1 ARTH 205-001: ART OF THE RENAISSANCE General Education Foundational Area Two: Traditions that Shape the Western World Professor: Dr Joanne Allen Office: Katzen 220 Office phone: 202-885-6822 Email: [email protected] Spring 2017 Classes: Tuesdays and Fridays 9.45am-11am Room: Katzen 112 Office hours: Tuesdays and Fridays 12.45pm-2pm, Wednesdays 1pm-2pm and by appointment Teaching Assistant: Sam Rhodes [email protected] COURSE OVERVIEW This course is an introduction to art of the Renaissance in Italy and Northern Europe, covering painting, sculpture, prints, decorative arts and architecture. Students will learn about major artistic developments, important patrons and the religious, social and political context. Through analysis of primary sources, students will gain an appreciation of the contexts for art production and attitudes to art in this period. COURSE GOALS  Improve your understanding of the history of Renaissance art  Build your visual literacy of painting, sculpture and architecture  Help you see the value of visual communication  Explore the relationship between art and historical culture  Encourage you to become reflective, critical learners  Explore critical themes in art history LEARNING OUTCOMES By the end of the course, students will be able to:  Use art-historical terminology accurately to describe artworks and buildings (assessed by exams)  Identify the use of artistic techniques (assessed by exams)  Analyse works of art in their historical and cultural context (assessed by exams and essay)  Consider the use of primary sources as aids to our interpretation of the period (assessed by discussion component)  Understand some of the critical issues in studying art of the Renaissance (assessed by discussion component)2 Art History Program 200-level Learning Outcomes: At the end of a 200-level Art History course, students will be able to  Identify critical tools for Art Historical analysis, including media, formal/stylistic analysis, iconography and socio-historical context  Begin to work within these categories  Distinguish between primary and secondary sources  Complete formal analysis using accurate terminology FULFILLMENT OF GENERAL EDUCATION REQUIREMENT ARTH 205 is one of two courses you will take to fulfill Foundational Area 2 of the GenEd requirement: Traditions that Shape the Western World. All courses in this area emphasize chronology and share a close attention both to the substance of the past and the ways to study it. Through direct engagement with primary texts, you learn to ask questions, debate ideas, and come to understand the ways that we experience the events and ideas of the past in our own lives. How does this course relate to General Education goals? You will understand the factors which contribute to the creation of artworks: the artist’s creativity, the patron’s agenda and the cultural context. Through lectures, in-class discussions, and written assignments, this course will facilitate your acquisition of vocabulary and analytical skills necessary for understanding both the formal visual qualities of art and the social issues surrounding the creation of art. The course will help you meet the General Education Foundational Area Two Learning Objectives: 1. Explore the diverse historical and philosophical traditions that have shaped the contemporary Western world In this course, we will explore the artistic tradition of the Renaissance, which profoundly impacted the development of art up to the contemporary period. 2. Read and discuss fundamental texts from those traditions, situating the texts in their appropriate intellectual contexts In this course, we will read primary sources of art history in preparation for discussion classes. 3. Develop your ability to critically and comparatively reflect on religious and philosophical issues, in dialogue with others both past and present In this course, discussion classes will give you an opportunity to reflect on various art-historical issues. In addition, the course will contribute to your development of the General Education program-wide learning outcomes, in particular goals 1-3: 1. Aesthetic sensibilities Exposure to the greatest masterpieces of western art in lectures and a visit to the National Gallery of Art will enable you to develop advanced aesthetic sensibilities. You will learn arthistorical terminology which will enable you to express what makes works of visual art unique,3 innovative or shocking. This learning outcome is assessed by essays, exams, discussions and discussion responses. 2. Communication skills You will develop written communication skills in essays, discussion responses and exams and will hone your verbal communication skills in discussions. This course will equip you with specific skills in visual analysis and a range of methodologies for describing and analyzing visual art. This learning outcome is assessed by essays, exams, discussions and discussion responses. 