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
Through lectures, seminars, and field trips (to Rome, Naples, and Florence), this course will examine some significant chapters in the artistic relations between Flanders, the Northern Netherlands, and the pre-unification Italian states.
for the Master’s degree programme in Art History
Prof. Giovanna Capitelli
Academic Year 2026–2027
FIRST SEMESTER
Course title: FLEMISH ITALY. Artistic geographies of the peninsula from the fifteenth to the early seventeenth century
Bibliography for the examination [valid exclusively for students who have attended the course; for others, the syllabus indicated at the end of this document applies]
To pass the examination, students must demonstrate that they:
have studied the following texts carefully, paying particular attention to the accompanying illustrations:
L. Barroero, 'Il se rendit en Italie'. Artisti stranieri a Roma nel Seicento, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13-34.
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams);
to have a thorough understanding of the contents of the teaching modules (i.e. the lecture slides with all the reproduced works) and to have studied the following materials (in-depth study of at least 5 modules is compulsory, as indicated; naturally, it is best to read everything):
1. ‘Things from Flanders’ in the Naples of Alfonso the Magnanimous
see above in the italian version for the list of texts
2. Florence and the Flemings
see above in the italian version for the list of texts
3. Genoa
see above in the italian version for the list of texts
4. Italy’s courts (the Po Valley and central Italy)
see above in the italian version for the list of texts
5. ‘Roma quanta fuit, ipsa ruina docet’
see above in the italian version for the list of texts
6. Venice and the Veneto
see above in the italian version for the list of texts
7. Inside and Outside the Papal States
see above in the italian version for the list of texts
8. Florence, the Medici and Flemish portraiture (including in Mantua) Studying the Italian sojourns and works of Stradano, Willem van Tetrode, Giambologna, Frans Pourbus and Justus Sustermans.
9. Naples and beyond
see above in the italian version for the list of texts
10. Caravaggio and the Northern Caravaggists
see above in the italian version for the list of texts
11. Rubens’ Flemish friends in Rome
see above in the italian version for the list of texts
12. Antoon van Dyck in Italy
see above in the italian version for the list of texts
13. Poussin’s Flemish Friends
see above in the italian version for the list of texts
Site visits to be undertaken: Rome, the Church of San Pietro in Montorio, the Church of Santa Maria della Vallicella, and the Church of Santa Maria della Scala.
SYLLABUS FOR NON-ATTENDING STUDENTS
Bibliography for the examination
To pass the examination, students must demonstrate that they have studied at least one of the following two texts of their choice thoroughly, paying close attention to the accompanying illustrations:
General section
G. Kieft, ‘The Northern Netherlands: Art, Craft and Patronage in the Golden Age’, in *Painting in the Netherlands*, edited by B.W. Meijer, Milan, Electa, 1997, vol. II, pp. 409–522.
M. Westermann, *The Art of the Dutch Republic. 1585–1718*, New York, Harry Abrams, 1996 (available online for a very modest sum).
Monographic section
for an in-depth understanding of these articles:
L. Barroero, ‘Il se rendit en Italie’. Foreign artists in Rome in the 17th century, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13–34 (downloadable via Teams);
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams).
to have critically studied at least four of the following texts:
L. Castelfranchi Vegas, Italia e Fiandra nella pittura del Quattrocento, Milano, Jaca Book, ed. 2021.
C. Challeat, Dalle Fiandre a Napoli. Committenza artistica, politica e diplomazia al tempo di Alfonso il Magnanimo e Filippo il Buono, Roma, L’Erma di Bretschneider, 2012.
F. Elsig, L'arte del Quattrocento a Nord delle Alpi, Da Jan Van Eyck ad Albrecht Dürer, Torino, Einaudi 2011.
P. Nuttal, From Flanders to Florence, the impact of Netherlandish painting, 1400-1500, Yale University Press 2004.
N. Dacos, Roma quanta fuit, ipsa ruina docet. Tre pittori fiamminghi nella Domus Aurea, Roma, Donzelli, 2001.
G. Sapori, Fiamminghi nel cantiere Italia, Milano, Electa, 2007.
B. W. Mejer, Parma e Bruxelles. Committenza e collezionismo farnesiani alle due corti, Parma 1998.
B. Aikema, Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Milano, Scheiwiller, 2021.
Tania De Nile, Fantasmagorie. Streghe, demoni e tentazioni nell'arte fiamminga e olandese del Seicento, Roma, Officina Libraria 2023.
