this Course aims the knowledge of Flemish and Dutch Art through the study of the works, the Artists and the most significant Movements from Fiftheenth to Seventteenth Century (from International Gothic to the Dutch Golden Age)

1) International Gothic in the Duchy of Burgundy. Miniature: Limbourg brothers. The two Renaissances, Italy and Flandres. Masaccio and Masolino. Jan and Hubert van Eyck. Perspective and Oil Painting. Jan van Eyck (h: 3) 2): Robert Campin. Roger van der Weyden. Petrus Christus. The Haarlem School: Albert van Ouwaeter, Gertgen tot Sint Jans, Dieric Bouts. Hugo van der Goes (h: 3) 3): Bruges: Jan Memlinc. Gerard David. Hieronymus Bosch (h: 3) 4): The Fifteenth Century in Urbino: Piero della Francesca, Fra' Carnevale, Francesco di Giorgio. The Iustus of Gand 'Quest' (class with Dr. Tamara Dominici e Dr. Ilaria Perlini) (h: 3) 5): The Fifteenth Century. Quentin Metsys. Secular and Religious Painting in Antwerp. Antwerp's Stilists (Jan de Beer etc.) and Romanists (Jan Gossaert etc.), Hypotesis of Mannerism. Landscapers (Joachim Patinier etc.) and Genre Painters (Lucas van Leiden etc.). Still Life (Peter Aertsen and Joachim Beuckelaer) (h: 3) 6): Pieter Bruegel the Elder (h: 3) 7): Caravaggism. Baroque and Counter-Reformation in Flanders. Pieter Paul Rubens:Rethoric (Jacob Jordaens). Rembrandt Harmensz. Van Rijn: Nature and Rethoric in The Netherlands (h: 3) 8): Netherlandish Landscape: source and development. The Seventeenth Century: Flemish and Dutch Landscape, Specialisation, Italianates and the "Bamboccianti" (h: 2) 9): Netherlandish Still Life: source and development. The first Florists (Jan Brueghel the Elder, etc). Flemish Still Life (Frans Snyders etc.). Dutch Monochroms Banquets (Pieter Claesz. etc.). Other specialisation (h: 2)10): The Portrait Painting: from ‘400 to ‘600. Frans Hals (Rembrandt) and Anton van Dyck (Rubens). Interactions with Italian Painting (h: 2) 11): Flemish and Dutch Genre Painting: source and development. Low Life (Adriaen Brouwer, David Teniers etc.); High Life (Pieter de Hooch, Adriaen ter Borch etc.). The Leiden Fijnschilders (Frans van Mieris etc.) (h: 2) 12): Jan Vermeer: the Praise of Everyday Life (h: 3)

Visit to the Ducale Palace, the Studiolo and the Gabinetto di Fisica

 is better to have done almost an exam of History of Italian Art

student should demonstrate knowledge and understanding of the major Works of Art and the most important Authors and Artistic Movements, from International Gothic to the Dutch Golden Age; student should demonstrate to apply knowledge and understanding in paintings attribution and in cronology of painters and artistic periods; he should be able in making artistic judgments and knowing how to communicate themhis learning skills will be useful in his future artistic knowledge

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

The teaching material and specific communications from the lecturer can be found, together with other supporting activities, inside the Moodle platform › blended.uniurb.it

Teaching

classroom lectures, Seminars with other teachers, guided tours of Museums or Exhibitions, as well as film projections

Attendance

attendance is not mandatory but strongly recommended

Course books

 Limentani Virdis, Introduzione alla pittura neerlandese, Padova, Liviana 1978, P. Torresan,Il dipingere di Fiandra, La pittura neerlandese nella letteratura artistica italiana del Quattro e Cinquecento, Modena, Mucchi, 1981 (ask to Roberta Dini, History of Art Institute, palazzo Albani). or E. Panofsky, Early Nethetlandish painting, Its Origin and Character, 1953, any edition; Other bibliography will be provided during the course, with slides and power points available on Moodle › blended.uniurb.it

Assessment

Oral exam, better to assess the preparation, the attribition's skills and his linguistic property

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

classroom lectures, exercises and guided tours to museums and exhibitions as well as film projections

Attendance

attendance is not mandatory but strongly recommended

Course books

Limentani Virdis, Introduzione alla pittura neerlandese, Padova, Liviana 1978, P. Torresan,Il dipingere di Fiandra, La pittura neerlandese nella letteratura artistica italiana del Quattro e Cinquecento, Modena, Mucchi, 1981 (ask to Roberta Dini, History of Art Institute, palazzo Albani). or E. Panofsky, Early Nethetlandish painting, Its Origin and Character, 1953, any edition; for non attending students one topic more must be personally agreed with the teacher

Other bibliography will be provided during the course, with slides and power points available on Moodle › blended.uniurb.it

Assessment

Oral exam, better to assess the preparation, the attribition's skills and his linguistic property

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

in case of impossibility to attend the Course, the exam must be personally agreed with the teacher (contact via mail)