3. Critical inquiry Through lectures, in-class discussions, and written assignments, this course will facilitate your acquisition of vocabulary and analytical skills necessary for understanding both the formal visual qualities of art and the social issues surrounding the creation of art. This learning outcome is assessed by essays, exams, discussions and discussion responses. READING The textbook for the course is: Marilyn Stokstad and Michael W. Cothren, Art History portable edition: Fourteenth to Seventeenth Century Art, 5th edition (Prentice Hall, 2014) Supplementary required reading is available in pdf form on Course Reserves on Blackboard. The following books are also available on Course Reserve in the library:  John T. Paoletti, Gary M. Radke, Art in Renaissance Italy (Upper Saddle River, N.J. : Pearson Prentice Hall, 2005)  Northern Renaissance Art : Painting, Sculpture, The Graphic Arts From 1350 to 1575, James Snyder; Revised By Larry Silver, Henry Luttikhuizen (Upper Saddle River, NJ : Prentice Hall, 2005)  Martha Richler, A World Of Art: National Gallery Of Art, Washington (London : Scala Books, 1997)  The National Gallery of Art, Washington, foreword by Earl A. Powell III (New York, N.Y. : Thames and Hudson, 1992) You must do the assigned reading before each class and will be expected to discuss critically what you have read. Students are required to bring to each class a written list of points, keywords or questions that have arisen in their reading. A random selection of students will be asked to comment on the reading at the start of each class; for each comment you will earn one point towards your Discussion/Participation grade. Each student will give reading feedback twice during the semester. If your name is called and you are not present (either due to lateness or an unauthorized absence), you will not receive a point. More advice about this will be given in the first lecture. Useful websites:  The Heilbrunn Timeline of Art History: http://www.metmuseum.org/toah/  The Web Gallery of Art: http://www.wga.hu/index.html4  Art Images for College Teaching: http://quod.lib.umich.edu/a/aict?page=index  Artstor: http://www.artstor.org/index.shtml  Smarthistory: https://www.khanacademy.org/humanities/art-history-basics/beginners-arthistory/a/cave-painting-contemporary-art-and-everything-in-between GENERAL REQUIREMENTS Attendance is required and a register will be taken at the beginning of every class. Your first two unauthorized absences will not affect your grade, but each absence after that will incur a one point penalty from your Discussion/Participation grade. If you are late to class or leave early your attendance will not be counted. Use of laptops to take notes in class is not allowed. Mobile phones are not permitted and should not be on display during class. Phones can only be out in times of serious family emergency- please advise me of this before class. There are five assessment components of this course: Discussion/participation 20% Ongoing Patronage essay 15% February 17th (hard-copy in class please) Mid-term 20% March 21st NGA Paper 25% April 7th (hard-copy in class please) Final 20% May 5th There is no extra credit available for this course and assignments which have been graded will not be subject to revision. If you submit a primary source summary late then it will not be graded. If you hand in your paper late you will lose a third of a letter grade for every day that it is late, starting from the class period when it is due (e.g. B will go down to B-). You can contact the TA to help you prepare for exams, assist with discussions and provide guidance for your projects. She will not help you with the actual writing of your paper; for this, please contact the Writing Center. Please feel free to email her to arrange an appointment. Make-up exams: Make-up exams will be administered only in the case of an unexpected family emergency or serious illness. You must contact me before the scheduled exam by e-mail and you must have verifiable documentation from a medical or university authority. Be sure to schedule any travel arrangements in accordance with the final exam date, and be sure that your parents know your final exam date for this class before booking your travel arrangements. No advance exams will be given for any reason. Extra credit: There are two Art History guest lectures this semester taking place on Wednesday afternoons in the Abramson Recital Hall in Katzen. Attendance of each lecture and the submission of a 300-word summary on Blackboard will earn one additional percentage point on the final exam.5 Grading System: A = 100-93 A- = 92-90 This grade range indicates work which is clearly superior. It does not mean “satisfactory” or “adequate.” Such work must reflect an excellent understanding (and communication) of the material and must be presented in a clear and logical fashion and in nearly flawless written English. B+ = 89-88 B = 87-83 B- = 82-80 This grade range implies work that is more than merely