Painting

First Degree Academic Diploma
Visual Arts Department – DAPL01

Corso
Study plan
Professors
Scholarships
REGISTRATION

Friuli Venezia Giulia has a long artistic and painting tradition and the First Level Academic Course in Painting promoted by ABA UD takes origin from this.

A new educational offer that wishes to support artistic development of all students coming from the Region and not only that, starting from history, but looking towards the future with a modern approach, answering the needs of young artists and favouring their cultural growth.

Students can experience various imaging techniques: indian ink, oils, graphite, charcoal, inks and any other material fit for the formation of the student and for the creation of his works.

A course of study with strong cultural bases and lab practice, built in order to help improve and grow the artistic sensitivity and the skills of each ABA UD student.

The Painting course wishes to form artistic skills and qualified professionalism that, keeping in mind technical innovation and plurality of languages, may help develop an individual search within painting itself linked to traditional techniques and their elaboration experimenting with new forms of expression.

STUDY PLAN

Professional opportunities

Students with a Painting degree can carry out professional activities in different fields, both in the freelance art profession and in the field of visual arts and creative activities, as well as collaborating in the different fields of its application, such as planning, designing, and specific interventions in painting, both using traditional tools and with new technologies and new pictorial expressions found in national and international exhibitions.

First Year		HOUR	CFA
Discipline teoriche
ABST47	HISTORY OF MODERN ART ABST47 45 HOUR 6 CFA Professor Course card Educational objectives The course will be carried out through frontal lessons, supported by PowerPoint presentations, dedicated to the main artists, art movements and key issues of the hiistorical-philisophical-artistic events that characterized the period that went all the way to The Renaissance and to Neo-Classicism. Skills acquired The student must show knowledge of disciplinary contents, must be able to analyze works, authors and art periods in a coherent and articulate way, historically contextualizing them, expressing a correct and motivated critical evaluation ( also personal ones) also referring to the study career and the experience acquired. Therefore, the student must be able to place the work both in the correct timeframe and recognize style and technique . Methods of evaluation The final test shall verify the degree of knowledge of the main protagonists of Art History, from the end of the fifteenth century to the beginning of the nineteenth century, of the main artistic movements and of the historical-aesthetic aspect of art language. The student will have to prove that he can place the work in the appropriate historical-artistic context, within the personal experiences and relationships of the artist ( commissions, work contents and finality, technical-formal characteristics) i.e. he must show that he can properly read and understand the style of the work itself. Bibliography C. Bertelli, G. Briganti, A. Giuliano, Storia dell’arte italiana, Milano, Electa Mondadori, vol. 3, unità 15, 16, 17 18; vol. 4, unità 19. Ernst Hans Josef Gombrich: Storia dell’arte racconta da E. H. Gombrich, Einaudi, dal capitolo XII al XXIII. Other books must be agreed with the professor.	45	6
ABST47	HISTORY OF CONTEMPORARY ART I ABST47 45 HOUR 6 CFA Professor Course card The finality of this course is to deepen the knowledge of contemporary artists developing their artistic path and placing it in the context they had lived in. We will also analyze the dynamics that govern the world of art, mainly of contemporary art. Students will be placed in groups and a research on a specific artist will be assigned to each group. Members of each group shall illustrate their research to all lesson participants, explaining it in a correct and professional way. Curiosity and question asking are welcomed and kindly expected. This is an Academy therefore a place where philosophy is pursued. Plato started his activity in the garden of an Academy. Please do the same….	45	6
ABAV6	CHROMATOLOGY ABAV6 75 HOUR 6 CFA Professor Course card Emotive temperature and colour physicality from Giotto’s frescoes to the performance of Achille Lauro. First module (70 hours) We will analyze colour and its use both in connection with physicochemical and emotional implications deriving from it, through a trip that retraces the history of art and the connections with other arts and disciplines. The course will be characterized by a comparison between different eras and, therefore, between images used and predominant colours (Giotto ultramarine blue/Picasso blue/ International Klein Blue and blue after Klein. Titian red and Cardinal red, Matisse red, Burri red, Rothko red, all the way to the red shirts chosen by combat sports athletes, and so forth and so on with more colour shades…), indirectly reviewing also all the art works and contamination with design, advertising, cinema, fashion. Monographic course (5 hours) Vanessa Beecroft (Genoa 1969) merges in her works perfection and suffering, aestheticization and forms of asceticism based on resistance and control. Since the beginning of her career she centered her research on the female body, displayed according to a formal, geometric and colouristic rigor that composes articulated tableaux vivants. The point of departure for her work was, in 1993, Despair or the Food Book, with typewritten lists of foods- divided by quality and colour-, eaten by the artist from 1983 to 1991, when she was suffering from anorexia. Her first performance, VB01, was correlated to this work. Thirty girls she met in the streets, at the Academy, or in the surrounding areas, that reminded her of paintings of the Renaissance or of movie actresses of the sixties, wore her clothes, whose colours referred to a group of water colours placed on the floor. More than a hundred performances followed the first one, all titled with her initials, VB (that became sorts of a trademark, a logo) and the action number. During the monographic course we shall take a trip among these warm but frozen bodies, simulating with their representations, Renaissance painting, classic sculpture, cinema, architecture; bodies lent to fashion glam, to video clips, with a continuous reflection on contemporary western society, shown by media exposure with all its contradictions and obsessions. OBJECTIVES This course wishes to see colour used when realizing an image and emotional stimulation. We wish the student to develop an expertise in the cultural, historical, alchemical, symbolic, psychological and healing meaning of colour itself, supplying the analytical and critical methods for proper design. The exam will consist of an oral interview and a written essay. BIBLIOGRAPHY Any art history book is advisable in order to have a general knowledge of the various historical periods together with those suggested by teachers of history of modern and contemporary