Students who attend this course will acquire knowledge of the History of Flemish and Dutch Art in the early modern age, especially with regard to the aspects of the Social History of Art, History of Patronage and Collecting.
Students will be given the opportunity to learn about the sites, the artists, the standard works of the History of Flemish and Dutch Art in the seventeenth century and the ability to use the main tools for the interpretation of the data (sources and historiographical debate).They will also be able to apply the method acquired in the art-historical investigation to other authors, works and contexts than those dealt with in class. They will also be able to communicate their knowledge, acquiring specialised vocabulary. Finally, the students of the course will be able to acquire a study method based on the specificity of the historical-artistic discipline aimed at interpreting and commenting analytically works and contexts of the modern age.
Students will be given the opportunity to learn about the sites, the artists, the standard works of the History of Flemish and Dutch Art in the seventeenth century and the ability to use the main tools for the interpretation of the data (sources and historiographical debate).They will also be able to apply the method acquired in the art-historical investigation to other authors, works and contexts than those dealt with in class. They will also be able to communicate their knowledge, acquiring specialised vocabulary. Finally, the students of the course will be able to acquire a study method based on the specificity of the historical-artistic discipline aimed at interpreting and commenting analytically works and contexts of the modern age.
teacher profile teaching materials
Through the analysis of the evolution of the genres of painting (portrait, genre painting, history painting, landscape, marine, still life), of the main centers of artistic production (Haarlem, Amsterdam, Leiden, Delft, etc.), of the oeuvres of the major protagonists (Frans Hals, Rembrandt, Vermeer, Jan Steen, Peter de Hooch, etc.), and literary sources (from Karel van Mander to Hoogstraten) and in light of the historiographical debate (De Joongh, Alpers, Sluijter, etc.) this course intends to offer an overview of the artistic culture of the Northern Netherlands and his specificities.
a) at least one of the two texts chosen:
- Ghislain Kieft, The northern Netherlands: art, craft and commissioning in the golden age, in Painting in the Netherlands, edited by B.W.Meijer, Milan, Electa, 1997, tome II, pp. 409-522 or
- Mariette Westermann, The Art of the Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for online for a very modest sum).
b) at least one of the following texts of your choice (or of all, of course): Svetlana Alpers, Art of describing. Science and painting in the Dutch seventeenth century, Turin, Bollati Boringhieri, ed. 1999 or later; Simon Shama, The Discomfort of Abundance. The Dutch culture of the golden age, Milan, Mondadori, ed.1993 or later; Svetlana Alpers, Rembrandt's workshop. The atelier and the market, Turin, Einaudi, ed.2006; Daniel Arasse, The ambition of Vermeer, Turin, Einaudi, ed. 2006.
c) at least one of the following texts of your choice (the advice of course is always to read them all):
- Eric Jan Sluijter, How Rembrandt surpassed the Ancients, Italians and Rubens as Master of "The Passions of the Soul" ’, in, Batavian Phlegm? The Dutch and their Emotions in Pre-Modern Times, edited by H. Roodenburg and C. Santing, "BMGN-Low Countries Historical Review", 129, no. 2, 2014, pp. 63-89. (downloadable from http://www.ericjansluijter.nl/publications/)
- Eric Jan Sluijter, On Brabant Rubbish, Economic Competition, Artistic Rivalry and the Growth of the Market for Paintings in the First Decades of the Seventeenth Century, in "Journal of the Historians of Netherlandish Art", 1, 2009, n. 2 (http://jhna.org/index.php/)
- A.McNeil Kettering, Ter Borch's ladies in satin, in Looking at seventeenth-century Dutch art, edited by W.Franits, 1997, pp. 98-115. https://docs.google.com/file/d/0B_hnr9sLU5-Bel96R2pOQ3Z3YTQ/edit?usp=sharing
d) educational material, consisting of the ppt of the slides projected in class and available at http://studiumanistici.uniroma3.it/gcapitelli/, following the research indications contained therein (for example: the lesson on Rembrandt should be studied by checking the site rembrandtdatabase.org, the one on Vermeer exploring, and the site http://www.essentialvermeer.com/).
