Ateneo - UPO

Diego Velázquez (1599-1660). A Spanish painter of the European Baroque. Center-periphery dynamics in the artistic geography of the Modern Age.

FIRST PART
Bibliographic guidelines:
A selection of book chapter readings from: Julián Gállego, El pintor, de artesano a artista, Granada, 1976; Jonathan Brown, Images and Ideas in Seventeenth-Century Spanish Painting, Princeton, 1978; Vicente Carducho, Diálogos de la Pintura (1633), ed. Francisco Calvo Serraller, Madrid, 1979; Francisco Calvo Serraller, Teoría de la Pintura del Siglo de Oro, Madrid, 1981; Julián Gállego, El cuadro dentro del cuadro, Madrid, 1984; Julián Gállego, Visión y símbolos en la pintura española del Siglo de Oro, Madrid, 1987; Jonathan Brown, The Golden Age of Spanish Painting, New Haven and London, 1991; Francisco Pacheco, Arte de la Pintura, ed. Bonaventura Bassegoda, Madrid, 1990; Alfonso E. Pérez Sánchez, Pintura barroca en España, Madrid, 1992; Karin Hellwig, La literatura artística española del siglo XVII, Madrid, 1999.
Bibliography:
Enrique Lafuente Ferrari, Velázquez. Edición completa, Barcelona, 1944; Antonio Gallego y Burín, eds., Varia Velazqueña. Homenaje a Velázquez en el III Centenario de su muerte, 1660-1990, Madrid, 1960; Velázquez y lo velazqueño. Catálogo de la exposición homenaje a Diego de Silva Velázquez en el III Centenario de su muerte, 1660-1990, 2ª ed. Madrid, 1961; José Camón Aznar, Velázquez, Madrid, 1964; Jonathan Brown and J.H. Elliot, A Palace for a King. The Buen Retiro and the Court of Felipe IV, New Haven and London, 1980; Jonathan Brown, Velázquez, Painter and Courtier, New Haven and London, 1986; Antonio Domínguez Ortiz, Alfonso E. Pérez Sánchez and Julián Gállego, Velázquez, Madrid, 1990; Carmen Garrido, Velázquez. Técnica y evolución, Madrid, 1992; Jonathan Brown, Kings and Connoissuers: Collecting Art in Seventeenth-Century Europe, New Haven and London, 1995; Juan Miguel Serrera, El palacio como taller y el taller como palacio. Una reflexión más sobre Las Meninas, en Fernando Marías, ed., Otras Meninas, Madrid, 1995; Fernando Marías, Velázquez, Pintor y criado del rey, Hondarribia, 1999; Carl Justi, Velázquez y su siglo (1888), ed. Karin Hellwig, Madrid, 1999; Ángel Aterido, Corpus velazqueño, Madrid, 2000; Salvador Salort, Velázquez en Italia, Madrid, 2002; Enriqueta Harris, Velázquez, Oxford, 1982; Alfonso E. Pérez Sánchez and Benito Navarrete Prieto, De Herrera a Velázquez. El primer naturalismo en Sevilla, Madrid, 2005; Salvador Salort, Diego Velázquez, pintor, 1599-1660, Madrid, 2008; Antonio Palomino, Vida de don Diego Velázquez de Silva, ed. Miguel Morán Turina, Madrid, 2008; Fernando Checa, Velázquez. Obra completa, Madrid, 2008; José Manuel Cruz Valdovinos, Velázquez: Vida y obra de un pintor cortesano, Zaragoza, 2011; Javier Portús Pérez, Velázquez y la familia de Felipe IV, Madrid, 2013.
Further literature will be possibly given during the lessons.

SECOND PART
Bibliography for attending Students.
- CASTELNUOVO, Enrico, GINZBURG, Carlo, "Centro e periferia nella storia dell'arte italiana", Officina Libraria, Milano 2019. (in commercio; Biblioteca DISUM = 709.STODAI.1.1/1).
- ROSSO, Claudio, “Gli incerti confini del Piemonte orientale”, in “Letteratura di frontiera: il Piemonte orientale”, a cura di Roberto Carnero, Mercurio, Vercelli 2004, pp. 383-400. (Biblioteca DISUM, disponibile su D.I.R.).
- GAUNA, Chiara, "La storia pittorica di Luigi Lanzi. Arti, storia e musei nel Settecento", Olschki, Firenze 2003, parti indicate a lezione (In commercio; Biblioteca DISUM = 709.033.GAUNC.1).
- FAILLA, Maria Beatrice, “Verso una «fisionomia di scuola piemontese»”, in Diplomazia Musei collezionismo tra il Piemonte e l’Europa negli anni del Risorgimento, a cura di giovanni Romano, Fondazione Cassa di Risparmi di Torino, Torino 2011, pp. 119-144. (Materials on the D.I.R.).
More essays and text will be suggested during the course and made available in a special dossier prepared for students.
Students that never attended Art History courses in the past, are warmly recommended to read a good Modern Art History handbook.
The bibliography must be studied carefully and the preparation for the exam should not be limited to reading the notes taken during the lessons.

