IST.SUP.MATILDE SERAO
POMIGLIANO D’ARCO
Naples
between Art and History
PROGETTO
DIDATTICO PLURIDISCIPLINARE E
PLURILINGUISTICO
A.S
2011-12 CLASSE 3D LINGUISTICO
DOCENTE:IASEVOLI TANIA
GREEK BIRTH, ROMAN ACQUISITION

The history of Naples is long and
varied, beginning in the 9thcentury BC. Greeks colonized many
parts of south Italy. Naples was
one of the latter cities founded in
the Magna Graecia, founded as
"Parthenope" in the sixth century
B.C. Parthenópe was named after
the siren, in Greek mythology,
had washed ashore at Megaride
after throwing herself into the sea
when she failed to bewitch Ulysses
with her song. It is significant that
modern Neapolitans still refer to
themselves often as Partenopéi,
"Parthenopeans". . In the Roman
era the city was a flourishing
centre of Hellenistic culture that
attracted Romans wanting to
perfect their knowledge of Greek
culture.
Norman Period

Christians had a prominent role
in the late years of the Roman
Empire, and there are several
notable catacombs and palæoChristian basilicas. The greatly
popular patron of the city, San
Gennaro (St. Januarius), was
decapitated in nearby Pozzuoli in
305 AD. The Cathedral of
Naples is also dedicated to St.
Gennaro. Naples was the capital
of duchies, kingdoms, and
empires, and it was a primary
cultural center. . Naples is a
microcosm of the European
history because it saw several
civilizations come and go, each
leaving traces also in its art and
architecture. Norman buildings in
Naples were mainly lay ones,
notably castles (Castel Capuano
and Castel dell'Ovo), walls and
fortified gates.Frederick II
Hohenstaufen founded the
university in 1224. in 1266
Naples and the kingdom of Sicily
were assigned by Pope Clement
IV to Charles of Anjou, who
moved the capital from Palermo
to Naples. He settled in his new
residence in the Castel Nuovo,
around which a new district
grew up, marked by palaces and
residences of the nobility



The Aragonese period
In 1442 Alfonso I conquered Naples
after his victory against the last
Angevin king, Rene, and made his
triumphal entry into the city in
February 1443. The new dynasty
enhanced commerce by connecting
Naples to the Iberian peninsula and
made Naples a centre of the Italian
Renaissance: artists who worked in
Naples in this period include
Francesco Laurana, Antonello da
Messina, Jacopo Sannazzaro and
Angelo Poliziano. Castel Nuovo
("New Castle") was renovated and
chosen as his palace by Alfonso of
Aragon. Alfonso the Magnanimous
(1396–27 June 1458) was the
King of Aragon (as Alfonso V), .
He was one of the most prominent
figures of the early Renaissance and
a knight of the Order of the
Dragon. Born at Medina del Campo,
he was the son of Ferdinand I of
Aragon (known as Ferdinand of
Antequera) and Eleanor of
Alburquerque.
Tavola Strozzi
Spanish and Bourbon rule
After the brief conquest by Charles VIII of France in 1495, the two kingdoms were united under
Spanish rule in 1501. In 1502 Spanish general Gonzalo Fernández de Córdoba entered in the city,
starting the two centuries of rule of the almost omnipotent viceré ("viceroys") in Naples. Palazzo
Reale (Royal Palace) was the seat of Spanish and Austrian viceroys. Under the viceroys Naples grew
from 100,000 to 300,000 inhabitants. The most important of them was don Pedro Álvarez de
Toledo: he introduced heavy taxation and favoured the Inquisition, but at the same time improved
the conditions of Naples. He opened the main street, which still today bears his name; he paved
other roads, strengthened and expanded the walls, restored old buildings, and erected new buildings
and fortresses, essentially turning the city of Naples by 1560 into the largest and best fortified
city in the Spanish empire. In the 16th and 17th century Naples was home to great artists such as
Caravaggio, Salvatore Rosa and Bernini. All the strains of an increasingly over-populated city
exploded in July 1647, when the legendary Masaniello led the populace in violent rebellion against
the foreign, oppressive rule of t. In 1656 the plague killed almost half of the inhabitants of the
city; this led to the beginning of a period of decline.
CHARLES III OF BOURBON
THE NATIONAL MUSEUM