Rubens e la cultura italiana. 1600-1608, a cura di R. Morselli, C. Paolini, Roma, Viella 2023.
Fiamminghi al Sud. Oltre Napoli, a cura di G. Capitelli, T. De Nile, W. Cobergher, Roma, Quasar, 2023.
.
Mutuazione: 20710443 STORIA DELL'ARTE FIAMMINGA E OLANDESE - LM in Storia dell'arte LM-89 R CAPITELLI GIOVANNA
Programme
Flemish ItalyThrough lectures, seminars, and field trips (to Rome, Naples, and Florence), this course will examine some significant chapters in the artistic relations between Flanders, the Northern Netherlands, and the pre-unification Italian states.
Core Documentation
History of Flemish and Dutch Artfor the Master’s degree programme in Art History
Prof. Giovanna Capitelli
Academic Year 2026–2027
FIRST SEMESTER
Course title: FLEMISH ITALY. Artistic geographies of the peninsula from the fifteenth to the early seventeenth century
Bibliography for the examination [valid exclusively for students who have attended the course; for others, the syllabus indicated at the end of this document applies]
To pass the examination, students must demonstrate that they:
have studied the following texts carefully, paying particular attention to the accompanying illustrations:
L. Barroero, 'Il se rendit en Italie'. Artisti stranieri a Roma nel Seicento, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13-34.
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams);
to have a thorough understanding of the contents of the teaching modules (i.e. the lecture slides with all the reproduced works) and to have studied the following materials (in-depth study of at least 5 modules is compulsory, as indicated; naturally, it is best to read everything):
1. ‘Things from Flanders’ in the Naples of Alfonso the Magnanimous
see above in the italian version for the list of texts
2. Florence and the Flemings
see above in the italian version for the list of texts
3. Genoa
see above in the italian version for the list of texts
4. Italy’s courts (the Po Valley and central Italy)
see above in the italian version for the list of texts
5. ‘Roma quanta fuit, ipsa ruina docet’
see above in the italian version for the list of texts
6. Venice and the Veneto
see above in the italian version for the list of texts
7. Inside and Outside the Papal States
see above in the italian version for the list of texts
8. Florence, the Medici and Flemish portraiture (including in Mantua) Studying the Italian sojourns and works of Stradano, Willem van Tetrode, Giambologna, Frans Pourbus and Justus Sustermans.
9. Naples and beyond
see above in the italian version for the list of texts
10. Caravaggio and the Northern Caravaggists
see above in the italian version for the list of texts
11. Rubens’ Flemish friends in Rome
see above in the italian version for the list of texts
12. Antoon van Dyck in Italy
see above in the italian version for the list of texts
13. Poussin’s Flemish Friends
see above in the italian version for the list of texts
Site visits to be undertaken: Rome, the Church of San Pietro in Montorio, the Church of Santa Maria della Vallicella, and the Church of Santa Maria della Scala.
SYLLABUS FOR NON-ATTENDING STUDENTS
Bibliography for the examination
To pass the examination, students must demonstrate that they have studied at least one of the following two texts of their choice thoroughly, paying close attention to the accompanying illustrations:
General section
G. Kieft, ‘The Northern Netherlands: Art, Craft and Patronage in the Golden Age’, in *Painting in the Netherlands*, edited by B.W. Meijer, Milan, Electa, 1997, vol. II, pp. 409–522.
M. Westermann, *The Art of the Dutch Republic. 1585–1718*, New York, Harry Abrams, 1996 (available online for a very modest sum).
Monographic section
for an in-depth understanding of these articles:
L. Barroero, ‘Il se rendit en Italie’. Foreign artists in Rome in the 17th century, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13–34 (downloadable via Teams);
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams).
to have critically studied at least four of the following texts:
L. Castelfranchi Vegas, Italia e Fiandra nella pittura del Quattrocento, Milano, Jaca Book, ed. 2021.
C. Challeat, Dalle Fiandre a Napoli. Committenza artistica, politica e diplomazia al tempo di Alfonso il Magnanimo e Filippo il Buono, Roma, L’Erma di Bretschneider, 2012.
