www.accademiadibrera.milano.it GUIDE All the information in this guide is up to date, with the exception of details regarding entrance procedure (admissions tests), which will be published as soon as possible and comply with Italian government restrictions related to the COVID-19 emergency. For more information OrIentation / InTernationAL sTuDenTs OffICe [email protected] tel: +39 02.86955363 regIsTrAr’s OffICe [email protected] tel. +39 02.86955601 N The Accademia di Brera has 3 L’AccademiaWhere di Brerawe a Milanoare campuses in Milan è dislocata su 3 sedi a Milano (soon to be 4) and 1 in Arcore (prossimamente 4) e 1 ad Arcore 5 1 Visual and Performing Arts Palazzo di Brera Via Brera, 28 20121 Milano Directions: MM1 Red line: CAIROLI MM2 Green line: LANZA MM3 Yellow line: MONTENAPOLEONE TRAM: 3, 4, 12, 14 3 2 Visual arts, educational workshops, exhibitions and events Ex Chiesa di San Carpoforo Via Formentini, 12 20121 Milano 4 Directions: MM1 Red line: CAIROLI MM2 Green line: LANZA MM3 Yellow line: MONTENAPOLEONE TRAM: 3, 4, 12, 14 Prossima apertura... 3 Technology, planning and design Brera2 Viale Marche, 71 20159 Milano Directions: MM3 Yellow line: ZARA BUS: 90, 91, 92 TRAM: 2, 4 and 11 2 1 4 Arts Campus Former Scalo Farini rail yard Opening soon... 5 School of Restoration Former stables at Villa d’Adda Borromeo Via Monte Grappa, 7 20862 Arcore (MB) 06 ____ Accademia di Brera past and present 09 ____ Accademia di Brera in numbers 11 ____ Guido Ballo Library of Contemporary Art 12 ____ How much does it cost to study at Brera? index 14 ____ Courses Offered 16 ___________ Three year course in Painting 18 ___________ Three year course in Sculpture 20 ___________ Three year course in Decoration 22 ___________ Three year course in Graphic Art 24 ___________ Three year course in Set Design 26 ___________ Three year course in Artistic Design for Business 28 ___________ Three year course in Art and New Technologies 30 ___________ Three year course in Valorisation of Cultural Heritage Disciplines 32 ___________ Three year course in Communication and Didactics of Art 34 ___________ Two year course in Painting 36 ___________ Two year course in Sculpture 38 ___________ Two year course in Decoration 40 ___________ Two year course in Graphic Art 42 ___________ Two year course in Art Therapy 44 ___________ Two year course in Set Design 50 ___________ Two year course in Product Design 52 ___________ Two year course in Fashion Design 54 ___________ Two year course in Art and New Technologies 58 ___________ Two year course in Photography 60 ___________ Two year course in Creative Communication for Cultural Heritage 62 ___________ Two year course in Visual Cultures and Curating Practices 64 ___________ Five-year Restoration Course 70 ___________ Other Courses __________________ School of Craftsmen and School of Nude Art __________________ Preparatory Course 72 __________________Single Courses 73 __________________Percorso 24 CFA 74 ___________ Master 76 ____ Offices and contacts 6 Accademia di Brera past and present index The Accademia di Brera was founded in with the emergence of photography and 1776 by the empress Maria Theresa of the growing rebellion of young artists to- Austria, during the Age of Enlightenment wards the conservatism of teaching, (Me- that saw the interweaving of the sciences, dardo Rosso was just one of the famous- literature and the arts as the foundation for ly “expelled”), academic life merged and the humanistic culture of the modern age. clashed with an artistic world in ferment as It stood out right from its very unique it transformed, from the Scapigliati to the conception in Palazzo di Brera sharing Futurists. During the Avant-garde period, the building with the Gymnasium, the Scu- painting lessons were given by Cesare Tal- ole Palatine for law and philosophy, the lone, who was Carrà and Funi’s maestro. astronomical observatory, the laboratories In 1923, with the school reform by Gio- of physics and chemistry, the botanical gar- vanni Gentile, the Artistic Lyceum was set Fausto Melotti, Luciano Fabro, and Alber- names in culture. Some of the many who dens, the Teresiana Library, the Academy up next to the Accademia and in the same to Garutti are just some of the artists who have worked unstintingly with students, of Sciences, and the Picture Gallery that years, the school of sculpture was run by testify to the close relationship between providing workshops, keynote addresses, formed the nucleus of what is today the Adolfo Wildt, who was then succeeded by art and teaching. Liliana Moro, Mario Airò, and seminars, include Roberto Saviano, Pinacoteca. Francesco Messina and Marino Marini, the Gianni Caravaggio, Bernhard Rüdigher, Monsignor Gianfranco Ravasi, Lindsay The Accademia owes its initial strong mo- latter’s students including Lucio Fontana and Marcello Maloberti all studied under Kemp, Jean Luc Nancy, Toni Servillo, Luca mentum to Giuseppe Bossi, its administra- and Fausto Melotti. Luciano Fabro. And Alberto Garutti taught Ronconi, and Nobel Prize winner Dario Fo, tor