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Teacher
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Marini Giorgio
(syllabus)
The drawing father of the arts / The language of engraving between reproduction and dissemination:
Introduction to the study of drawing and engraving with a diachronic path and knowledge of specific graphic techniques
Already in the Proem of the first edition of the Lives, Giorgio Vasari had emphasised the importance of drawing in the construction of the work of art. But in the more extensive Introduction to the 1568 edition, the artist and historiographer from Arezzo describes its forms, typologies, techniques and functions in detail.
Following Vasari's outline, the course aims to offer an awareness of the arts of drawing as the foundation of all arts, a technical instrument that allows the artist to organise and get to know external reality in its various appearances, and to express his or her inner concepts and ideas in visible forms.
The course consists of two parts:
The first will examine the evolution of drawing from the 15th to the 21st century, highlighting the importance progressively accorded to it, from a mere design or mnemonic tool - in relation to the dynamics of artistic workshops - to a conceptual foundation of artistic practice. The technical aspects and collecting aspects will also be considered fundamental.
In the second part, the specific documentary, multiplicative and diffusive nature of engraving will be examined, with a focus on its different technical modes as they were developed over the same time span, and their characteristic declination according to expressive and communicative purposes.
The materials and techniques
The supports
The tools
Pentimenti, transfer methods, restoration and tampering
Forms, functions and typologies
Functional design
Autonomous drawing
Attendance of lectures and especially workshops/seminars at the Central Institute for Graphics is highly recommended.
(reference books)
- Annamaria Petrioli Tofani, I materiali e le tecniche, in Il disegno. Forme, tecniche, significati, a cura di A. Petrioli Tofani, S. Prosperi Valenti Rodinò, G.C. Sciolla, Istituto Bancario San Paolo di Torino, Torino 1991, pp. 185-251;
- Simonetta Prosperi Valenti Rodinò, Forme, funzioni, tipologie, in Il disegno. Forme, tecniche, significati, a cura di A. Petrioli Tofani, S. Prosperi Valenti Rodinò, G.C. Sciolla, Istituto Bancario San Paolo di Torino, Torino 1991, pp. 91-183.
- Ginevra Mariani (a cura di), Le tecniche d’incisione a rilievo. La xilografia, De Luca, Roma 2001
- Ginevra Mariani (a cura di), Le tecniche calcografiche d’incisione diretta. Bulino, puntasecca, maniera nera, De Luca, Roma 2003
- Ginevra Mariani (a cura di), Le tecniche calcografiche d’incisione indiretta. Acquaforte, acquatinta, lavis, ceramolle, De Luca, Roma 2005;
+ Altri testi da definire a breve
È richiesta la familiarità con i seguenti strumenti che saranno presentati a lezione:
- F. Lugt, Les Marques de Collections de Dessins et d’Estampes, Amsterdam 1921. Suppelmento: La Haye 1956 ON LINE: www.marquesdecollections.fr
Strumenti a supporto della didattica
Proiezioni di immagini in PPT, che saranno messe a disposizione dello studente alla fine del corso.
Altri materiali, resi disponibili con modalità che verranno comunicate via via, afferenti a specifici approfondimenti tematici.
- C. M. Briquet, Les Filigranes: Dictionnaire Historique de Marques du papier, Geneve 1907, II ed. Lipsia 1932. ON LINE http://www.ksbm.oeaw.ac.at/_scripts/php/BR.php
La bibliografia è identica per gli studenti frequentanti o non frequentanti.
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Università Roma Tre