F. Elsig, L'arte del Quattrocento a Nord delle Alpi, Da Jan Van Eyck ad Albrecht Dürer, Torino, Einaudi 2011.
P. Nuttal, From Flanders to Florence, the impact of Netherlandish painting, 1400-1500, Yale University Press 2004.
N. Dacos, Roma quanta fuit, ipsa ruina docet. Tre pittori fiamminghi nella Domus Aurea, Roma, Donzelli, 2001.
G. Sapori, Fiamminghi nel cantiere Italia, Milano, Electa, 2007.
B. W. Mejer, Parma e Bruxelles. Committenza e collezionismo farnesiani alle due corti, Parma 1998.
B. Aikema, Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Milano, Scheiwiller, 2021.
Tania De Nile, Fantasmagorie. Streghe, demoni e tentazioni nell'arte fiamminga e olandese del Seicento, Roma, Officina Libraria 2023.
Rubens e la cultura italiana. 1600-1608, a cura di R. Morselli, C. Paolini, Roma, Viella 2023.
Fiamminghi al Sud. Oltre Napoli, a cura di G. Capitelli, T. De Nile, W. Cobergher, Roma, Quasar, 2023.
.
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
Through lectures, seminars, and field trips (to Rome, Naples, and Florence), this course will examine some significant chapters in the artistic relations between Flanders, the Northern Netherlands, and the pre-unification Italian states.
for the Master’s degree programme in Art History
Prof. Giovanna Capitelli
Academic Year 2026–2027
FIRST SEMESTER
Course title: FLEMISH ITALY. Artistic geographies of the peninsula from the fifteenth to the early seventeenth century
Bibliography for the examination [valid exclusively for students who have attended the course; for others, the syllabus indicated at the end of this document applies]
To pass the examination, students must demonstrate that they:
have studied the following texts carefully, paying particular attention to the accompanying illustrations:
L. Barroero, 'Il se rendit en Italie'. Artisti stranieri a Roma nel Seicento, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13-34.
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams);
to have a thorough understanding of the contents of the teaching modules (i.e. the lecture slides with all the reproduced works) and to have studied the following materials (in-depth study of at least 5 modules is compulsory, as indicated; naturally, it is best to read everything):
1. ‘Things from Flanders’ in the Naples of Alfonso the Magnanimous
see above in the italian version for the list of texts
2. Florence and the Flemings
see above in the italian version for the list of texts
3. Genoa
see above in the italian version for the list of texts
4. Italy’s courts (the Po Valley and central Italy)
see above in the italian version for the list of texts
5. ‘Roma quanta fuit, ipsa ruina docet’
see above in the italian version for the list of texts
6. Venice and the Veneto
see above in the italian version for the list of texts
7. Inside and Outside the Papal States
see above in the italian version for the list of texts
8. Florence, the Medici and Flemish portraiture (including in Mantua) Studying the Italian sojourns and works of Stradano, Willem van Tetrode, Giambologna, Frans Pourbus and Justus Sustermans.
9. Naples and beyond
see above in the italian version for the list of texts
10. Caravaggio and the Northern Caravaggists
see above in the italian version for the list of texts
11. Rubens’ Flemish friends in Rome
see above in the italian version for the list of texts
12. Antoon van Dyck in Italy
see above in the italian version for the list of texts
13. Poussin’s Flemish Friends
see above in the italian version for the list of texts
Site visits to be undertaken: Rome, the Church of San Pietro in Montorio, the Church of Santa Maria della Vallicella, and the Church of Santa Maria della Scala.
SYLLABUS FOR NON-ATTENDING STUDENTS
Bibliography for the examination
To pass the examination, students must demonstrate that they have studied at least one of the following two texts of their choice thoroughly, paying close attention to the accompanying illustrations:
General section
G. Kieft, ‘The Northern Netherlands: Art, Craft and Patronage in the Golden Age’, in *Painting in the Netherlands*, edited by B.W. Meijer, Milan, Electa, 1997, vol. II, pp. 409–522.
M. Westermann, *The Art of the Dutch Republic. 1585–1718*, New York, Harry Abrams, 1996 (available online for a very modest sum).