art. As for biographies I suggest Giunti monographies, while for eighteenth century art: Hal Foster, Rosalind Krauss, Yve-Alain BoisArte dal 1900. Modernismo, antimodernismo, postmodernismo, Zanichelli, 2017 / Angela Vettese, Si fa con tutto. Il linguaggio dell’arte contemporanea, Laterza, 2015). Philip Ball, Colore. Una biografia. Tra arte storia e chimica, la bellezza e i misteri del mondo del colore, BUR Rizzoli, 2004 Manlio Brusatin, Storia dei colori, einaudi, 1999 Johann Wolfgang von Goethe, La teoria dei colori, Luni, 2013 (saggio scritto nel 1810) Rudolf Steiner, L’essenza dei colori, Editrice Antroposofica, 2013 (prima edizione 1929) Johannes Itten, Arte del colore, ediz. Il Saggiatore, 2010 (prima edizione 1961) Kassia St. Clair, Atlante sentimentale dei colori, De Agostini, 2018 Riccardo Falcinelli, Cromorama, Einaudi, 2017 David Batchelor, Cromofobia. Storia della paura del colore, Mondadori, 2006 John Gage, Colore e cultura. Usi e significati dall’antichità all’arte astratta, Istituto Poligrafico dello Stato, 2001 Manlio Brusatin, Vittorio Mandelli, Un colore mai visto. Il colore nell’epoca della sua riproducibilità tecnica, Property Scala, 2003 Vasilij Vasil’evič Kandinskij, Lo spirituale dell’arte, SE, 2005 Marcella Beccaria, Vanessa Beecroft. Performances 1993-2003, Catalogo della mostra (Torino, ottobre 2003-gennaio 2004), Skira, 2003 Michel Pastoureau, Il piccolo libro dei colori, Ponte delle grazie, 2006 Nero. Storia di un colore, Ponte delle grazie, 2016 Blu. Storia di un colore, Ponte delle grazie, 2018 Rosso. Storia di un colore, Ponte delle grazie, 2016 Two or more books to be chosen among: Michel Pastoreu I colori dei nostri ricordi, Ponte delle grazie, 2011 Marc Augé, Un etnologo nel metrò, Eleuthera, 2017 Alison Lurie, Il linguaggio dei vestiti, Armando, 2017 Federico Pierotti, Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni, ETS, 2006 Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017 David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018 Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018 Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica, Einaudi, Phaidon, 2009 Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008 Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996 Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014 Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998 Un colore tira l’altro. Diario cromatico, Ponte delle grazie, 2019 Marc Augé, Un etnologo nel metrò, Eleuthera, 2017 Alison Lurie, Il linguaggio dei vestiti, Armando, 2017 Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017 David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018 Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018 Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica, Einaudi, Phaidon, 2009 Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008 Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996 Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014 Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998 Anna Starmer, Enciclopedia degli schemi di colore, Il Castello, 2018 Sean Adams, Colorpedia. Guida ai colori per grahic designer, Logos, 2017 Stephen Farthing, David Scott Kastan, Sul colore, Einaudi, 2018 Simon Garfield, Il malva di Perkin. Storia del colore che ha cambiato il mondo, Garzanti, 2002 Hans Silverster, Natural Fashion – Decorazioni tribali d’Africa, 2007 Guy Deutscher, La lingua colora il mondo: Come le parole deformano la realtà, Bollati Boringhieri, 2016 Derek Jarman, Chroma, Ubulibri, 1995 Enrica Antonioni, Il silenzio a colori di Michelangelo Antonioni, Campisano, 2006 Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017 Dominique Paini, Alain Bergala, M. L. Pacelli, Lo sguardo di Michelangelo. Antonioni e le arti, Ferrara Arte, 2013 Michele Scapino. Cromoterapia, EDITORIALE OLIMPIA, 2002 Vicky Wall, Guarire con i colori, Mediterranee, 1996 E. H. Gombrich, Ombre, Einaudi 1996 Sophie Duplaix, Gina Pane (1939-1990). È per amor vostro, catalogo della mostra MART, Rovereto, 17 marzo – 8 luglio 2012, Hoepli, 2012 Neville Wakefield, Thyrza Nichols Goodeve, Nancy Spector, Henry Jenkins, Matthew Barney: The Cremaster Cycle, Guggenheim Museum Pubns, 2002 Marc Augé, Un etnologo nel metrò, Eleuthera, 2017 Alison Lurie, Il linguaggio dei vestiti, Armando, 2017 Federico Pierotti, Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni, ETS, 2006 Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017 David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018 Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018 Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica, Einaudi, Phaidon, 2009 Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008 Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996 Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014 Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998	75	6
ABST46		30	4
Discipline teorico-pratiche
ABAV1	ANATOMY I ABAV1 100 HOUR 8 CFA Professor Course card Educational objectives The objective of the first year is to give students solid foundations of human anatomy , in particular of osteology. Bone structure is studied using a synthetic-geometric approach to allow easy decoding in the external morphology of the living model. The geometric approach of the anatomical study will help not only to solve, in a conscious way, a complex transposition of a tri-dimensional figure on a bi-dimensional surface, but also to acquire a spatial reasoning such as to lay the foundation for the design of pure invention. Lessons will have practical demonstrations made by the teacher, a Lab design phase and correction of all exercises. Skills acquired Knowledge of the whole bone and joint structure of the human skeletal structure and capacity for geometric simplification. Knowledge of main proportions and bone structure inclinations and ability to graphic re-proposition from different observation points. Conscious use of acquired anatomic knowledge in life drawing. Methods of evaluation The exam is divided into a practical part and an oral part. The practical part consists in life drawing of a living model and in drawing, without reference, of the human skeletal structure. The oral part focuses on knowledge of the human skeletal structure. All exercises made in class and all assignments will also be evaluated. Bibliography LA FIGURA – Walt Reed – LA BIBLIOTECA DI D&D STRUTTURA UOMO vol. 1 – Lolli, Zocchetta, Peretti – Neri Pozza THE COMPLETE GUIDE TO ANATOMY FOR ARTISTS & ILLUSTRATORS – Gottfried Bammes – Search Press FIGURE DRAWING DESIGN AND INVENTION – Michael Hampton	100	8
ABAV5	PAINTING I ABAV5 150 HOUR 12 CFA Professor Course card Educational objectives The First year of painting is centered on still life. The student acquires a basic knowledge of painting techniques, correct image reading and conscious management of materials and their possible interaction, by re-proposing different objects from life. This path allows achievement of effective tonal and chromatic image management. Skills acquired Image geometrical and spatial decoding. Knowledge of oil and non-oil painting techniques in their main performing dynamics. Handling of pictorial materials and possible interactions. Comprehension of image tonal and chromatic values. Re-proposition of still life based on acquired skills. Methods of evaluation The final exam focuses on evaluation of works done by the student during the course and on a practical exam consisting in realization of a still life from life. Bibliography Philip Ball – Colore – Una biografia – edizioni BUR Mauro Matteini, Arcangelo Moles – La chimica nel restauro – I materiali dell’arte pittorica – Nardini Editore Maria Bazzi – ABECEDARIO PITTORICO – Neri Pozza Editore	150	12
