6

Language

Italian

Scientific Disciplinary Sector (SSD)

L-ART/02 - HISTORY OF MODERN ART

Period

2 A, 2 B

Lessons timetable Moodle Seminars 0

Learning objectives

The aim of the course is to improve the ability of independent analysis and develop a mature mastery of the critical tools of the discipline in relation to specific aspects of the history of modern art.

Prerequisites and basic notions

Prerequisites: background knowledge, also of manuals, of 18th-century Venetian art is required for the specific context.
Reference manuals. G. Dorfles, C. Dalla Costa, G. Pieranti, Civiltà d’arte. Dal Quattrocento all’Impressionismo, 2, Bergamo, Edizioni Atlas, in the different editions.
L. Beltrame, C. Fumarco, Il nuovo vivere l’arte, 2. L’età moderna, Edizioni scolastiche Bruno Mondadori.
N. Frapiccini, N. Giustozzi, Le storie dell’arte, Hoepli, in the different editions.

Program

Title
The European fortune of 18th-century Venetian painters: leaving out the vedutists and giving a focus on Giovanni Antonio Pellegrini, Marco and Sebastiano Ricci, Rosalba Carriera, Jacopo Amigoni, Federico Bencovich, and Giambattista Tiepolo.
Reflections on the international taste for Venetian art at courts, patrons in the civil and religious spheres, and collectors, including reference to theorists, critics, and mediators, particularly the case of Anton Maria Zanetti il Vecchio.Program: Rocaille painting in the interpretation offered by the major Venetian masters assumes a centrality at the European level. Nevertheless, it involves genres and personalities with a variety of languages.
The essential data of the biographical and stylistic profile of the leading Venetian painters, which are assumed to be known through the manuals, serve as the basis for the reconstruction of more complex issues that are to be acquired at least in broad strokes, as an indication of method. The cultural and artistic cosmopolitanism of 18th-century Venice finds support from critics and mediating figures.
The course will investigate the mechanisms of international collecting, the circularity of artists' experiences due to the involvement of musicians, singers, playwrights, theater actors and set designers.
Essential Bibliography:

(Further bibliography will be given within the introductory lecture and made available in moodle)

Adriano Mariuz, La pittura (I), in Storia di Venezia. Temi. L’arte, vol. II, a cura di Rodolfo Pallucchini, Roma 1995.

Michael Levey, La pittura a Venezia nel Settecento; traduzione di Grazia Lanzillo, Milano 1996.

Francis Haskell, Mecenati e pittori. L'arte e la società italiana nell'età barocca; edizione a cura di Tomaso Montanari, Traduzione di Vincenzo Borea, Torino 2019.

Splendori del Settecento veneziano, catalogo della mostra, Venezia, 26 maggio-30 luglio 995, Museo del Settecento Veneziano-Ca’ Rezzonico, Gallerie dell’Accademia, Palazzo Mocenigo, Milano 1995.
I seguenti capitoli:
F. Russel, Il gusto internazionale per l’arte veneziana, pp. 41-42; Ch. Becker, A. Burkarth, A. B. Rave, L’impero asburgico, pp. 43-51; A. B. Rave, Parigi, pp. 52-53; A. B. Rave, Scandinavia e Russia, pp. 54-55; A. B. Rave, Spagna, pp. 56; F. Russel, Inghilterra, 57-59.

Alessandro Bettagno, Pittori rococò della “seconda generazione”, in Splendori del Settecento veneziano 1995, pp. 97-149.

Franca Zava Boccazzi, Episodi di pittura veneziana a Vienna nel Settecento, in Venezia Vienna, a cura di G. Romanelli, Milano 1983, pp. 25-88

Franca Zava Boccazzi, Rosalba Carriera a Parigi, in Rosalba Carriera (1673-1757), Atti del convegno internazionale di studi, 26-28 aprile 2007, Venezia, Fondazione Giorgio Cini, Chioggia, Auditorium San Niccolò, a cura di G. Pavanello, Verona 2009, pp. 129-146; edizione del dattiloscritto presso la Fondazione Giorgio Cini per gli Atti del XXI Corso Internazionale di Alta Cultura, Fondazione Giorgio Cini, 25 agosto-15 settembre 1979.

Alessandro Bettagno, Una vicenda tra collezionisti e conoscitori: Zanetti, Mariette, Denon,
Duchesne, in Melanges en hommage a Pierre Rosenberg: peintures et dessins en France et en Italie
17-18 siecles, Paris 2001, pp. 82-86.

Pierre Rosenberg, Parigi-Venezia o piuttosto Venezia-Parigi 1715-1723, in «Atti Istituto veneto di Scienze, Lettere ed Arti. Classe di scienze morali, lettere ed arti», Tomo CLXI (2002-2003), 2003, I, pp. 1-30.

For Bencovich: Rodolfo Pallucchini, La pittura nel Veneto. Il Settecento, I, Milano 1994, pp. 286-296.

For Giambattista Tiepolo and his European commissions, activity in Wurzburg (1750-1753), and stay in Madrid (1762-1770), reference is made to the syntheses and interpretations of Adriano Mariuz, Giambattista Tiepolo, in The Glory of Venice, Art in the Eighteenth Century, catalogo della mostra a cura di J. Martineau e A. Robison, London, Royal Academy of Arts; Washiongton, National gallery of Art, London 1994, pp. 171-217; ed. italiana: in La Gloria di Venezia, L’arte nel diciottesimo secolo, Milano 1994, pp. 171-217; in A. Mariuz, Tiepolo, a cura di G. Pavanello, Verona 2008, pp. 295-390.

Bibliography

Didactic methods

Teaching methods: frontal lectures with a study day in Venice to be agreed upon.

Learning assessment procedures

Assessment: written test with open-ended and specific questions.

Evaluation criteria

Assessment criteria: The student's ability to formulate an independent argument on authors, problems and stylistic issues based on the questions delivered in the written test will be assessed. Ability to independently express connections and comparisons between personalities and works to which they belong will be especially evaluated.

Criteria for the composition of the final grade

Composition of the final grade: The final test can be divided into several modules, which will be assigned a partial grade. The average of the partial grades assigned to each part will result in the final grade recorded on the student's transcript.

Exam language

italiano