Monographic section
for an in-depth understanding of these articles:
L. Barroero, ‘Il se rendit en Italie’. Foreign artists in Rome in the 17th century, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13–34 (downloadable via Teams);
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams).
to have critically studied at least four of the following texts:
L. Castelfranchi Vegas, Italia e Fiandra nella pittura del Quattrocento, Milano, Jaca Book, ed. 2021.
C. Challeat, Dalle Fiandre a Napoli. Committenza artistica, politica e diplomazia al tempo di Alfonso il Magnanimo e Filippo il Buono, Roma, L’Erma di Bretschneider, 2012.
F. Elsig, L'arte del Quattrocento a Nord delle Alpi, Da Jan Van Eyck ad Albrecht Dürer, Torino, Einaudi 2011.
P. Nuttal, From Flanders to Florence, the impact of Netherlandish painting, 1400-1500, Yale University Press 2004.
N. Dacos, Roma quanta fuit, ipsa ruina docet. Tre pittori fiamminghi nella Domus Aurea, Roma, Donzelli, 2001.
G. Sapori, Fiamminghi nel cantiere Italia, Milano, Electa, 2007.
B. W. Mejer, Parma e Bruxelles. Committenza e collezionismo farnesiani alle due corti, Parma 1998.
B. Aikema, Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Milano, Scheiwiller, 2021.
Tania De Nile, Fantasmagorie. Streghe, demoni e tentazioni nell'arte fiamminga e olandese del Seicento, Roma, Officina Libraria 2023.
Rubens e la cultura italiana. 1600-1608, a cura di R. Morselli, C. Paolini, Roma, Viella 2023.
Fiamminghi al Sud. Oltre Napoli, a cura di G. Capitelli, T. De Nile, W. Cobergher, Roma, Quasar, 2023.
.
Mutuazione: 20710443 STORIA DELL'ARTE FIAMMINGA E OLANDESE - LM in Storia dell'arte LM-89 R CAPITELLI GIOVANNA
Programme
Flemish ItalyThrough lectures, seminars, and field trips (to Rome, Naples, and Florence), this course will examine some significant chapters in the artistic relations between Flanders, the Northern Netherlands, and the pre-unification Italian states.
Core Documentation
History of Flemish and Dutch Artfor the Master’s degree programme in Art History
Prof. Giovanna Capitelli
Academic Year 2026–2027
FIRST SEMESTER
Course title: FLEMISH ITALY. Artistic geographies of the peninsula from the fifteenth to the early seventeenth century
Bibliography for the examination [valid exclusively for students who have attended the course; for others, the syllabus indicated at the end of this document applies]
To pass the examination, students must demonstrate that they:
have studied the following texts carefully, paying particular attention to the accompanying illustrations:
L. Barroero, 'Il se rendit en Italie'. Artisti stranieri a Roma nel Seicento, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13-34.
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams);
to have a thorough understanding of the contents of the teaching modules (i.e. the lecture slides with all the reproduced works) and to have studied the following materials (in-depth study of at least 5 modules is compulsory, as indicated; naturally, it is best to read everything):
1. ‘Things from Flanders’ in the Naples of Alfonso the Magnanimous
see above in the italian version for the list of texts
2. Florence and the Flemings
see above in the italian version for the list of texts
3. Genoa
see above in the italian version for the list of texts
4. Italy’s courts (the Po Valley and central Italy)
see above in the italian version for the list of texts
5. ‘Roma quanta fuit, ipsa ruina docet’
see above in the italian version for the list of texts
6. Venice and the Veneto
see above in the italian version for the list of texts
7. Inside and Outside the Papal States
see above in the italian version for the list of texts
8. Florence, the Medici and Flemish portraiture (including in Mantua) Studying the Italian sojourns and works of Stradano, Willem van Tetrode, Giambologna, Frans Pourbus and Justus Sustermans.
9. Naples and beyond
see above in the italian version for the list of texts
10. Caravaggio and the Northern Caravaggists
see above in the italian version for the list of texts
11. Rubens’ Flemish friends in Rome
see above in the italian version for the list of texts
12. Antoon van Dyck in Italy
see above in the italian version for the list of texts
13. Poussin’s Flemish Friends
see above in the italian version for the list of texts
Site visits to be undertaken: Rome, the Church of San Pietro in Montorio, the Church of Santa Maria della Vallicella, and the Church of Santa Maria della Scala.
