Unit HISTORY OF COMPARATIVE ART IN EUROPEAN COUNTRIES
- Course
- Archaeology and history of art
- Study-unit Code
- GP003577
- Curriculum
- Generico
- Teacher
- Tommaso Giovanni Mozzati
- Teachers
-
- Tommaso Giovanni Mozzati
- Hours
- 36 ore - Tommaso Giovanni Mozzati
- CFU
- 6
- Course Regulation
- Coorte 2023
- Offered
- 2024/25
- Learning activities
- Affine/integrativa
- Area
- Attività formative affini o integrative
- Academic discipline
- L-ART/02
- Type of study-unit
- Opzionale (Optional)
- Type of learning activities
- Attività formativa monodisciplinare
- Language of instruction
- italian
- Contents
- Outlines of Spanish art history between the fifteenth and seventeenth centuries in its relations with Italian culture, through monographic, thematic and methodological insights.
- Reference texts
- On Spanish art history:
- M. Gómez-Moreno, Renaissance Sculpture in Spain, New York 1971.
- T. Müller, Sculpture in the Netherlands, Germany, France and Spain, Baltimore 1966, pp. 47-65, 79-87, 133-141 [images can be found at the end of the book].
- La pittura spagnola, edited by A. Pérez Sanchez, J. M. Bonet, 2 vols., Milano 1995 (the student has to study the chapters dedicated to fifteenth and sixteenth century).
- Norma e capriccio: spagnoli in Italia agli esordi della maniera moderna, edited by T. Mozzati, A. Natali, exhibition catalogue (Firenze, Galleria degli Uffizi, 2013), Firenze 2013.
- Storia Universale dell’Arte. Arte in Europa 1500-1570, edited by M. Collareta, Torino 1998 (the study has to study the intriduction and tje chapter dedicated to Spain and the Iberian peninsula)
For the historical frame:
- M. Pellegrini, Le guerre d’Italia 1494-1530, Bologna 2009.
Suggested readings.
For an introduction to “artistic geography”:
- E. Castelnuovo, C. Ginzburg, Centro e periferia, in Storia dell’Arte italiana – Materiali e problemi, edited by G. Previtali, 3 voll., Torino, volume I, 1979, pp. 285-354
For commercial trades between Spain, Italy and Europe:
- Commercio e cultura mercantile – Il Rinascimento italiano e l’Europa, IV, edited by F. Franceschi, R. A. Goldthwaite, R. C. Müller, Treviso 2007
On Spanish artistic historiography between nineteenth and twentied century:
- M. Falomir Faus, Pregiudizi nazionali e costruzioni storiografiche sui rapporti artistici tra l'Italia e la Spagna nel XVI secolo, in L'Italia e l'arte straniera, conference papers (Roma, Accademia nazionale dei Lincei, 2012), Roma 2015, pp. 177-189
Additional bibliography, pertinent to the specific topics covered in the course, will be provided during every class. - Educational objectives
- The course aims to provide the student with a good knowledge of early modern Spanish history of Spanish art in the modern age, supported by a proper ability to read specific works of art and analyze figurative experiences with adequate methodological awareness.
- Prerequisites
- It is assumed that the student has already acquired a general knowledge of the historical and cultural, literary, philosophical and geographical context relating to the period under study, particularly with regard to the Italian context. In addition, a basic knowledge of the main stylistic changes and major personalities qualifying the history of art in Italy between the Middle Ages and the Modern Age is expected.
- Teaching methods
- Lectures, seminars, field trips. It is planned to make use of blended teaching (in-presence and telepresence simultaneously) with synchronous and/or asynchronous mode.
- Learning verification modality
- The final exam includes an oral test, a conversation on stylistic changes, figurative problems, schools and centers of artistic production, the most significant personalities and their main works. These topics are discussed in the recommended bibliography and partly explored in depth during the course. The conversation is mostly composed of questions on different topics and periods. It will also assess the methodological expertise of the students and their ability to read a specific work of art with correct language property. Active participation in classes will constitute an additional element of positive evaluation.
- Extended program
- The course addresses early mdoern European art, focusing in particular on the contacts between Italy and other countries (France, Germany, England, Spain, Flanders, Portugal, Hungary). In doing so, it intends to enhance the relations woven by individual national productions with the “Italian model”, verifying the extent of the latter but also focusing on the influences that crossed the Alps in the opposite direction, through commercial, diplomatic and political relations or thanks to the circulation of works and men.
Each year the course will therefore deal with a "case study," able to testify to the liveliness and fruitfulness of such convergences, reflecting directly on the artistic history of a country and its dialogue with the allogenic canon offered by the Italian culture.
In a.a. 2024/2025, the course will investigate the artistic exchanges between the Spanish monarchy and various Italian states - from Florence, to Rome, to Naples – along the “guerre d’Italia” and the sixteenth century. In fact, under the reign of Ferdinand the Catholic and Isabella of Castile, as well as under the reugn of their successor, Charles V, the links between Italy and Spanish Kingdoms were strengthened, leading to immigration and emigration phenomena, o new fashions and the spread of an unprecedented taste in art and literature.
Thus, artists such as Domenico Fancelli or Alonso Berruguete, Diego de Silóe or Pedro Machuca will be explored; but also profiles of patrons such as Ferdinand and Isabella themselves, the Mendoza family or Francisco Jiménez de Cisneros.
Spanish artistic experiences will also be related to similar episodes on the continental level: in particular, the model offered by the imperial court will be observed, thanks to the patronage of Maximilian I and Margaret of Habsburg.
Later examples of this fruitful dialogue, such as the artistic trajectories of El Greco or the Leoni family, will also be analyzed. The course will also discuss the concepts of "center" and "periphery" proper to artistic geography, testing their applicability on a transnational level; in doing so, it will debate early modern art on the background of nationalist discussions aroused around art historical topics between nineteenth and twentieth century.