ABST58	PSYCHOLOGY OF ART ABST58 75 HOUR 6 CFA Professor Course card Psychology and Art, between philosophy and psychology. Art and aesthetics of beauty, the hedonic dimension of pleasure, art and the appeal of its seducing power. Art cognitive dynamics: the ability to perceive, to give a meaning and subjective aesthetic preferences. Sensory perception, why sensory activities contribute, so unequally, to the construction of aesthetic experience. Art seen as a Lab for new forms of communication. The creative act, artist psychology (analysis and comprehension of the artistic language of some authors). Labs of sensory perception and synesthesia. The cycle of lessons will be held during the second semester and they will end with an oral exam. Attendance to the course is mandatory for experimental workshops. The exam, which provides training credits will be on the contents of the bibliographic part and on the knowledge of topics analyzed during frontal and experimental lessons. The course is divided into two thematic areas of reference. The first one covers the main constructs of psychology and allows the student to orient himself and become familiar with peculiarities of art psychology. The second area focuses on perception studies concerning the functioning of the senses and reactions, triggered in humans by sensory stimuli. This elaboration of sensory data is an active and creative process that replaces sensory experience of the surrounding environment, an experience that lies to the basis of how we perceive and decode the world. Perceptual processes are closely linked to and inseparable from other cognitive faculties such as, attention, memory, reasoning, emotions. Such approach requires the knowledge of the following books together with experience during sensory workshops. Bibliography E.R.Kandel, 2012, L’età dell’inconscio, arte, mente e cervello, dalla grande Vienna ai nostri giorni, Milano, Raffaello Cortina Editore. Ernst Gombrich, 1992, Freud e la psicologia dell’arte, stile, forma e struttura alla luce della psicanalisi, Torino, Piccola Biblioteca Einaudi. U. Eco (a cura), 2018, Storia della bellezza, Firenze, Bompiani. Office hours: Thursday from 5.00 p.m. to 6.30. p.m. preferably by appointment.	75	6
ABAV3	DRAWING FOR PAINTING ABAV3 100 HOUR 8 CFA Professor Course card Educational objectives Drawing, with its visual, emotional, design power, acquires today a new communicative feature. Graphic and segnic expression is not placed on a subsidiary communication plan, but on total expressive autonomy. Sign, as means of pictorial investigation, takes on a specific language role , graphics become themselves a finished work of art. To better address the issues herewith, we have to analyze four operational phases: practical-rational drawing, exploratory research drawing, personal autonomous drawing, segnic drawing. Practical-rational drawing: contents of design drawing, preparatory to the work, aimed at artistic production. Drawing is the essence of creativity, it is a graphic language, incisive in the creative process of the work of art. Exploratory research drawing: drawing seen as investigation and method of analysis, aid as an understanding of form; creative drawing; drawing as reality of continual experimentation, a bridge between conscious and unconscious creativity, the sketch or the graphic note, as a moment of spontaneous creativity devoid of language pattern; study drawing, copying of real life models, synthesis of Nature’s image. Personal autonomous drawing: the student will work with independent graphic drawing in search for pure feelings-ideas. The graphic work will be an end in itself, autonomous and representative. Segnic drawing: during exercises the student will be constantly stimulated and urged in a quest for its own personal expressive mark, which is at the base of the unique creative signature. Teaching methods Topics will be taught in two different ways: Graphic diary/book – (research and functional drawing): students must always carry a scrapbook/notebook where they will draw on a daily basis and where they will write suggestions, visions, shapes, intuitions, images, with the utmost expressive immediacy. Lab – (autonomous drawing): during Lab activity drawing will be seen as an autonomous and finished work of art. Students will be guided towards the search for the sign and for the most appropriate support to express personal themes, in order to reach a final exhibition artwork. Methods of evaluation We will evaluate works done by the student during the academic year.	100	8
ABTEC39	FUNDAMENTALS OF COMPUTER SCIENCE ABTEC39 50 HOUR 4 CFA Professor Course card Programme Proliferation of digital devices and their continuous daily use in the most different areas, calls for an indispensable basic knowledge of computer use and of computer tools in approaching the artistic, graphic, illustration world. This course wishes to supply basic knowledge on the use of personal computer and, specifically, to illustrate the main functions of the most popular digital processing programs for rastel and vector images (Adobe Photoshop, Adobe Illustrator) and basic knowledge for digital publishing (Adobe InDesign). TOPICS COVERED: Management of file dimensions, colour methods and formats. Adobe Illustrator: complex and simple vector forms manipulation and combination use of the “pen” tool (Beziér curves) text management and manipulation image tracing operations bitmap. The finality is to acquire basic technical knowledge to realize text compositions and vector drawings. Adobe InDesign: creation and management of multipage documents master pages management and simple text automatisms creation of styles and interaction between text, graphics and images. The finality is to acquire basic technical knowledge to realize simple printed products. Adobe Photoshop: use selection tools make proper adjustments, tonal correction and selective edits. Create and use levels and masks use level styles, filters and blend methods. The finality is to acquire basic technical knowledge to realize simple photo editing and photo-montage. Some useful exercises will be suggested during classes to become familiar with program functions and iconographic examples taken from the art and communication world, emphasising ductility of image processing media and, consequently, of the signifiers and the meaning inside of a fluid system. Students will be invited to a personal approach to this discipline, keeping in mind rules and limitations as well as their particular inclination, wishing to stimulate them to develop their own artistic research using digital tools, both individually and with group work.	50	4

