Students who follow the course will acquire knowledge related to the history of Flemish and Dutch art in the modern age, in particular relating to the centers of production, artists, genres, methods of circulation and reception of works of art in the southern Netherlands and northerners. Students will be able to get to know the construction sites, the protagonists, the Flemish and Dutch standard works and become familiar with the main tools for interpreting the related data (specifically the sources and the historiographical debate). They will also be able to apply the acquired method, that of historical-artistic investigation, to other authors, works and contexts with respect to those addressed in class.
Students will acquire the ability to read and interpret works of art, urban contexts, artistic geographies, to read and interpret primary sources of the modern age, to carry out autonomous bibliographic research (also using electronic resources) and to reconstruct the critical debate on individual authors and contexts.
They will also be able to communicate their knowledge both in terms of merit and in terms of method using the specialized vocabulary of studies in the sector.
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 analytically interpreting and commenting on works and contexts of the modern age.
Students will acquire the ability to read and interpret works of art, urban contexts, artistic geographies, to read and interpret primary sources of the modern age, to carry out autonomous bibliographic research (also using electronic resources) and to reconstruct the critical debate on individual authors and contexts.
They will also be able to communicate their knowledge both in terms of merit and in terms of method using the specialized vocabulary of studies in the sector.
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 analytically interpreting and commenting on works and contexts of the modern age.
Curriculum
teacher profile teaching materials
Born in Brussels and died in Goa, India, living in Rome for at least a decade, Michael Sweerts is a very interesting figure in seventeenth-century European figurative culture. The course will examine his artistic production, the context within which he works. It will take place largely in churches, museums, public and private collections in the city of Rome, comparing his work with that of his contemporaries, active during the pontificate of Innocent X Pamphili.
(a) at least one of two texts of your choice: G. 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 (disponibile su Teams) or Mariette Westermann, The Art of the
Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for purchase online for a
very modest amount).
(b) at least one of the following texts of your choice (or all of them):
Svetlana Alpers, Art of Description. Science and Painting in the Dutch Seventeenth Century; Simon Shama, The Embarrassment of Riches; Svetlana Alpers, Rembrandt's Enterprise: The Studio and the Market, 1995; Daniel Arasse, L' Ambition de Vermeer, 1993; Marco Mascolo, Rembrandt. Un artista nell'Europa del Seicento, Rome, Carocci, 2021; Les bas-fonds du baroque: la Rome du vice et de la misere, cataloge dirigée par F. Cappelletti et A. Lemoine, 2014.
(c) texts related to Michael Sweerts that will be made available in the file on Teams(the advice of course is always to read them all); including G. Briganti, Il mito della “finestra aperta,” in G. Briganti, L. Trezzani, L. Laureati, I Bamboccianti. Pittori della vita quotidiana a Roma nel Seicento, Bozzi, Rome 1983, pp. 1-36; G. Capitelli, Bambocciate in L'Arte. Protagonists, Themes, Masterpieces, Paths, edited by G.C.Sciolla, 6 vols., Turin 2003; Eadem, Una testimonianza documentaria per il primo nucleo della raccolta del principe Camillo Pamphilj, in I capolavori della collezione Doria Pamphilj. Da Tiziano a Velázquez, exhibition catalog (Milan, Fondazione Arte e Civiltà, September 28-December 8, 1996), Skira, Milan 1996, pp. 57-80.
(d) Teaching materials, consisting of the ppts of the slides projected in class and available on Teams.
Non-attending students should add to this syllabus (with the exception of items d and e which
are precluded from them) the in-depth study of at least two other texts from those listed in (b).
Mutuazione: 20710443 STORIA DELL'ARTE FIAMMINGA E OLANDESE - LM in Storia dell'arte LM-89 CAPITELLI GIOVANNA
Programme
Michael Sweerts (1618-1656) and the Rome of the BambocciantiBorn in Brussels and died in Goa, India, living in Rome for at least a decade, Michael Sweerts is a very interesting figure in seventeenth-century European figurative culture. The course will examine his artistic production, the context within which he works. It will take place largely in churches, museums, public and private collections in the city of Rome, comparing his work with that of his contemporaries, active during the pontificate of Innocent X Pamphili.
Core Documentation
Preparation for the exam requires in-depth, critical and informed study of.(a) at least one of two texts of your choice: G. 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 (disponibile su Teams) or Mariette Westermann, The Art of the
Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for purchase online for a
very modest amount).
(b) at least one of the following texts of your choice (or all of them):
Svetlana Alpers, Art of Description. Science and Painting in the Dutch Seventeenth Century; Simon Shama, The Embarrassment of Riches; Svetlana Alpers, Rembrandt's Enterprise: The Studio and the Market, 1995; Daniel Arasse, L' Ambition de Vermeer, 1993; Marco Mascolo, Rembrandt. Un artista nell'Europa del Seicento, Rome, Carocci, 2021; Les bas-fonds du baroque: la Rome du vice et de la misere, cataloge dirigée par F. Cappelletti et A. Lemoine, 2014.
(c) texts related to Michael Sweerts that will be made available in the file on Teams(the advice of course is always to read them all); including G. Briganti, Il mito della “finestra aperta,” in G. Briganti, L. Trezzani, L. Laureati, I Bamboccianti. Pittori della vita quotidiana a Roma nel Seicento, Bozzi, Rome 1983, pp. 1-36; G. Capitelli, Bambocciate in L'Arte. Protagonists, Themes, Masterpieces, Paths, edited by G.C.Sciolla, 6 vols., Turin 2003; Eadem, Una testimonianza documentaria per il primo nucleo della raccolta del principe Camillo Pamphilj, in I capolavori della collezione Doria Pamphilj. Da Tiziano a Velázquez, exhibition catalog (Milan, Fondazione Arte e Civiltà, September 28-December 8, 1996), Skira, Milan 1996, pp. 57-80.
