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
a) At least one of the following text: Ghislain Kieft, I Paesi Bassi settentrionali: arte, mestiere e committenza nel secolo d'oro, in La pittura nei Paesi Bassi, a cura di B.W.Meijer, Milano, Electa, 1997, tomo II, pp. 409-522 (scaricabile) or Mariette Westermann, The Art of the Dutch Republic. 1585-1718, New York, Harry Abrams, 1996.
b) at least one of the followings bools (or better all!): Svetlana Alpers, Arte del descrivere. Scienza e pittura nel Seicento olandese, Torino, Bollati Boringhieri, ed. 1999; Simon Shama, Il disagio dell'abbondanza. La cultura olandese dell'epoca d'oro, Milano, Mondadori, ed.1993 o successive; Svetlana Alpers, L'officina di Rembrandt. L'atelier e il mercato, Torino, Einaudi, ed.2006; Daniel Arasse, L'ambizione di Vermeer, Torino, Einaudi, ed. 2006; Marco Mascolo, Rembrandt. Un artista nell'Europa del Seicento, Roma, Carocci, 2021.
c)At least one of the following text:
- 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, a cura di H. Roodenburg and C. Santing, "BMGN-Low Countries Historical Review", 129, no. 2 , 2014, pp. 63-89. (scaricabile sul sito 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, a cura di W.Franits, 1997, pp. 98-115. https://docs.google.com/file/d/0B_hnr9sLU5-Bel96R2pOQ3Z3YTQ/edit?usp=sharing
oppure, in alternativa, una tesina su un dipinto presentato nelle lezioni (concordata con la docente e consegnata per mail almeno una settimana prima dell'appello d'esame)
d) didactic material, consisting of the ppts of the slides projected during the lessons and available on the blog at the address, following the research indications contained there (for example: the lessons on Rembrandt should be studied by checking the site rembrandtdatabase.org, those on Vermeer by exploring, and you will enjoy, the site http://www.essentialvermeer.com/).
Students taking the course for 6 CFUs may avoid point (c).
Non-attending students must add to this syllabus (with the exception of item d which is precluded to them) the in-depth study of a second text from those listed in item b) and must read all the essays listed in item c).
Programme
Course title: 17th-century Dutch Painting. Works and contexts from Frans Hals to VermeerCore Documentation
For the preparation for the exam it is necessary the critical study ofa) At least one of the following text: Ghislain Kieft, I Paesi Bassi settentrionali: arte, mestiere e committenza nel secolo d'oro, in La pittura nei Paesi Bassi, a cura di B.W.Meijer, Milano, Electa, 1997, tomo II, pp. 409-522 (scaricabile) or Mariette Westermann, The Art of the Dutch Republic. 1585-1718, New York, Harry Abrams, 1996.
b) at least one of the followings bools (or better all!): Svetlana Alpers, Arte del descrivere. Scienza e pittura nel Seicento olandese, Torino, Bollati Boringhieri, ed. 1999; Simon Shama, Il disagio dell'abbondanza. La cultura olandese dell'epoca d'oro, Milano, Mondadori, ed.1993 o successive; Svetlana Alpers, L'officina di Rembrandt. L'atelier e il mercato, Torino, Einaudi, ed.2006; Daniel Arasse, L'ambizione di Vermeer, Torino, Einaudi, ed. 2006; Marco Mascolo, Rembrandt. Un artista nell'Europa del Seicento, Roma, Carocci, 2021.
c)At least one of the following text:
- 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, a cura di H. Roodenburg and C. Santing, "BMGN-Low Countries Historical Review", 129, no. 2 , 2014, pp. 63-89. (scaricabile sul sito 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, a cura di W.Franits, 1997, pp. 98-115. https://docs.google.com/file/d/0B_hnr9sLU5-Bel96R2pOQ3Z3YTQ/edit?usp=sharing
oppure, in alternativa, una tesina su un dipinto presentato nelle lezioni (concordata con la docente e consegnata per mail almeno una settimana prima dell'appello d'esame)
d) didactic material, consisting of the ppts of the slides projected during the lessons and available on the blog at the address, following the research indications contained there (for example: the lessons on Rembrandt should be studied by checking the site rembrandtdatabase.org, those on Vermeer by exploring, and you will enjoy, the site http://www.essentialvermeer.com/).
Students taking the course for 6 CFUs may avoid point (c).
Non-attending students must add to this syllabus (with the exception of item d which is precluded to them) the in-depth study of a second text from those listed in item b) and must read all the essays listed in item c).
Reference Bibliography
Additional bibliographical recommendations will be offered during the lectures.Type of delivery of the course
Lectures, workshops, on-site visits to the major collection of Flemish and Dutch Paintings at Rome (Galleria Borghese, Galleria Spada, Galleria Doria Pamphilj, Galleria Colonna, Galleria d’arte antica di Palazzo Barberini e Corsini, Chiesa di San Pietro in Montorio, di Santa Maria della Vallicella, di Santa Maria della Scala, Palazzo Caetani alle Botteghe Oscure).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.