SYLLABUS FOR NON-ATTENDING STUDENTS
Bibliography for the examination
To pass the examination, students must demonstrate that they have studied at least one of the following two texts of their choice thoroughly, paying close attention to the accompanying illustrations:
General section
G. Kieft, ‘The Northern Netherlands: Art, Craft and Patronage in the Golden Age’, in *Painting in the Netherlands*, edited by B.W. Meijer, Milan, Electa, 1997, vol. II, pp. 409–522.
M. Westermann, *The Art of the Dutch Republic. 1585–1718*, New York, Harry Abrams, 1996 (available online for a very modest sum).
Monographic section
for an in-depth understanding of these articles:
L. Barroero, ‘Il se rendit en Italie’. Foreign artists in Rome in the 17th century, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13–34 (downloadable via Teams);
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams).
to have critically studied at least four of the following texts:
L. Castelfranchi Vegas, Italia e Fiandra nella pittura del Quattrocento, Milano, Jaca Book, ed. 2021.
C. Challeat, Dalle Fiandre a Napoli. Committenza artistica, politica e diplomazia al tempo di Alfonso il Magnanimo e Filippo il Buono, Roma, L’Erma di Bretschneider, 2012.
F. Elsig, L'arte del Quattrocento a Nord delle Alpi, Da Jan Van Eyck ad Albrecht Dürer, Torino, Einaudi 2011.
P. Nuttal, From Flanders to Florence, the impact of Netherlandish painting, 1400-1500, Yale University Press 2004.
N. Dacos, Roma quanta fuit, ipsa ruina docet. Tre pittori fiamminghi nella Domus Aurea, Roma, Donzelli, 2001.
G. Sapori, Fiamminghi nel cantiere Italia, Milano, Electa, 2007.
B. W. Mejer, Parma e Bruxelles. Committenza e collezionismo farnesiani alle due corti, Parma 1998.
B. Aikema, Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Milano, Scheiwiller, 2021.
Tania De Nile, Fantasmagorie. Streghe, demoni e tentazioni nell'arte fiamminga e olandese del Seicento, Roma, Officina Libraria 2023.
Rubens e la cultura italiana. 1600-1608, a cura di R. Morselli, C. Paolini, Roma, Viella 2023.
Fiamminghi al Sud. Oltre Napoli, a cura di G. Capitelli, T. De Nile, W. Cobergher, Roma, Quasar, 2023.
.
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
Through lectures, seminars, and field trips (to Rome, Naples, and Florence), this course will examine some significant chapters in the artistic relations between Flanders, the Northern Netherlands, and the pre-unification Italian states.
for the Master’s degree programme in Art History
Prof. Giovanna Capitelli
Academic Year 2026–2027
FIRST SEMESTER
Course title: FLEMISH ITALY. Artistic geographies of the peninsula from the fifteenth to the early seventeenth century
Bibliography for the examination [valid exclusively for students who have attended the course; for others, the syllabus indicated at the end of this document applies]
To pass the examination, students must demonstrate that they:
have studied the following texts carefully, paying particular attention to the accompanying illustrations:
L. Barroero, 'Il se rendit en Italie'. Artisti stranieri a Roma nel Seicento, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13-34.
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams);
to have a thorough understanding of the contents of the teaching modules (i.e. the lecture slides with all the reproduced works) and to have studied the following materials (in-depth study of at least 5 modules is compulsory, as indicated; naturally, it is best to read everything):
1. ‘Things from Flanders’ in the Naples of Alfonso the Magnanimous
see above in the italian version for the list of texts
2. Florence and the Flemings
see above in the italian version for the list of texts
3. Genoa
see above in the italian version for the list of texts
4. Italy’s courts (the Po Valley and central Italy)
see above in the italian version for the list of texts
5. ‘Roma quanta fuit, ipsa ruina docet’
see above in the italian version for the list of texts
6. Venice and the Veneto
see above in the italian version for the list of texts
7. Inside and Outside the Papal States
see above in the italian version for the list of texts
8. Florence, the Medici and Flemish portraiture (including in Mantua) Studying the Italian sojourns and works of Stradano, Willem van Tetrode, Giambologna, Frans Pourbus and Justus Sustermans.