between 1802 and 1807, who rekindled The need to respond to changing cultural Vanessa Beecroft, Lara Favaretto, Giuseppe who was a student here. Various illustrious links with the rest of Europe, also thanks to conditions (advertising was already being Gabellone, Paola Pivi, Patrick Tuttofuoco, names have received an honorary degree the nomination of honorary partners such taught at the School of Craftsmen before Roberto Cuoghi, and Petrit Halilaj, the last from the Accademia di Brera. Recent recip- as David, Canova, Thorvaldsen and many the Second World War) became increas- two also showing at the Venice Biennale ients include: Orhan Pamuk, Fabio Vacchi, others. It was Bossi who introduced the an- ingly evident after the war when the Ac- in 2017. Some may be born “artists”, but Romeo Gigli, Ennio Morricone, Hilal Elver, nual exhibitions from 1805 that were to cademia reopened its courses under the many have become artists at Brera. Vittorio Garatti, Tadashi Suzuki, Vincenza become the biggest contemporary art event direction of Aldo Carpi. In the sixties, this The academy reform in 1999 provided an Lomonaco, and Anselm Kiefer. in Italy during the nineteenth century. was an area in the city where great artis- opportunity that was fully experimented at For some years now, Brera has opened its Countless artists have passed through the tic debate took place, with lively discussion Brera, opening up its artistic teaching to a doors during the summer months to pres- Accademia doors over time. During the among artists at the nearby Giamaica café. greater number of disciplines. The current ent its ten schools and work by its students Romantic Age, the historical painting tri- Today, the Accademia di Brera is renowned range of courses has been enriched with with “Accademia aperta”, (Open Academy). umphed thanks to Francesco Hayez, the worldwide, still today chosen by those knowledge related to new technologies and As well as these open classrooms, a select- landscape school by Giuseppe Bisi was set wanting to follow a career in art. So many theory subjects, including history of art, phi- ed group of students put on a large exhi- up, and the teaching post of aesthetics was famous names have passed through Brera, losophy, sociology, anthropology and peda- bition with internationally famous artists. transformed into the history of art. In the some as students, others as teachers. Ad- gogy now account for 50% of each course This broad scope of knowledge and expe- second half of the nineteenth century, olfo Wildt, Arturo Martini, Lucio Fontana, of study. The Accademia trains its students rience is rewarded by an ever-increasing for careers in set design for theatre, films enrolment numbers, mainly from countries and television, design and fashion, the cura- outside Italy. tion of exhibitions and events, communica- It is above all in these relationships with tion and exhibition design, valorisation and foreigners that Brera has revealed the high restoration of cultural heritage. An essen- standards of its courses, enabling students tial part of the three- and two-year courses to achieve success in extremely competitive is intense editorial and expository research, international contexts. It is also due to the endorsed from a critical perspective that special calibre of the students who choose shuns fads and fashions. The prestige of Brera: none of them undertaking this path Brera attracts companies large and small, merely to gain a “piece of paper”, instead which support teaching projects and offer highly motivated to put themselves to the a hands-on approach to the world of crea- test at the creative level of thought that is tive employment. The Accademia di Brera today’s playing field for the challenges fac- is a source of inspiration for many famous ing the civilisation and the growth of Italy. index Accademia di Brera in numbers * 9 8 189 Academic staff 180 Temporary lecturers 4644 Enrolled students of whom 1119 from 60 European and non-European countries, Asia, the Middle East and the Balkans in particular. Brera is the Italian university with the highest level of internationalisation 140 ERASMUS agreements with European countries and 9 agreements with non-European countries, for student and trainee exchanges 550 Curricular and non-curricular internship and traineeship agreements with public and private institutions. Internships and traineeships are an essential part of first- and second-level courses. These experiences are primarily with art galleries, theatres, museums, foundations, set and costume design companies, fashion houses and tailors, restoration companies and studios, auction houses, libraries and archives, publishing houses, associations, local councils, comprehensive institutes and schools, communication, graphic and web agencies, planning and design companies, advertising agencies, printing companies, tv and film production companies, centres for assistance and rehabilitation, universities, academies, music conservatories, hospitals, reception centres, no-profit organisations, etc.