Second Year		HOUR	CFA
Discipline teoriche
ABST47		45	6
ABST47		45	6
ABST45		45	6
ABLE70		45	6
ABPC65	THEORY AND METHODS OF MASS MEDIA ABPC65 45 HOUR 6 CFA Professor Course card Educational objectives The student will be able to know and recognize the main communication models through media history of the twentieth century and the main experimental paradigms based on the influence of media on society. He will also be able to analyze the main characteristics of creating a community and of on-line communication, to distinguish digital cultures and capture their philosophical aspects and the main artistic, aesthetic, economic and sociologic implications. Skills acquired The course aims to form a consciousness on kinds of influence and of socio-cultural changes and on the development of mass media through history. Through analysis of the social fabric related to media influence, the student will acquire the knowledge needed to understand communication dynamics, relationship and persuasion put in action by the media system and will mature a critical sense towards collective contemporary scenarios. Examination procedures The exam will be conducted in oral form, and will cover the concepts learned during classes, the study of text books and discussion of practical activity linked to project work. Bibliography Exam texts (compulsory): – Paccagnella Luciano, Sociologia della comunicazione, Milano, Il Mulino, 2010 (frontespizio verde) Further reading: – Architetture digitali e comunicazione digitale – di E. Zuanelli – edizione 2016 – Aracne – Lo spettacolo della merce. I luoghi del consumo dai passages a Disney World, di Vanni Codeluppi, maggio 2000, Edizioni Bompiani	45	6
Discipline teorico-pratiche
ABAV01		100	6
ABAV05		150	12
ABAV06	PAINTING TECHNIQUES ABAV06 75 HOUR 6 CFA Professor Course card EDUCATIONAL OBJECTIVES Supply a general understanding of painting techniques and of the main theoretical and practical dynamics of the use of colour, as well as management of image tones and chromaticity. SKILLS ACQUIRED Knowledge of oil and non oil painting techniques in their main performing dynamics. Handling painting materials and possible interaction. Image geometric and spatial decoding. Understanding image tonal and chromatic values. Image re-elaboration ability based on skills acquired. FINAL EXAM The final exam will evaluate work done by the student during the course. BIBLIOGRAPHY Philip Ball – Colore – Una biografia – edizioni BUR Mauro Matteini, Arcangelo Moles – La chimica nel restauro – I materiali dell’arte pittorica – Nardini Editore Maria Bazzi – ABECEDARIO PITTORICO – Neri Pozza Editore	75	6
ABAV05		75	6