9. Naples and beyond
see above in the italian version for the list of texts
10. Caravaggio and the Northern Caravaggists
see above in the italian version for the list of texts
11. Rubens’ Flemish friends in Rome
see above in the italian version for the list of texts
12. Antoon van Dyck in Italy
see above in the italian version for the list of texts
13. Poussin’s Flemish Friends
see above in the italian version for the list of texts
Site visits to be undertaken: Rome, the Church of San Pietro in Montorio, the Church of Santa Maria della Vallicella, and the Church of Santa Maria della Scala.
SYLLABUS FOR NON-ATTENDING STUDENTS
Bibliography for the examination
To pass the examination, students must demonstrate that they have studied at least one of the following two texts of their choice thoroughly, paying close attention to the accompanying illustrations:
General section
G. Kieft, ‘The Northern Netherlands: Art, Craft and Patronage in the Golden Age’, in *Painting in the Netherlands*, edited by B.W. Meijer, Milan, Electa, 1997, vol. II, pp. 409–522.
M. Westermann, *The Art of the Dutch Republic. 1585–1718*, New York, Harry Abrams, 1996 (available online for a very modest sum).
Monographic section
for an in-depth understanding of these articles:
L. Barroero, ‘Il se rendit en Italie’. Foreign artists in Rome in the 17th century, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13–34 (downloadable via Teams);
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams).
to have critically studied at least four of the following texts:
L. Castelfranchi Vegas, Italia e Fiandra nella pittura del Quattrocento, Milano, Jaca Book, ed. 2021.
C. Challeat, Dalle Fiandre a Napoli. Committenza artistica, politica e diplomazia al tempo di Alfonso il Magnanimo e Filippo il Buono, Roma, L’Erma di Bretschneider, 2012.
F. Elsig, L'arte del Quattrocento a Nord delle Alpi, Da Jan Van Eyck ad Albrecht Dürer, Torino, Einaudi 2011.
P. Nuttal, From Flanders to Florence, the impact of Netherlandish painting, 1400-1500, Yale University Press 2004.
N. Dacos, Roma quanta fuit, ipsa ruina docet. Tre pittori fiamminghi nella Domus Aurea, Roma, Donzelli, 2001.
G. Sapori, Fiamminghi nel cantiere Italia, Milano, Electa, 2007.
B. W. Mejer, Parma e Bruxelles. Committenza e collezionismo farnesiani alle due corti, Parma 1998.
B. Aikema, Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Milano, Scheiwiller, 2021.
Tania De Nile, Fantasmagorie. Streghe, demoni e tentazioni nell'arte fiamminga e olandese del Seicento, Roma, Officina Libraria 2023.
Rubens e la cultura italiana. 1600-1608, a cura di R. Morselli, C. Paolini, Roma, Viella 2023.
Fiamminghi al Sud. Oltre Napoli, a cura di G. Capitelli, T. De Nile, W. Cobergher, Roma, Quasar, 2023.
.
Mutuazione: 20710443 STORIA DELL'ARTE FIAMMINGA E OLANDESE - LM in Storia dell'arte LM-89 R CAPITELLI GIOVANNA
Programme
Flemish ItalyThrough lectures, seminars, and field trips (to Rome, Naples, and Florence), this course will examine some significant chapters in the artistic relations between Flanders, the Northern Netherlands, and the pre-unification Italian states.
Core Documentation
History of Flemish and Dutch Artfor the Master’s degree programme in Art History
Prof. Giovanna Capitelli
Academic Year 2026–2027
FIRST SEMESTER
Course title: FLEMISH ITALY. Artistic geographies of the peninsula from the fifteenth to the early seventeenth century
Bibliography for the examination [valid exclusively for students who have attended the course; for others, the syllabus indicated at the end of this document applies]
To pass the examination, students must demonstrate that they:
have studied the following texts carefully, paying particular attention to the accompanying illustrations:
L. Barroero, 'Il se rendit en Italie'. Artisti stranieri a Roma nel Seicento, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13-34.