NON-ATTENDING STUDENTS
The program here below is not on D.I.R. GENTILE, Guido, "Sacri Monti", Einaudi, Torino 2019 (In commercio; Biblioteca DISUM = 726.509451.GENTG.1).
- CASTELNUOVO, Enrico, GINZBURG, Carlo, "Centro e periferia nella storia dell'arte italiana", Officina Libraria, Milano 2019 (in commercio; Biblioteca DISUM = 709.STODAI.1.1/1).
- ZERI, Federico, "La percezione visiva degli italiani", Einaudi, Torino 1989 (in commercio; PDF su D.I.R., senza immagini).

The course has a series of educational training objectives divided into two levels (basic/advanced)
Knowledge and understanding: at a basic level, the course provides basic knowledge of historical facts and the dynamics that govern the relationships between centers of artistic production, culture, and the public in the Modern Age, in the Italian geographical area. Through the study of the life and work of Diego Velázquez (Seville 1599-1660), the course intends to examine the painting that took place in Spain and Europe in the seventeenth century, and in particular naturalism and the baroque. At a basic level, the broad objective is to know the main lines of the history of art in Spain during the seventeenth century; at an advanced level, mastering the basic concepts on which the belonging of an artist and a work of art to a period, to a stylistic current and to a regional school is based, with particular attention to the seventeenth century.

Ability to apply knowledge and understanding at a basic level, the course provides adequate ability to recognize and define the cultural, artistic and geographical context in which a work of art was born and the dynamics in which it is inserted. At an advanced level, it also equips the student with the ability to know how to recognize the most common iconographic themes and distinguish the various levels of pre-iconographic, iconographic, and iconological reading and interpretation.
At an advanced level, in relation to the transversal skills related to the student's training, the course has the following training objectives related to the transversal skills to be developed:
• Autonomy of judgement-expression of judgments: acquisition of the ability to fully express the historical significance of a work of art within a complex context of territorial, geographical, and cultural relationships. In addition, the course provides the student with the tools needed to assess the degree of depth and autonomy of meaning of a specific work of art and the work of a given artist as a whole.
• Communication skills: the student will acquire the ability to illustrate to a group of interested and non-specialist adults the characters and contents of the artistic production of a place, in relation to the cultural and geographical context in which it exists. In particular, the course will provide him with the skills to be able to describe, with sufficient language properties, a work of art in its various levels of signification and to distinguish the various levels of reading with clarity and full command of terminology. and iconographic and iconological interpretation of history and genre compared to the purely formal one, independently operating connections with the cultural context of belonging.
• Learning skills-study skills: the student will be able to autonomously deal with the reading of written and figurative texts that illustrate the cultural production of the Italian artistic centers of the Modern Age; as well the student will be able to critically elaborate the essential notions and concepts learned in order to face and study further iconographies and artistic personalities of the Modern Age.

Good knowledge in Modern Art History.
Basic knowledge in: Modern History; Modern Italian Literature. A good general knowledge of European political, economic, religious, and cultural history during the Seventeenth Century. Besides, a general acquaintance with the outlines of art history of the Baroque age.

Lessons, visits to sites, museums, exhibitions. Space will be devoted to forms of innovative teaching, with research exercises of visual, documentary, and bibliographic materials through the network and introduction to the use of the main databases.
Visits to sites and monuments, museums, religious buildings, and exhibitions are to be considered an integral part of the course itself. Dates and times of visits will be agreed in class or through the D.I.R.
Attendance at the course is strongly recommended.

For the FIRST PART
Students who cannot attend are asked to contact the teacher at least one month before the exam to agree on the texts of study and to receive any material electronically. In case of failure to register for exams electronically, ONLY those who have, at least three days in advance, contacted the teacher in person or sent a message to his email address will be eligible to take the test. No exceptions will be allowed.
For the SECOND PART (professors P. Zambrano)

Patrizia Zambrano e-mail address is: patrizia.zambrano@uniupo.it.
Patrizia Zambrano studio is located at the Department of Humanities, Vercelli, Palazzo Tartara, via G. Ferraris 109, IInd floor, studio number 31.
Registration to the D.I.R. it is necessary to receive communications, as well as to be able to acquire teaching materials that will be made available on D.I.R. All Students interested in receiving information and updates are therefore invited to register for the course on D.I.R.

FIRST PART
Oral exam, c. 20/30’ long, consisting of four questions, at least one of which will be a general one on the course contents and at least two will concern the analysis and commentary of single works of art, through the observation of digital images on the computer or transmitted via WhatsApp on the mobile phone. For the purposes of the learning objectives, the following will be assessed in particular:
Educational objective A: Knowledge
• Knowledge and understanding: to know the main iconographic fields and fundamental genres of Italian and European art, especially in relation to the political situation, the contemporary literary, theatrical and musical expressions and, more generally, the thought of the period (40% of the overall assessment will be attributed to this aspect).
Educational objective B: Skills
• 1. Ability to apply knowledge and understanding: to recognize the history or genre affiliation of certain works of art proposed, through photographs shown on the computer or transmitted via WhatsApp on the mobile phone (20% of the overall assessment);
• 2. Autonomy of judgement: to critically analyze and explain the iconography of a work of art belonging to the period studied (20% of the overall assessment).
Educational objective C: Communication
• Communication skills: being able to use a clear, appropriate and correct terminology (20% of the overall assessment).
An exam demonstrating a knowledge of the program limited to a brief exposition of the main topics, without personal critical evaluations and using essential and only partially appropriate and correct terminology, will be considered sufficient.
The exam will be judged excellent if it demonstrates an articulate, detailed and precise knowledge of the program and the topics discussed along the course, excellent judgement and synthesis skills, a full command of terms and fluency of language.