Third Year		HOUR	CFA
Discipline teoriche
ABST51		30	6
ABST59		45	6
Discipline teorico-pratiche
ABPR31	PHOTOGRAPHY ABPR31 75 HOUR 10 CFA Professor Course card Objectives Snippets of History of Photography. Acquire basic notions of photographic language and techniques. Learn about and master the photographic tool through the use of Accademia equipment. Recognize light as a fundamental design tool and the importance of its influence on the human being. Know the factors that influence natural light and be able to face resulting problems. Know methods of combination of natural light with artificial light for a complete lighting project. Author analysis. Contents The Reflex as a multi-purpose tool in photography and video feed. The Diaphragm, the shutter, advantages and limitations of different focal lengths, and zoom. Light and image formation: characteristics of light, light sources, light measurement and evaluation techniques. The photographic eye: image composition, capacity to assess its contents. Natural and artificial light. Transpose into video learnt photographic knowledge, image setting thought for the moment. Teaching methods Frontal lessons and exercises, group work and didactic visits.	75	10
ABAV05		150	12
Altro
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			4
			10

Professors are already artists and valuable scholars, ready to transfer technical knowledge and “secrets” learned during their artistic profession, following the great academic teaching tradition .
The educational offer is based on a multi-disciplinary model geared toward innovation.

Students follow their theoretical individual studies but they also join group workshops where they share artistic design and its applications and expressions.

During the three-year-course, “Visiting Artists” will hold lectures, seminars and workshops covering specific topics, useful for educational and professional growth, there will also be exhibitions and collaboration with public and private entities, where students will be given a chance to deepen their cultural level and better develop their critical abilities to better read and analyze the language of Visual Arts.

Alessandro Vascotto

Biography
Born in Trieste in 1968. Graduated in Painting from the Fine Arts Academy in Venice. Riziero Giunti, Gherardo Pittarello, Angelo Schwarz, Ennio Chiggio, Alberto Lolli, Sandro Sproccati were fundamental to his formation together with his visiting the Velemir Theatre and the Ex OPP of Trieste. After completing his studies he started working as an advertising creative but her continued painting on the side. In 1994 he met Pino Usicco and he collaborated with him in Treviso e and Venice working at the “Il Borghese” magazine and for other companies such as Reggiani SpA. He returned to Trieste and worked as art director and graphic designer for some communication agencies in Friuli and in Veneto. In 2004 he moved to Gorizia and he opened his Studio with a cultural sector orientation. He carried out communication and publishing project for the Municipality of Monfalcone, for the Autonomous FVG and others. He went on with his artistic activity and in 2007 he published the art book “Soliloquio”. In 2011 he moved back to Trieste and became an associate of Incipit S.r.l covering the role of creative director. He dealt with companies in the healthcare industry, tourism, food sector, trade and shipping, cultural institutions and activities. In 2019 he left his work with the agency. He continues dealing with communication and also teaches visual arts.
Annalisa Boreatti

Biography
Annalisa Boreatti si è formata come storica dell’arte moderna e contemporanea presso l’Università degli Studi di Pisa, specializzata in gestione di imprese culturali a Firenze e in diritto dell’arte e dei beni culturali alla Scuola Superiore Sant’Anna di Pisa. Ha lavorato nell’arte contemporanea presso enti pubblici e gallerie d’arte in Italia e all’estero alla Galleria Poleschi Arte di Milano e come direttrice alla Galleria GAM di Montecarlo, Principato di Monaco. Dal 2006 svolge attività di art advisor e consulenza d’arte nelle acquisizioni, vendita e gestione di collezioni private e aziendali collaborando con family offices e gallerie d’arte internazionali. Docente in “Economia e Mercato dell’Arte” per l’anno accademico 2021/22 presso l’Accademia di Belle Arti G. B. Tiepolo di Udine
Carlo Alberto Palumbo