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams);
to have a thorough understanding of the contents of the teaching modules (i.e. the lecture slides with all the reproduced works) and to have studied the following materials (in-depth study of at least 5 modules is compulsory, as indicated; naturally, it is best to read everything):
1. ‘Things from Flanders’ in the Naples of Alfonso the Magnanimous
see above in the italian version for the list of texts
2. Florence and the Flemings
see above in the italian version for the list of texts
3. Genoa
see above in the italian version for the list of texts
4. Italy’s courts (the Po Valley and central Italy)
see above in the italian version for the list of texts
5. ‘Roma quanta fuit, ipsa ruina docet’
see above in the italian version for the list of texts
6. Venice and the Veneto
see above in the italian version for the list of texts
7. Inside and Outside the Papal States
see above in the italian version for the list of texts
8. Florence, the Medici and Flemish portraiture (including in Mantua) Studying the Italian sojourns and works of Stradano, Willem van Tetrode, Giambologna, Frans Pourbus and Justus Sustermans.
9. Naples and beyond
see above in the italian version for the list of texts
10. Caravaggio and the Northern Caravaggists
see above in the italian version for the list of texts
11. Rubens’ Flemish friends in Rome
see above in the italian version for the list of texts
12. Antoon van Dyck in Italy
see above in the italian version for the list of texts
13. Poussin’s Flemish Friends
see above in the italian version for the list of texts
Site visits to be undertaken: Rome, the Church of San Pietro in Montorio, the Church of Santa Maria della Vallicella, and the Church of Santa Maria della Scala.
SYLLABUS FOR NON-ATTENDING STUDENTS
Bibliography for the examination
To pass the examination, students must demonstrate that they have studied at least one of the following two texts of their choice thoroughly, paying close attention to the accompanying illustrations:
General section
G. Kieft, ‘The Northern Netherlands: Art, Craft and Patronage in the Golden Age’, in *Painting in the Netherlands*, edited by B.W. Meijer, Milan, Electa, 1997, vol. II, pp. 409–522.
M. Westermann, *The Art of the Dutch Republic. 1585–1718*, New York, Harry Abrams, 1996 (available online for a very modest sum).
Monographic section
for an in-depth understanding of these articles:
L. Barroero, ‘Il se rendit en Italie’. Foreign artists in Rome in the 17th century, in “Roma Moderna e Contemporanea”, I, 1993, pp. 13–34 (downloadable via Teams);
G.J. van der Sman, The living conditions and social networks of northern Netherlandish painters in Italy, c. 1600–1700: evaluation of the archival sources, “Simiolus”, 43, nos. 1–2, 2021, pp. 73–104 (available for download on Teams).
to have critically studied at least four of the following texts:
L. Castelfranchi Vegas, Italia e Fiandra nella pittura del Quattrocento, Milano, Jaca Book, ed. 2021.
C. Challeat, Dalle Fiandre a Napoli. Committenza artistica, politica e diplomazia al tempo di Alfonso il Magnanimo e Filippo il Buono, Roma, L’Erma di Bretschneider, 2012.
F. Elsig, L'arte del Quattrocento a Nord delle Alpi, Da Jan Van Eyck ad Albrecht Dürer, Torino, Einaudi 2011.
P. Nuttal, From Flanders to Florence, the impact of Netherlandish painting, 1400-1500, Yale University Press 2004.
N. Dacos, Roma quanta fuit, ipsa ruina docet. Tre pittori fiamminghi nella Domus Aurea, Roma, Donzelli, 2001.
G. Sapori, Fiamminghi nel cantiere Italia, Milano, Electa, 2007.
B. W. Mejer, Parma e Bruxelles. Committenza e collezionismo farnesiani alle due corti, Parma 1998.
B. Aikema, Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Milano, Scheiwiller, 2021.
Tania De Nile, Fantasmagorie. Streghe, demoni e tentazioni nell'arte fiamminga e olandese del Seicento, Roma, Officina Libraria 2023.
Rubens e la cultura italiana. 1600-1608, a cura di R. Morselli, C. Paolini, Roma, Viella 2023.
Fiamminghi al Sud. Oltre Napoli, a cura di G. Capitelli, T. De Nile, W. Cobergher, Roma, Quasar, 2023.
.
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.