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Incontri Di Storia Dell'arte Programma 11 Febbraio Copia INCONTRI DI STORIA DELL’ARTE - Bari, 11 febbraio 2015, Centro Polifunzionale Studenti, Sala 2, h. 14.00 Invenzione, tecnica, funzione. La pala d’altare nel Rinascimento italiano Il caso Bologna Cecilia Cavalca Agli studenti della laurea triennale in ‘Scienze dei Beni Culturali’ e della laurea magistrale in ‘Storia dell'Arte’ saranno riconosciuti crediti formativi tra quelli a scelta per ogni seminario frequentato e documentato con apposito attestato Oggetto artistico complesso, frutto di collaborazione tra mae- stranze diverse, condizionato nello sviluppo formale dalle esi- genze simboliche legate alla specifica funzione di culto, la pala d’altare nel corso del Trecento presenta strutture che puntano all’esibizione dei santi in veste di intercessori secondo sequenze paratattiche arrangiate in scala gerarchica. Nel secolo successi- vo, quando acquista forza l’idea di fare interagire i personaggi sacri e viene richiesta un’evocazione sempre più convincente dei principali eventi raffigurati, le vedute multiple perdono ef- ficacia e la foggia delle costruzioni tende progressivamente ad abolire le delimitazioni interne. I tempi d’adozione del formato a superficie unificata e delle innovazioni tecniche che accompagnano la sua affermazione in Età moderna variano sensibilmente da Stato a Stato e da città a città. Seguire le vicende di questo delicato processo verso una nuova forma espressiva significa non solo definire la funzione dei manufatti considerati, ma vagliare per aree geografiche cir- costanziate il grado di reattività degli artefici nell’adattare i moduli del nuovo realismo agli impianti figurativi della tradi- zione medievale. A Bologna nella seconda metà del Quattrocento - momento di massima presa del governo dei Bentivoglio - Marco Zoppo, Francesco del Cossa, Lorenzo Costa e Francesco Francia rea- lizzano alcune delle più importanti pale d’altare del Rinascimento italiano. L’analisi dei fatto- ri storici e tecnici che ne hanno condizionato la creazione e assicurato la fortuna illumina una delle più poliedriche e affascinati officine del- la storia dell’arte italiana, mettendone in valore la ricchezza degli esiti: non come mera evoluzione di uno stile, ma quale espressione di preferenze condivise dai contemporanei. Cecilia CAVALCA, laureata all’Università degli Studi Bologna, specializzata all’Università Cattolica del Sacro Cuore di Milano, ha conseguito il dottorato di ricerca in Storia dell’arte moderna presso l’Università di Ginevra. Gli interessi di ricerca sono rivolti in particolare all’arte dell’Italia settentrionale, con una speciale atten- zione alle tecniche di costruzione e pittoriche, alla storia della committenza e alla circolazione dei modelli in area mediterranea; da un quindicennio si dedica allo studio del Rinascimento bolognese e più in generale delle relazioni artistiche che legano l’Emilia Romagna a Firenze, Venezia e Roma. Professore a contratto presso l’Università Cattolica del Sacro Cuore di Milano e presso l’Università degli Studi di Parma, ha svolto attività didattica (Guest Lectures) a Ginevra e a Londra e ha a lungo collaborato con le Soprintendenze ai beni storico artistici dell’Emilia Romagna e della Lombardia. E’ membro dei consiglieri del Centre d’Art d’Època Moderna (CAEM) dell’Universi- tà degli Studi di Lleida. E’ autrice della monografia La pala d’altare a Bologna nel Rinascimento: opere, artisti e città, 1450-1500 (Silvana Editoriale, 2013) e suoi interventi a carattere saggistico sono apparsi nelle riviste “Storia dell’arte lombarda”, “Paragone” e “Nuovi Studi”. Come autrice ha partecipato inoltre alla realizzazione dei cataloghi di numerose raccolte museali (Quadreria dell’Arcivescovado di Milano; Museo d’Arte antica del Castello Sforzesco; Galleria Nazionale di Parma; Pinacoteca Nazionale di Bologna; Pinacoteca Ambrosiana) e ha collaborato, tra le altre, alle esposizioni Pietra Dipinta. Tesori nascosti del ‘500 e del ‘600 da una collezione pri- vata milanese (Milano, Palazzo Reale 2000); Une Renaissance singulière. La cour des Este à Ferrare (Bruxelles, Palais des Beaux-Arts 2003 e Ferrara, Castello 2004); Capolavori da Scoprire. La collezione Borromeo (Milano, Museo Poldi Pezzoli, 2006); Cosmè Tura e Francesco del Cossa. L’arte a Ferrara nell’età di Borso d’Este (Ferrara, Palazzo dei Diamanti 2007); Botticelli to Titian. Two Centuries of Italian Masterpieces (Budapest, Szépmüvézeti Múzeum, 2009); Rare Pittu- re. Ludovico Carracci, Guercino e l’arte nel Seicento a Carpi (Carpi, Musei dei Pio, Museo diocesano “Rodolfo Pio”, Palazzo Foresti, 2010); Melozzo da Forlì, L’umana bellezza tra Piero della Francesca e Raffaello (Forlì, Musei di San Domenico, 2011); Bellini. Dall'icona alla storia (Milano, Museo Poldi Pezzoli, 2012). Curatela scientifica e coordinamento: Prof. Andrea LEONARDI (L-ART/02 Storia dell’Arte Moderna) - [email protected] Dipartimento di Lettere, Lingue, Arti. Italianistica e Culture Comparate Piazza Umberto I, 1 - Palazzo Ateneo, II piano 70122 Bari (Italy).
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