Biography
Scholar of ancient painting techniques, of drawing and anatomy, he graduated in 1997 from the Liceo Artistico di Napoli. In 2003, he got his bachelor’s degree in Painting from the Accademia di Belle Arti di Napoli. From2005 to 2015 he was a master of Drawing from life, Anatomy and Painting with In Form of Art. From 2015 he has been a master of Drawing from life, Anatomy and Painting Techniques with the Accademia di Belle Arti GB Tiepolo di Udine. Major Awards and Exhibitions: In 2007 he was one of the winners of the Premio Internazionale Arte Laguna. In 2011 he exhibited in the Italian Hall at the 54 Biennale di Venezia. In 2012 he had the LUX solo exhibition at Castel Nuovo di Napoli. From 2013 to 2015 he was a finalist at the International ARC Salon winning the Chairman’s Choice Award in 2013. From 2016 to 2019 he was invited to participate to the yearly edition of Art Revolution Taipei. In 2020 he has been selected by MEAM for the exhibition on occasion of the world premiere of the new production of Lohengrin directed by Katharina Wagner, a great-grandchild of the composer. His works are found in private collections all over the world. He lives and works in Udine.
CARLO VIDONI

Biography
He was born in 1968 in Udine and he currently lives and works in Tarcento. He attended G. Sello Artistic High School specializing in Graphic Design and Photography and then he graduated in Contemporary Art History at the University of Conservation of Cultural Assets in Udine. He had the chance to attend the studio of the sculptor Luciano Ceschia and the painter Vittorio Basaglia during his training course. His expressive language includes several experiences which are born from drawing and painting and later expand towards sculpture, photography and art installations. His artistic research is aimed at nature observation related to features and creations of human civilization. Attentive observer of social e cultural context of his time, he perceives and reports the constant and mutual civilization-culture interaction read during in his moments of clash and coexistence. He continuously exhibits his works both in Italy and abroad. His works can be found in some of the main public and private collections.
Davide Bon

Biography
After he got his diploma as Business Expert and Correspondent in Foreign Languages at the ITC “Cecilia Deganutti”in Udine he attended the Università degli Studi di Udine – Faculty of Foreign Languages and Literatures” and he graduated discussing a thesis on Didactics of Modern Languages on the language teaching and learning sector. He attended several advanced language courses – English – German – French – both in Italy and abroad. He worked as a translator at the Centro d’Arte Contemporanea “Villa Manin di Passariano” – Codroipo (UD) as well with other translation agencies. He collaborated with the Università degli Studi of Udine with various linguistic research projects for the enhancement of Minority Languages. He held some official positions as a professor of languages with Public Schools, Formation Centres, Remedial Classes Centres. He has been working as a Professor of languages with the Istituto Volta in Udine – where he teaches English and CLIL Geography at the Liceo Scientifico Sportivo as well as English to students attending the courses of Graphic Design for the Enterprise with the Accademia Tiepolo in Udine.
Diego Antonio Collovini

Biography
Diego Antonio Collovini was born in 1953, he has a degree in Philosophy and he is interested and writes articles on art. He published several monographs on contemporary artists and has also been the curator of several exhibitions of contemporary artists. He wrote articles on sociology of art, anthropology and aesthetics as well as restoration of contemporary art as a IUAV researcher and Subject Expert. He also collaborated with several art magazines, such as Flash Art, Titolo, etc.; he is editor in chief of the Rivista d’arte Arte Contemporanea news. He taught Theory of Taste and History of Costume at CUT in Treviso, Theory and History of Restoration at ABA in Venezia, he is presently a professor of History of Modern Art at ABA G. B. Tiepolo in Udine.
Eva Comuzzi

Biography
Eva Comuzzi is an Art Historian and a curator. She worked for several years for the Galleria d’Arte Contemporanea in Monfalcone, specializing in the work of young generations. At the end of this experience she founded NASAC (Nuova Accademia delle Arti Storico-Artistiche Contemporanee), an itinerant and transversal project whose finality is, through lessons open to the public, to divulge art and connect it with other disciplines. In 2009 she attended the courses of bio-energy, Cabala and Tarots held by Emanuele Mocarelli and Antonino Maiorana, a precious source of integration in her path of studies. In 2014 and 2016 she was selected in two summer universities with the Centre Pompidou and the Kent University, in Paris. She collaborated with the Italian Embassy and the Ars Aevi Museum of Sarajevo, ArtVerona and MOROSO. She is presently collaborating with several associations and private galleries and writes for the magazines Exibart and Artribune. She is the President of the O.R.A Award.
Fausto Deganutti

Biography
He attended the Art Institute in Switzerland. He returned to Italy in 1969, and occasionally continued his work as illustrator of children’s tales. As he was working for a multinational company he could not afford to attend courses of the Academy. In the meantime, he wrote about humor stories and mainly about political issues. He has been painting for himself and goes in search of the right colour. In 2006 he enrolled in the Accademia di Belle Arti in Venice, attending the course at the detached section of Painting located at Villa Manin. He participated to collective exhibitions and some solo exhibitions with 100×100 standard canvasses. He also works with ceramics thanks to the help of Professor David Marinotto, creating objects that remind him of his past. He also uses recycled material such as plexiglass and wood.
Federica Deganutti