(d) Teaching materials, consisting of the ppts of the slides projected in class and available on Teams.
Non-attending students should add to this syllabus (with the exception of items d and e which
are precluded from them) the in-depth study of at least two other texts from those listed in (b).
Type of delivery of the course
Lectures, workshops, on-site visits at the Museo Laboratorio delle Gallerie Nazionali Barberini e Corsini.Attendance
Course attendance is 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. teacher profile teaching materials
Born in Brussels and died in Goa, India, living in Rome for at least a decade, Michael Sweerts is a very interesting figure in seventeenth-century European figurative culture. The course will examine his artistic production, the context within which he works. It will take place largely in churches, museums, public and private collections in the city of Rome, comparing his work with that of his contemporaries, active during the pontificate of Innocent X Pamphili.
(a) at least one of two texts of your choice: G. 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 (disponibile su Teams) or Mariette Westermann, The Art of the
Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for purchase online for a
very modest amount).
(b) at least one of the following texts of your choice (or all of them):
Svetlana Alpers, Art of Description. Science and Painting in the Dutch Seventeenth Century; Simon Shama, The Embarrassment of Riches; Svetlana Alpers, Rembrandt's Enterprise: The Studio and the Market, 1995; Daniel Arasse, L' Ambition de Vermeer, 1993; Marco Mascolo, Rembrandt. Un artista nell'Europa del Seicento, Rome, Carocci, 2021; Les bas-fonds du baroque: la Rome du vice et de la misere, cataloge dirigée par F. Cappelletti et A. Lemoine, 2014.
(c) texts related to Michael Sweerts that will be made available in the file on Teams(the advice of course is always to read them all); including G. Briganti, Il mito della “finestra aperta,” in G. Briganti, L. Trezzani, L. Laureati, I Bamboccianti. Pittori della vita quotidiana a Roma nel Seicento, Bozzi, Rome 1983, pp. 1-36; G. Capitelli, Bambocciate in L'Arte. Protagonists, Themes, Masterpieces, Paths, edited by G.C.Sciolla, 6 vols., Turin 2003; Eadem, Una testimonianza documentaria per il primo nucleo della raccolta del principe Camillo Pamphilj, in I capolavori della collezione Doria Pamphilj. Da Tiziano a Velázquez, exhibition catalog (Milan, Fondazione Arte e Civiltà, September 28-December 8, 1996), Skira, Milan 1996, pp. 57-80.
(d) Teaching materials, consisting of the ppts of the slides projected in class and available on Teams.
Non-attending students should add to this syllabus (with the exception of items d and e which
are precluded from them) the in-depth study of at least two other texts from those listed in (b).
Mutuazione: 20710443 STORIA DELL'ARTE FIAMMINGA E OLANDESE - LM in Storia dell'arte LM-89 CAPITELLI GIOVANNA
Programme
Michael Sweerts (1618-1656) and the Rome of the BambocciantiBorn in Brussels and died in Goa, India, living in Rome for at least a decade, Michael Sweerts is a very interesting figure in seventeenth-century European figurative culture. The course will examine his artistic production, the context within which he works. It will take place largely in churches, museums, public and private collections in the city of Rome, comparing his work with that of his contemporaries, active during the pontificate of Innocent X Pamphili.
Core Documentation
Preparation for the exam requires in-depth, critical and informed study of.(a) at least one of two texts of your choice: G. 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 (disponibile su Teams) or Mariette Westermann, The Art of the
Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for purchase online for a
very modest amount).
(b) at least one of the following texts of your choice (or all of them):
Svetlana Alpers, Art of Description. Science and Painting in the Dutch Seventeenth Century; Simon Shama, The Embarrassment of Riches; Svetlana Alpers, Rembrandt's Enterprise: The Studio and the Market, 1995; Daniel Arasse, L' Ambition de Vermeer, 1993; Marco Mascolo, Rembrandt. Un artista nell'Europa del Seicento, Rome, Carocci, 2021; Les bas-fonds du baroque: la Rome du vice et de la misere, cataloge dirigée par F. Cappelletti et A. Lemoine, 2014.
(c) texts related to Michael Sweerts that will be made available in the file on Teams(the advice of course is always to read them all); including G. Briganti, Il mito della “finestra aperta,” in G. Briganti, L. Trezzani, L. Laureati, I Bamboccianti. Pittori della vita quotidiana a Roma nel Seicento, Bozzi, Rome 1983, pp. 1-36; G. Capitelli, Bambocciate in L'Arte. Protagonists, Themes, Masterpieces, Paths, edited by G.C.Sciolla, 6 vols., Turin 2003; Eadem, Una testimonianza documentaria per il primo nucleo della raccolta del principe Camillo Pamphilj, in I capolavori della collezione Doria Pamphilj. Da Tiziano a Velázquez, exhibition catalog (Milan, Fondazione Arte e Civiltà, September 28-December 8, 1996), Skira, Milan 1996, pp. 57-80.
(d) Teaching materials, consisting of the ppts of the slides projected in class and available on Teams.
Non-attending students should add to this syllabus (with the exception of items d and e which
are precluded from them) the in-depth study of at least two other texts from those listed in (b).
Type of delivery of the course
Lectures, workshops, on-site visits at the Museo Laboratorio delle Gallerie Nazionali Barberini e Corsini.Attendance
Course attendance is 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.