SECOND PART
The final exam consists of an interview of 4-5 questions and addresses the topics dealt with in the class and the bibliography assigned*. Visits to monuments and exhibition done during the course are an integral part of the program and are subject to examination. During the exam it is advisable to have the images of the course with you.
Vote of the exam is valuated in 30/30 points and based on the following parameters: 1) knowledge of the main and principal notions presented in the lessons and in the texts indicated in the bibliography * (18 points out of 30); 2) critical reasoning capability and associations and connections (6 out of 30); 3) ability to discourse knowledge and to express it effectively and linearly, using the specialized vocabulary, where needed (6 out of 30).
* For non-attending students, only on the assigned bibliography.

The Examination Commission, after adequate joint and shared discussion, evaluates the two tests and assigns the final grade based on the average of the marks obtained in the two partial tests.

FIRST PART
Teaching units:
UD 1: Baroque painting in Spain. 6 HOURS
UD 2: Naturalism and Baroque. 6 HOURS
UD 3: Diego Velázquez: The formation. 6 HOURS
UD 4: Diego Velázquez: Images and ideas. 6 HOURS
UD 5: Diego Velázquez, painter of the Court. 6 HOURS
In the second part, the course also addresses the major issues related to the historical definition of the concept of artistic center in the broader context of artistic geography. It covers its history and provides a series of examples and case studies also, but not exclusively, linked to the Piedmont area. Particular attention is given to the interconnections operating, over the centuries, between physical geography, political geography, and artistic geography, especially in relation to the movements of artists and works, the relationships between cultural areas, the diffusion of innovation phenomena, the dynamics of client in relation to the places and the tangible and intangible communication routes in the modern era.

To achieve sufficient or more than sufficient knowledge, skills and abilities as intended, the student is expected to achieve the following outcomes:
To achieve a basic level, the student must demonstrate:
- Knowledge and understanding: to know contents, methods and vocabulary related to the presence of territorial historical-artistic centers and contexts characterized by both simple and complex dynamics of relationships and interconnections. Knowing the main issues covered by the artistic representations of the modern age. To acquire a fundamental knowledge of the greatest masters and the most important trends in the visual arts of the Modern Age in Spain and Europe; at an advanced level, to orientate oneself among the various artistic currents that followed and overlapped during the seventeenth Century, also in relation to the other kinds of creative expression and to contemporary religious and philosophical culture.

- Ability to apply knowledge and understanding: be able to apply the acquired knowledge, proving to be able to orient oneself in space and time, relative to the historical and artistic territorial contexts, even complex and polycentric, which characterize the modern age. Knowing how to place in time and bring individual images, both of history and genre, back into the context of a specific artistic-cultural context.

Transversal skills
- Autonomy of judgment: knowing how to express autonomous evaluations of the historical-artistic contexts in the geographical dimension and in the existing cultural relationships, in the course of history and in actuality, between the different centers, also in light of the movements of artists and works.
- Communication skills: being able to communicate the specificity of a historical-artistic context on a territorial and geographical basis to a non-specialist public, also in the perspective of its enhancement.
- Learning skills: knowing how to transmit and disseminate, in an autonomous and personal way, the specificity of the territorial historical-artistic contexts not only for the benefit of their knowledge, but also in the concrete perspective of their future cultural enhancement. Knowing how to use the critical and methodological tools useful for continuing studies on the period not only in the history of art but more generally in any field relating to the history of culture.

For the achievement of an advanced level, the student must demonstrate:
- Knowledge and understanding: to be able to identify, describe and analyze the dynamics that govern, in the different ways, the relationships of artistic geography in the center-periphery dynamic and also to orient oneself in the relationships between the figurative arts and contemporary general culture and the philosophical, political, literary, social and religious underlying artistic creation.
- Ability to apply knowledge and understanding: to be able to carry out limited but original reflections / researches on a territorial basis.
Transversal skills
- Independent judgment: use the digital sources (both textual and visual) available in a correct and functional way. Having acquired a thorough critical awareness of the European history and culture of the Modern Age, and being able to distinguish the concepts of the topics covered in the course and elaborate them critically, in the light of the time in which they were expressed, in order to grasp the nuances of interpretation of works and artistic facts of the Sixteenth, Seventeenth and eighteenth centuries.
- Communication skills: use disciplinary lexicon in communicating content.
- Learning skills: be able to independently trace and use historical and possibly archival sources in the short and wide range; ability to use critical and methodological tools useful for continuing studies on the period not only in the history of art but more generally in any field relating to the history of culture.