Insegnamento mutuato da: B004570 - STORIA DELL'ARTE MODERNA Corso di Laurea Magistrale in STORIA DELL'ARTE
Rome, Florence, London circa 1700 The course aims to investigate the main historical-artistic ties between these three centers in the first decades of the eighteenth century and the spread of the late-Roman Baroque language - elaborated by Maratti, Fontana and Rusconi - also in Florence and London through the circulation of works and artists.
-Papa Albani e le arti a Urbino e a Roma 1700-1721, catalogue of the exhibition of Urbino and Rome, edited by G. Cucco, Venezia 2001, essays and entries to study:
A. Lo Bianco, L. Arcangeli, Papa Albani dalle Marche a Roma, pp. 23-31
C. Gasparri, La restitutio della Roma antica di Clemente XI Albani, pp. 53-58
S. Rudolph, La direzione artistica di Carlo Maratti nella Roma di Clemente XI, pp. 59-61
L. Arcangeli, La cappella del Battistero nella Basilica di San Pietro, pp. 96-98
A. Negro, La decorazione clementina di S Giovanni in Laterano, pp. 99-109
M.B. Guerrieri Borsoi, Il restauro della basilica di San Clemente, pp. 110-115
Schede: 101-102, 114-121, 124
-R. Spinelli, La grande decorazione murale (1675-1700), in M. Gregori ed., Storia delle arti in Toscana. Il Seicento, Firenze 2001, pp. 181-200
-C. Giometti, John Talman and the Roman art world, in C. Sicca ed., John Talman, an early-eighteenth-century connoisseur, New Haven and London 2008, pp. 159-187
-S. Weber ed., William Kent. Designing Georgian Britain, New Haven and London 2013, essays to study:
J. Harris, William Kent: A Life, pp. 27-43
C. Campbell Orr, The Royal Court, Political Culture, and the Art of Friendship, ca. 1685-1750, pp. 45-61
C. Arburthnott, Kent's Patrons, pp. 63-87
S. Brindle, Kent and Italy, pp. 89-109
-A. Pinelli, Souvenir, Roma 2010
The aim of the course is to provide methodological tools for understanding and studying the figurative culture of the Late Roman Baroque culture and its circulation in Florence and London, with particular reference to the interrelationship between painting, sculpture and architecture.
Knowledge of the most important artistic events of the sixteenth and seventeenth centuries in Italy. Good knowledge of the English language is also required.
Lectures with presentations of images and reading of critical texts. It is also planned at least one visit to Rome and to an exhibition in progress during the period of the lessons. The last lessons (also based on the number of students) will be of a seminar nature and dedicated to class expositions on topics assigned by the teacher on aspects dealt with during the course.
Further bibliographic texts will be provided during lessons. Programs for non-attendant students will be defined by consulting the teacher.
Type of Assessment
Oral examination. The discussion will start by identification of the works discussed in class, illustrated in the texts to study or analyzed during visits offsite. It will also be required the contextualization of the works of art, the biography of the most important artists and the knowledge of the most significant critical texts. A question also will focus on the texts required for reading and visits to exhibitions and churches made during the course.
Rome, Florence, London circa 1700 The course aims to investigate the main historical-artistic links between these three centers in the early decades of the eighteenth century. The cultural and artistic rebirth promoted in Rome during the pontificate of Pope Clement XI Albani fostered the development of a new figurative language which saw as protagonists Carlo Maratti (1625-1713), Carlo Fontana (1638-1714) and Camillo Rusconi (1658-1728). The city's international climate encouraged the presence of numerous artists from other centers of Italy and Europe, as well as the wealthy Grand Tourists who contributed to the growth of the art market. From Rome new stimuli would also be launched towards other cities, such as Florence, which experienced a phase of extraordinary updating thanks to the arrival of Sebastiano Ricci (1659-1734) who would have worked both at Palazzo Pitti and at Palazzo Marucelli Fenzi, bringing the lightness of updated Venetian painting into the grand-ducal capital on the surprising results of the Roman Baroque. The subsequent presence of Ricci in London will open a window on the situation of the British court during the reign of Queen Anne and George I of Hanover. The events of the main Grand Tourists traveling in Italy will also be analyzed, such as Lord Exeter, important patron of the sculptor Pierre Etienne Monnot (1657-1733), Lord Burlington and the artists John Talman (1677-1726) and William Kent (1685-1748), who on his return to England would have helped to create a new decorative-architectural style in the main royal and private residences.