Biography
Federica Deganutti psicologa e psicoterapeuta, docente di scuola primaria. Ha studiato Psicologia con indirizzo Clinico e di Comunità ad orientamento Dinamico (Vecchio ordinamento) presso l’Università degli Studi di Padova dove ha conseguito la laurea nell’ a.a. 2002 e l’abilitazione all’esercizio della professione di psicologo nel 2004. Nel 2019 ha acquisito il Diploma di Specializzazione in Psicoterapia Psicoanalitico Fenomenologica presso l’Istituto Aretusa Di Giorgio Maria Ferlini. È iscritta all’ordine degli psicologi del Friuli Venezia Giulia dal 2014 e lavora come libero professionista a Pordenone. Dal 2020 collabora come consulente con il Consultorio Familiare Noncello ODV di Pordenone. Dal 2005 è docente in una scuola primaria di Pordenone.
Giulia Bortoluzzi

Biography
Autore ed editor, docente e curatore. Laureata in filosofia contemporanea all’Università degli studi di Trieste e specializzata in pratiche curatoriali alla École du MAGASIN di Grenbole (FR). Attualmente, collabora come coordinatore editoriale ed editor per Triennale Milano ed è autore per pubblicazioni d’arte e design. È docente del corso di Fenomenologia dell’arte contemporanea all’Istituto Europeo di Design di Milano. In ambito formativo è stata tutor al Dipartimento di Architettura e Studi Urbani al Politecnico di Milano e ha collaborato col dipartimento educativo di Fondation Cartier di Parigi (2012-2013). È stata co-curatore della mostra di Liam Gillick From 119C to 199D al Centre National d’Art Contemporain di Grenoble (2014), e tuttora collabora all’organizzazione di mostre e progetti espositivi con spazi no-profit e gallerie private. Dal 2016 al 2020 è stata coordinatore delle attività espositive e dei progetti editoriali per Galleria Fumagalli di Milano. Dal 2009 al 2017 è stata redattore della rivista d’arte contemporanea Juliet, per la quale ha anche ideato e diretto il progetto editoriale online. Dal 2015 scrive d’arte, design e architettura per testate quali Openhouse, Cereal, Icon Design, The Good Life, L’Officiel, TAR, Klat.
Irene Tosoratti

Biography
INSEGNAMENTI Teoria e Metodo dei Mass Media La comunicazione è la sua forma d’arte. Dopo anni di esperienza in agenzie pubblicitarie, ha deciso di mettersi in proprio e di seguire il suo cuore aiutando le persone e le aziende a raccontare il bello che fanno ogni giorno. Ama viaggiare, esplorare luoghi sconosciuti e conoscere persone provenienti da culture diverse, ma la vera forza è la sua curiosità e la voglia di sperimentare, per questo continua a formarsi e acquisire sempre nuove competenze. Quando non lavora, si perde tra le pagine dei libri, guarda documentari o serie tv, e si diverte a coltivare le proprie passioni. Insegna Teoria e Metodo dei Mass Media all’Accademia di Belle Arti G.B. Tiepolo di Udine, con la speranza di ispirare e motivare chiunque abbia voglia di imparare. La sua filosofia? Affrontare la vita con il sorriso!
Marco Tessarolo

Biography
Italian Film director, DoP and Photographer he realized numerous fashion films, commercials and short films and he directed the photography of several film productions. Winner BFI London Film Festival 2009 and Second place 2010 Winner TP 2010 Professional Italian Advertisers Award Winner TP 2012 Professional Italian Advertisers Award Winner Roma Shortfilm 2013 – Best Screenplay Second place Cannes Lions 2011 Final shortlist at: NewYork Tribeca Film Festival, Shanghai Film Festival, New Horizons Film Festival, Barcelona World Congress. About him: “Marco Tessarolo has a fine sense and elegant flair for capturing the beauty of life and the excellence in this world. His achievements not only show that he is an impeccable filmmaker and storyteller, but also a true Artist.” Miggle Zheng – Director Provoke Films – Tokyo – Japan & Editor VokeModels Film TV – Tokyo – Japan “Marco is a great talent and I am very impressed with his ideas, his creativity and his way to be able to bring high quality videos to life from the beginning to the final result.” Dante Spinotti – Director of Photography Hollywood, Los Angeles, CA “Once we begun to explore Marco’s ideas and work I could see the creative brightness shining through.” Mike Musachio – Hall of Fame for Advertising Professionals, AAF Fifth Ave. , New York, NY “Marco Tessarolo is a talented filmmaker highly valued by our global brand community with history of excellence at Mofilm including Mc Donald’s, Coca Cola and Unilever among the satisfied clients.” Jeffrey Merrihue – Mofilm, CEO, London “Marco Tessarolo is one of our go-to guys when we need something filmed professionally to show off our equipment and gear. His work is elegant but with attitude and style. We always view his images with envy and are proud to have partnered with talent such as Marco.” Eddie Enciu Director VidAtlantic Miami : DC : LA www.vid-atlantic.com
Michela Lupieri

