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Dr. Giulia Forti

Preisträgerin des Wolfgang-Ratjen-Preises 2020




Abteilung/en: Forschung
Gruppe/n: Preisträger

Vita

  • Nov. 2016-to present | Cultore della materia (teaching assistant), Università degli Studi di Verona
  • 2019 | PhD with honors, History of Art, Università Ca’ Foscari Venice and Università degli Studi di Verona, Dissertation title: Sebastiano Ricci e la sua bottega. Disegnare e dipingere a Venezia nel primo Settecento
  • Oct. 2017-Jan. 2018 | scientific collaboration in the editing (proofreading) of the exh. cat. Albrecht Durer e il Rinascimento tra Germania e Italiä (Milan, Palazzo Reale, 2018)
  • Oct. 2014-May 2015 | Internship – Drawing expertise Paris, Galerie de Bayser
  • Spring 2014 | Internship – Documentaliste Scientifique assistant Paris, Musée du Louvre, Département des Arts Graphiques
  • 2013 | Master’s Degree, History of Art, 110/110 with honors, Università degli Studi di Verona  
    Thesis title: Disegni di Sebastiano Ricci e dintorni al Cabinet des dessins del Louvre: novità attribuzioni, proposte
  • March-Aug. 2012 | Erasmus Program for Research, Université Charles de Gaulle, Lille (France)
  • 2010 | Bachelor’s Degree, Scienze dei Beni Culturali, 110/110 with honors, Universita ̀ degli Studi di Verona, Thesis title: Per una fenomenologia della stanza. Degas, Carrà Hopper, Bacon, Cremonini

List of publications

  • «Vittore Carpaccio, Salvator Mundi tra quattro santi», in Albrecht Durer e il Rinascimento tra ̈ Germania e Italia, exh. cat. (Milan, Palazzo Reale: 21 february-4 june 2018), ed. by B. Aikema, in collab. with A. J. Martin, Milan 2018, pp. 330-331, n° 1/20.  
  • «Bibliografia», in Albrecht Durer e il Rinascimento tra Germania e Italiä    , exh. cat. (Milan, Palazzo Reale: 21 february-4 june 2018), ed. by B. Aikema, in collab. with A. J. Martin, Milan 2018, pp. 390- 409. 
  • «Jacopo Tintoretto, Ultima cena», in Venezia Cinquecento: Tiziano, Tintoretto, Veronese, exh. cat. (Moscow, Pushkin Museum: 8 june-25 august 2017), ed. by T. Dalla Costa and V. Markova, Moscow 2017, pp. 192-195, n° 7.  

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Giulia Forti about her dissertation "Sebastiano Ricci e la sua bottega. Disegnare e dipingere a Venezia nel primo Settecento", which was awarded with the Wolfgang Ratjen Award 2020

What is the role of drawing in the creative process of the venetian painter Sebastiano Ricci (16591734)? How did the artist organize his work, in Venice and abroad? And how did he train his pupils? The thesis aims to reconsider Ricci’s successful career under a new investigation perspective: the understanding of the “workshop problem”, with special regard to the functions of drawing. The first chapters are dedicated to the reconstruction of Ricci’s working method, from his early years to his maturity, highlighting the principles that governed his approach to inventio, the relationship with his patrons, his use of drawing. Some misattributed paintings are discussed, such as the Farnese cycle in Piacenza and Naples, which allowed to demonstrate how Ricci’s early oeuvre was strongly inspired by Carracci’s models. Also, hitherto unpublished drawings are presented, contributing to clarify the early draftsmanship of the artist. Then, the workshop is more properly investigated, first of all by providing a useful and updated framework, giving the right place and role to the many artists who, in sources and literature, have been included in the “container” of the scuola di Ricci, from the most cited names of Fontebasso, Polazzo and Diziani, to the less known assistants: Daniel Gran, Francesco Paglia and Agostino Veracini among others. Thanks to the analysis of drawings, bozzetti, paintings and engravings, the productive dynamics of the atelier are traced, establishing useful comparisons with the practice of other contemporary and non-contemporary workshops, from Titian to Solimena, to Tiepolo. The role of drawing as a training tool, the imitation and emulation of the Master, the reuse and diffusion of motifs inside and outside the workshop are some of the recurrent practices that emerged through the research, demonstrating how the bottega substantially contributed to Ricci’s unequaled European fame.