OF
CAPODIMONTE
The National Museum of Capodimonte (Italian Museo di Capodimonte) is located in the Palace of
Capodimonte, a grand Bourbon palazzo in Naples, Italy. The museum is the prime repository of
Neapolitan painting and decorative art, with several important works from other Italian schools
of painting, and some important Ancient Roman sculptures.In 1738, Charles decided to build a
grand palace on the Capodimonte hill, because he needed somewhere to house the fabulous
Farnese art collection . Work started in September 1738, but it was to take more than a
century to complete, partly because of the difficulty of transporting piperno, the volcanic rock
used, from the quarries in Pianura. In 1758, the first part of the palace was opened and the art
collection was brought in. In 1759, Ferdinand I succeeded his father Charles and the following
year he appointed the architect Ferdinando Fuga to oversee the work. During the ten years of
French occupation (1806 to 1815), the palace was the residence of Joseph Bonaparte and then
of Joachim Murat. The art collection was transferred to the Naples National Archaeological
Museum. When Ferdinand returned from Sicily in 1815, the palace was finally completed. . In
1950 it became national museum, which host Farnese’s art collections and paintings from the
13th to the 18th centuries, including major works by Simone Martini, Raphael, Titian, Caravaggio,
Ribera and Neapolitan Caravaggisti. The palace is situated in the Bosco di Capodimonte, which
served as a royal hunting preserve. There is still a pleasant park around the palace.
Danaë
The first version, now in
Naples, was painted
between 1544-46.
Danaë is a depicted as a
voluptuous figure. Her legs
are open in all, with her
left leg arched. The works
have been highly influential
and affected the work of
many artists including
Rembrandt, Anthony van
Dyck and Gustav Klimt. In
keeping with the
Renaissance view of Danaë,
Titian has depicted her with
the fleshy body of a
courtesan, although she is
given the facial features of
Danaë with Eros, 1544. This painting shows the youthful
a graceful contemporary
figure of Eros alongside Danaë .The Danaë series comprises at Venetian lady. Titian
least five oil-on-canvas paintings by the Venetian master
transforms the motifs of
Titian, completed between 1553 and 1556. The works are
courtesans and carnal desire
based on the mythological princess Danaë.She was seduced and into the more highbrow
became pregnant by Zeus who, inflamed by lust, descended
realm of classical myth.
from Mount Olympus to entice her as a shower of gold.
THE FLAGELLATION OF CHRIST
is a painting by the Italian Baroque painter Caravaggio,
now in the Museo Nazionale di Capodimonte, Naples. It
is dated to 1607, and may have been reworked by the
artist in 1610. According to art biographer Gian Pietro
Bellori (1672), this work was commissioned by the di
Franco (or de Franchis) family for a chapel in the
church of San Domenico Maggiore in Naples. The family
were connected with the Confraternity of the Pio
Monte della Misericordia, for whose church Caravaggio
had already painted The Seven Works of Mercy. It was
moved to the museum at Capodimonte in 1972.The
Flagellation of Christ had long been a popular subject in
religious art—and in contemporary religious practice,
where the church encouraged self-flagellation as a means
by which the faithful might enter into the suffering of
Christ. Caravaggio's painting introduces an acutely
observed reality into the scene: Christ is in this
drooping pose, not because it might seem graceful, but
because the torturer on the right is kicking the back of
his knee while the figure on the left holds his hair
tightly in his fist.This series of highly dramatic and
innovative Neapolitan altarpiece, instantly made
Caravaggio the most talked-about artist in Naples, and
the city became a centre of the Caravaggisti included
Spanish artists like Jusepe de Ribera..
JOSÈ DE RIBERA

Sileno Ebrio es una de las obras
màs importantes de Josè De
Ribera realizada en 1626 en
Nàpoles porque en aquel periodo
en esa ciudad habìa un virrey
español. En el cuadro Sileno
aperece como un hombre grueso
y alegre, sìmbol al mismo
tiempo de groserìa y sabiduria.
Cerca de èl hay una concha
considerada anuncio de su
muerte, una tortuga, sìmbol de
la pereza y està el bastòn del
pastor. El sàtiro Priapo intentò
seducir a la ninfa Lotis mientra
todos dormian; pero el burro de
sileno emperò a reburnar, todos
se despertaron y asì se descubriò
el engaño. Ribera coloca a Sileno
tumbado en el centro (en
scorzo) mientras que el burro
aparece al fondo y el satiro rìe
a carcajadas. El naturalismo es la
caracterìstica principal de la
composiciòn.
De esta manera Ribera realiza una escena de
caràcter burlesco en la que trata el mundo
mitològico con ironìa. Como Caravaggio usa
figuras y colores apagados aunque manifìesta
una mayor sintonìa con Carracci y los
clasicistas.
QUESTO PRODOTTO È STATO REALIZZATO DA:
CALIENDO MARIA, LONGANO GELSOMINA,
MELE MARIA PIA, NARDUCCI RITA,
nell’ ambito di un progetto didattico
interdisciplinare
teso a sviluppare competenze integrate
e plurilinguistiche.