Biography
È curatrice, ricercatrice e autrice. Ha studiato Arti Visive allo IUAV di Venezia, specializzandosi in arte contemporanea, ed è dottoranda alla TU Universität di Dresda (DE) con un progetto di ricerca sulla collezione Marzona. Interessata al rapporto tra arti visive, ambiente e spazio pubblico i suoi principali progetti curatoriali, a lungo termine e in contesti non convenzionali, sono stati Trial Version, Walking. Arte in cammino, Taking The Time, Io le parole le mangerei. Tra il 2018 e il 2020 ha lavorato nel dipartimento di ricerca dell’Archiv der Avantgarden – SKD di Dresda (DE) ed è stata ricercatrice associata al Marta Herford Museum di Herford (DE). Dal 2018 fa parte del team curatoriale di Palinsesti come curatrice di In sesto: premio internazionale per la produzione di un intervento site-specific permanente per San Vito al Tagliamento. Nel 2019 ha co-fondato amariana, associazione culturale che opera come piattaforma per la ricerca e produzione artistica contemporanea. Dal 2021 è co-direttrice artistica del festival Ephemera Cultura Immateriale. Ha condotto laboratori e partecipato a convegni in varie istituzioni artistiche, in Italia e all’estero.
Paolo Berlasso

Biography
Nato a Palmanova (Udine) 18 novembre 1951,consegue il Diploma Di Liceo Artistico Di 2″ Sez. presso il Liceo Artistico di Bologna nel 1971, si iscrive nello stesso anno alla Facolta’ Di Architettura di Venez ia, interrompendo gli studi, senza più riprenderli in quel settore, per assolvere agli obblighi militari nel 1973. Collabora con il Teatro Comunale di Bologna in occasione del “Maggio Musicale Fiorentino” (1970) e successivamente con un gruppo teatrale universitario in occasione della “Stagione Teatrale Bolognese” (1971). Nello stesso periodo realizza delle statue scenografiche per spettacoli teatrali presso la “Commedie Francaise” di Parigi. Dal 1975 al 2012 ha insegnato nella Scuola Media statale. Nel 1978 ha insegnato Disegno Geometrico e Storia dell’Arte al Corso dr Disegnatori Pubblicitari presso l’l.R.Fo.P. di Udine. Ha collaborato in uno studio di Architettura d’interni di Udine, come progettista di arredamenti. E’ stato l’ideatore e l’organizzatore del Palio Teatrale Studentesco della Città dr Codroipo e dei Concerti domenicali di musica classica a Villa Manin. Nel 1996, consegue il Diploma In Pittura quadriennale con tesi in Pittura e in Stona dell’Arte presso l’Accademia di Belle Arti di Venezia . Nel 2005 consegue il Diploma Accademico Di Secondo Livello Equivalente Alla Laurea Specialistica In Arti Visive E Discipline Dello Spettacolo , indirizzo Pittura con 110/11O, presso l’Accademia di Belle Arti di Venezia. Ideatore E Promotore Del Progetto Per L’istituzione Di Un’accademia Di Belle Arti A Villa Manin Di Passariano, Udine. Nel 1995, in qualità di Sindaco, organizza a Varmo il primo convegno (“Una Nuova Accademia – Un’accademia Nuova”) per la promozione del progetto di istituzione di un’Accademia di Belle Arti nella Regione Friuli Venezia Giulia che nel novembre del 2001 trova concretezza con l’apertura e l’inizio del primo anno del Corso di Pittura della sezione staccata dell’Accademia di Venezia a Villa Manin di Passariano. Coordina l’esposizione assieme ai Docenti di Pittura, Decorazione e Storia dell’Arte dell’Accademia di BB.AA . di Venezia, “L’arte degli Artisti” in occasione delle Universiadi Invernali nel Friuli Venezia Giulia in collaborazione con la Presidenza della Provincia di Pordenone e realizza graficamente il Catalogo per la mostra degli studenti dell’Accademia di Belle Arti di Venezia.

ABA UD

The Accademia di Belle Arti GB Tiepolo offers deserving students with an ISEE lower than 36.000 euro, enrolled in the first year of courses, the possibility to have a 1,200 euro scholarship as a reduction of their academic fees through a ranking list published, within the month of October, on the official site. Economic requirements will be examined based on the student family’s income and assets, keeping in mind the (ISEE), certificate of economic status for the 2019 solar year. Such certificate must be submitted within the terms indicated in the special section (Notices).

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Right to University Education – ARDISS

The Regional Agency for the Right to Higher Education-ARDISS supports students with a Regional Call for the assignation of benefits and for the provision of services for the right to university education: contributions for scholarships, international exchange, allocation of student accommodations and discounts for the university cafeteria.

Grants for scholarships are awarded to students attending all Universities legally located in Friuli Venezia Giulia and all AFAM Institutions. Students of the Accademia Tiepolo applying for scholarships may request further information at www.ardiss.fvg.it

ARDISS Information in Udine

Viale Ungheria, 39/b – 33100 Udine
+39 0432 245772
Info.udine@ardiss.fvg.it

Due to the Covid-19 epidemic, there will be no admission test to ABA UD for the a.y. 2020/2021

Registration to the Graphic design for enterprise course, will be accepted to complete the programmed number of 60 seats.

For further information, please contact us in writing at:

segreteria@accademiatiepolo.it

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ABA UD

Benefits and Special Deals Right to University Education – ARDISS

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Benefits and Special Deals
Right to University Education – ARDISS