satisfactory. Such work will reflect an above average understanding (and communication) of the material and will contain only minor errors in grammar, syntax, usage, and spelling. C+ = 79-78 C= 77-73 C- = 72-70 This grade range indicates work which is competent, adequate, and satisfactory in presentation. Such work reflects effective understanding of the majority of the material covered and will not contain excessive errors in grammar, syntax, usage, and spelling. D+ = 69-68 D= 67-63 D- = 62-60 This grade range is awarded to work which is unsatisfactory, not competent, or inadequate in terms of presentation or in terms of fulfilling the assignment. Papers which contain many serious errors in grammar, syntax, usage, or spelling will normally be awarded this grade as well. F (<60) This grade is assigned for failure to complete an assignment in a timely or competent manner. Academic Integrity Code All students should be aware that the American University has an Academic Integrity Code that forbids both cheating and plagiarism. When you register for courses at AU, you accept these rules. Cheating includes obtaining assistance on exams or turning in papers that are not your own. Plagiarism includes quoting someone's exact words or reproducing their innovative ideas without giving them credit. If you are quoting, you must cite the author and source, with page number(s). If you are not quoting, you still may not “borrow” either the exact phrases (even two or three words) or the opinions (other than general facts) from your source. You must change the author's phrases into your own words, and you must acknowledge opinions by citing the author and source just as you do for a quote. When you are taking notes, be careful to differentiate clearly what you copy from your own ideas. If you need help, consult one of the manuals on style available in the Library or go to the campus Writing Center, Grey Hall 206. If you turn in a plagiarized paper or cheat on an exam, the matter will be subject to adjudication. Please refer to the Academic Integrity Code: http://www.american.edu/academics/integrity/code.cfm Academic Support and Disability Services: If you experience difficulty in this course for any reason, please don’t hesitate to consult with me. In addition, a wide range of services are available to support you in your efforts to meet the course requirements.  Academic Support Center (x3360, MGC 243) offers study skills workshops, individual instruction, tutor referrals, and services for students with learning disabilities. Writing6 support is available in the ASC Writing Lab or in the Writing Center – see below.  Counseling Center (x3500, MGC 214) offers counseling and consultations regarding personal concerns, self-help information, and connections to off-campus mental health resources.  Disability Support Services (x3315, MGC 206) offers technical and practical support and assistance with accommodations for students with physical, medical, or psychological disabilities. If you have a disability and might require accommodations in this course, please notify me via DSS or ASC so that we can make arrangements to address your needs. Writing Center: The Writing Center, in Battelle-Tompkins 228, is a place where American University students meet with other AU students to talk about writing. You may seek help from the Writing Center when preparing the papers required for this course. Check the hours of operation on the website (www.american.edu/cas/writing/index.cfmand) and call 202-885-2991 for an appointment.7 ASSIGNMENT 1: PATRONAGE ESSAY Length: 4 pages double spaced, 12-point Times New Roman (excluding bibliography and images) Deadline: February 17th, bring hard copies to class This essay requires you to write about a work of art in terms of its patronage, setting and audience. It is designed to help you consider more than just the artist's perspective when it comes to analysing works of art. Choose ONE of the following works of art:  Lorenzo Ghiberti, St John the Baptist, 1412-16. Location: Orsanmichele, Florence. Patron: The Cloth Merchant's Guild of Florence  Jan van Eyck, Madonna of Chancellor Rolin, c. 1435. Present Location: Louvre Museum; original location: Notre-Dame-du-Chastel in Autun. Patron: Nicolas Rolin  Pietro Perugino, Christ giving the Keys to St Peter, 1481. Location, Sistine Chapel, Vatican. Patron: Pope Sixtus IV  Andrea Mantegna, Minerva chases the Vices from the garden of Virtue, 1502. Location: Louvre, Paris. Patron: Isabella d’Este You can choose to either write in the third person or take a first person perspective, i.e. pretending you are the patron themselves. Your essay must include the following: 1. Research on historical background 2. Description and analysis of image 3. Analysis of patronage, audience, location (the patron's objectives in commissioning the artwork; how the specific audience may have reacted; the precise location of the artwork and who had visual access to it) 4. Essay