Note e documenti sulla Scuola di Scultura del Real Istituto di Belli Arti di Napoli nella prima metà dell'Ottocento: gli statuti, i regolamenti, la didattica

• Autores: Federica De Rosa
• Localización: Confronto: studi e ricerche di storia dell'arte europea, ISSN 1721-6745, Nº. 6, 2023, págs. 109-126
• Idioma: italiano
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• Resumen

  • Through researchs primarily based on archival documents, some of which are presented in the appendix, this essay retraces the teaching carried out in the School of Sculpture at the Royal Institute of Fine Arts in Naples (now Academy of Fine Arts) in the first half of the nineteenth century, including the 1860s. Simultaneously, to better understand the life and activities of the institution, the statutes, reforms, regulations, and decrees implemented between 1802 and 1847 are reviewed. In 1847, by decree from King Ferdinand II of Bourbon, the teaching of sculpture gained autonomy, and was definitively separated from restoration activities conducted for the Royal Bourbon Museum.

    To delve into educational aspects that characterized mainly Angelo Solari's class, this essay presents and discussed the unpublished minutes of the "concorsi di incoraggiamento" administered by the school. These competitions took place from 1822 to 1848 (resuming in 1853) on a monthly, bimonthly, quarterly, or even semiannual basis for the first- and second- year classes of all schools. An analysis of the subjects in the exam reveals the taste of the period and the school's working methodology. Additionally, this article presents an inventory of the plaster cast collection used by Solari for student exercises. This collection was acquired at Angelini's request to allow young artists to draw from ancient models, aligning with thr practice adopted in all Italian Academies and forming the foundational collections of these institutions.

    Finally, a republished letter written by Angelini in 1852 demonstrates the education reform the artist achieved in the Neapolitan School of Sculpture in just a few years. This letter, previously unearthed by Costanza Lorenzetti, clearly illustrates how the most significant sculptor of Southern Neoclassicism, who moved through various classic, purist, and 'naturalistic' phases, succeeded in introducing a modern approach to sculpture in Naples. Just as Bartolini did in Florence, Angelini was the first to introduce direct study from live models, thereby preparing his student for nature-based research and the most significant artistic movement in the second half of the nineteenth century in Naples: the realism heralded by Stanislao Lista