Non-attending students must add to this program (with the exceptions of the point d that is not for them) the in-depth study of a second text among those listed in point b) and must read all the essays listed in point c).
Programme
Dutch Painting of the Seventeenth Century. An IntroductionThrough the analysis of the evolution of the genres of painting (portrait, genre painting, history painting, landscape, marine, still life), of the main centers of artistic production (Haarlem, Amsterdam, Leiden, Delft, etc.), of the oeuvres of the major protagonists (Frans Hals, Rembrandt, Vermeer, Jan Steen, Peter de Hooch, etc.), and literary sources (from Karel van Mander to Hoogstraten) and in light of the historiographical debate (De Joongh, Alpers, Sluijter, etc.) this course intends to offer an overview of the artistic culture of the Northern Netherlands and his specificities.
Core Documentation
For the preparation for the exam it is necessary the critical study ofa) at least one of the two texts chosen:
- Ghislain Kieft, The northern Netherlands: art, craft and commissioning in the golden age, in Painting in the Netherlands, edited by B.W.Meijer, Milan, Electa, 1997, tome II, pp. 409-522 or
- Mariette Westermann, The Art of the Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for online for a very modest sum).
b) at least one of the following texts of your choice (or of all, of course): Svetlana Alpers, Art of describing. Science and painting in the Dutch seventeenth century, Turin, Bollati Boringhieri, ed. 1999 or later; Simon Shama, The Discomfort of Abundance. The Dutch culture of the golden age, Milan, Mondadori, ed.1993 or later; Svetlana Alpers, Rembrandt's workshop. The atelier and the market, Turin, Einaudi, ed.2006; Daniel Arasse, The ambition of Vermeer, Turin, Einaudi, ed. 2006.
c) at least one of the following texts of your choice (the advice of course is always to read them all):
- Eric Jan Sluijter, How Rembrandt surpassed the Ancients, Italians and Rubens as Master of "The Passions of the Soul" ’, in, Batavian Phlegm? The Dutch and their Emotions in Pre-Modern Times, edited by H. Roodenburg and C. Santing, "BMGN-Low Countries Historical Review", 129, no. 2, 2014, pp. 63-89. (downloadable from http://www.ericjansluijter.nl/publications/)
- Eric Jan Sluijter, On Brabant Rubbish, Economic Competition, Artistic Rivalry and the Growth of the Market for Paintings in the First Decades of the Seventeenth Century, in "Journal of the Historians of Netherlandish Art", 1, 2009, n. 2 (http://jhna.org/index.php/)
- A.McNeil Kettering, Ter Borch's ladies in satin, in Looking at seventeenth-century Dutch art, edited by W.Franits, 1997, pp. 98-115. https://docs.google.com/file/d/0B_hnr9sLU5-Bel96R2pOQ3Z3YTQ/edit?usp=sharing
d) educational material, consisting of the ppt of the slides projected in class and available at http://studiumanistici.uniroma3.it/gcapitelli/, following the research indications contained therein (for example: the lesson on Rembrandt should be studied by checking the site rembrandtdatabase.org, the one on Vermeer exploring, and the site http://www.essentialvermeer.com/).
Non-attending students must add to this program (with the exceptions of the point d that is not for them) the in-depth study of a second text among those listed in point b) and must read all the essays listed in point c).
Type of delivery of the course
Lectures, site visits to the major collection of Flemish and Dutch Paintings at Rome (Galleria Doria Pamphilj, Galleria Colonna, Galleria Spada, Galleria Borghese).Attendance
Course attendance is recommended but not mandatory. Students who do not have the opportunity to attend the course will have to take the exam with a specific program (see here the section Texts adopted and reference).Type of evaluation
Oral exam at the end of the lessions, by a vote of thirty and eventual laude. The threshold for passing the exam is set at 18/30. Voting beliw 18 be equivalebt to insufficient evaluation of learning. The rating scale is 30/30. Evaluation elements are: 1) the depth and breadth of the knowledge acquired;2) the ownership of language and the mastery of the sector vocabulary; 3) the ability to critically link issues and problems addressed.