apparatus: grammar, structure, footnotes, images You must do background reading and research for this essay, consulting books such as monographs on the artists, academic articles, etc. (see below for suggested bibliography). Aim to cite at least three sources. I value scholarly printed texts higher than websites (you won't get a high grade if you only look at websites). Do not quote directly from secondary sources. Include footnotes and a bibliography, using the Chicago style of notes/bibliography (not Author/date): http://www.chicagomanualofstyle.org/tools_citationguide.html You will receive a letter grade for the essay based on the grading system in the syllabus.8 Patronage Essay Suggested Bibliography Lorenzo Ghiberti, St. John the Baptist  Block, Amy, and David Bornstein. "Lorenzo Ghiberti, the Arte di Calimala, and FifteenthCentury Florentine Corporate Patronage." In Florence and Beyond: Culture, Society and Politics in Renaissance Italy: Essays in Honor of John M. Najemy, edited by David Paterson, 135-152. Toronto: Centre for Reformation and Renaissance Studies, 2008.  “Monumental Sculpture from Renaissance Florence: Ghiberti, Nanni di Banco, and Verrocchio at Orsanmichele.” National Gallery of Art. Accessed January 14, 2015. http://www.nga.gov/exhibitions/orsanmicheleinfo.shtm  Zervas, Diane F. "Lorenzo Monaco, Lorenzo Ghiberti, and Orsanmichele: Part I." The Burlington Magazine 133, no. 1064 (1991): 748-759. Perugino, Christ Giving the Keys to St. Peter  O'Malley, Michelle. "Finding Fame: Painting and the Making of Careers in Renaissance Italy." Renaissance Studies 24, no. 1 (2010): 9-32.  Verstegen, Ian. "Patronage and Dynasty: The Rise of the Della Rovere in Renaissance Italy." In The Sistine Chapel, Dynastic Ambition, and Cultural Patronage of Sixtus IV, edited by Andrew Blume, 3-18. Missouri: Truman State University Press, 2003. Jan van Eyck, Madonna of Chancellor Rolin  Gelfand, Laura D. "Piety, Nobility and Posterity: Wealth and the Ruin of Nicolas Rolin's Reputation." Journal of Historians of Netherlandish Art 1 (2011): 1-12.  Gelfand, Laura D., and Walter S. Gibson. "Surrogate Selves: The 'Rolin Madonna' and the LateMedieval Devotional Portrait." Simiolus Netherlands Quarterly for the History of Art 38 (2002): 1-31.  McCorkel, Christine H. "The Role of the Suspended Crown in Jan Van Eyck's Madonna and Chancellor Rolin." The Art Bulletin 58 (1976): 516-529. Mantegna, Minerva chases the Vices  San Juan, Rose Marie. “The Court Lady’s Dilemma: Isabella D’Este and Art Collecting in the Renaissance,” Oxford Art Journal 14, no. 1 (1991): 67-78.  King, Catherine. “Medieval and Renaissance Matrons, Italian-Style”, Zeitschrift für Kunstgeschichte 55, no. 3 (1992): 372-393.  Verheyen, Egon. The paintings in the studiolo of Isabella d’Este at Mantua. New York : New York University Press for the College Art Association of America, 1971. Available as e-book via AU catalogue9 ASSIGNMENT 2: NGA ESSAY Length: 6 pages double-spaced (12-point Times New Roman) Deadline: April 7th, bring hard copies to class In class, we only have the opportunity to look at reproductions of art projected on the big screen. When you see works of art in the flesh, however, you can appreciate their true scale, colours, textures and details, gaining a greater awareness of their cultural value. This assignment requires you to study in depth works of art in the National Gallery of Art collection. For your essay, you will analyze a genre of painting or sculpture well-represented in the gallery. Possible genres include:  Portraiture  Altarpieces  Religious narratives  Devotional images  Mythological narratives  Historical narratives  Bronze medals/plaquettes  Sculpted reliefs  Sculpture in the round Your essay must cover the following information: 1. Why was this genre was important and popular during the Renaissance? How did this genre develop in this period? What were its main themes, aims, and contexts? 2. A comparison between two works from either different chronological or geographical contexts (e.g. 15th and 16th – century Italian portraits; Sienese and Florentine altarpieces; German and Venetian mythological scenes). Include substantial information and analysis of both artworks. 3. An unusual, different or unique example of this genre (e.g. portrait of deceased rather than living person; terracotta rather than bronze sculpture in the round; unusual religious iconography). You may not choose Leonardo’s Ginevra de Benci, Cranach’s Nymph of the Spring or anything in a temporary exhibition. You may not write about a painting you have written about for a previous Art History class. Required additional material:  Images of your chosen artworks  Photograph of you next to one of your chosen works (this is to prove to me that you have actually visited the gallery!)  Footnotes and bibliography Some other things to consider:  Avoid quoting directly from a source- I am interested in hearing what you have to say, and how well you can summarize another art historian's ideas. You may lose marks for long quotations.  My lectures are not valid published sources, so you can't reference them in footnotes  Aim to look at around five publications10 Resources: You may consult the National Gallery's website: www.nga.gov You must do background reading and research for this essay, consulting books such as the NGA catalogues, monographs on the artists, academic articles, etc. I value scholarly printed texts higher than websites (you won't get a high grade if you only look at websites). The following books are on course reserve in the library:  John T. Paoletti, Gary M. Radke, Art in Renaissance Italy (Upper Saddle River, N.J. : Pearson Prentice Hall, 2005)  Northern Renaissance Art : Painting, Sculpture, The Graphic Arts From 1350 to 1575, James Snyder; Revised By Larry Silver, Henry Luttikhuizen (Upper Saddle River, NJ : Prentice Hall, 2005)  Martha Richler, A World Of Art: National Gallery Of Art, Washington (London : Scala Books, 1997)  The National Gallery of Art, Washington, foreword by Earl A. Powell III (New York, N.Y. : Thames and Hudson, 1992) You will receive a letter grade for this assignment based on the grading system in the syllabus.11 FOOTNOTES AND BIBLIOGRAPHY GUIDE How to add a footnote in Microsoft Word: 1. Click in the text where you want to insert the note reference mark. 2. On the References tab, in the Footnotes group, click Insert Footnote. Word inserts the note reference mark and places the insertion point in the text area of the new footnote or endnote. 3. Type the note text. NOTE When you add, delete, or move notes that are automatically numbered, Word renumbers the footnote and endnote reference marks. NOTE Never add footnote references manually using the superscript function. NOTE If you have more than one citation, put them both in the same footnote. Do not double up numbers like this.3,4 How to add a footnote in Pages for Mac: 1. Click in the text where you want to insert the symbol for a footnote or endnote. 2. Click Insert in the toolbar, then choose Footnote. 3. The symbol is inserted in the text and the insertion point moves to the footnote text field at the bottom of the page. 4. Enter the footnote text. How to cite books and articles using the Chicago Style The following examples illustrate citations using the notes and bibliography system. Examples of notes are followed by shortened versions of citations to the same source. Books One author: 1. Michael Pollan, The Omnivore’s Dilemma: A Natural History of Four Meals (New York: Penguin, 2006), 99–100. 2. Pollan, Omnivore’s Dilemma, 3. Two or more authors: 1. Geoffrey C. Ward and Ken Burns, The War: An Intimate History, 1941–1945 (New York: Knopf, 2007), 52. 2. Ward and Burns, War, 59–61. Chapter or other part of a book: 1. John D. Kelly, “Seeing Red: Mao Fetishism, Pax Americana, and the Moral Economy of War,” in Anthropology and Global Counterinsurgency, ed. John D. Kelly et al. (Chicago: University of Chicago Press, 2010), 77. 2. Kelly, “Seeing Red,” 81–82. Article in a print journal In a note, list the specific page numbers consulted, if any. In the bibliography, list the page range for the whole article.12 1. Joshua I. Weinstein, “The Market in Plato’s Republic,” Classical Philology 104 (2009): 440. 2. Weinstein, “Plato’s Republic,” 452–53. Article in an online journal Include a DOI (Digital Object Identifier) if the journal lists one. A DOI is a permanent ID that, when appended to http://dx.doi.org/ in the address bar of an Internet browser, will lead to the source. If no DOI is available, list a URL. Include an access date. 1. Gueorgi Kossinets and Duncan J. Watts, “Origins of Homophily in an Evolving Social Network,” American Journal of Sociology 115 (2009): 411, accessed February 28, 2010, doi:10.1086/599247. 2. Kossinets and Watts, “Origins of Homophily,” 439. Website Because such content is subject to change, include an access date or, if available, a date that the site was last modified. 1. “Google Privacy Policy,” last modified March 11, 2009, http://www.google.com/intl/en/privacypolicy.html. 2. “McDonald’s Happy Meal Toy Safety Facts,” McDonald’s Corporation, accessed July 19, 2008, http://www.mcdonalds.com/corp/about/factsheets.html. 3. “Google Privacy Policy.” 4. “Toy Safety Facts.” Bibliography Below is an example of a bibliography listing the sources cited above. A bibliography should be in alphabetical order by author (or title if there is no author). Google. “Google Privacy Policy.” Last modified March 11, 2009. http://www.google.com/intl/en/privacypolicy.html. Kelly, John D. “Seeing Red: Mao Fetishism, Pax Americana, and the Moral Economy of War.” In Anthropology and Global Counterinsurgency, edited by John D. Kelly, Beatrice Jauregui, Sean T. Mitchell, and Jeremy Walton, 67–83. Chicago: University of Chicago Press, 2010. Kossinets, Gueorgi, and Duncan J. Watts. “Origins of Homophily in an Evolving Social Network.” American Journal of Sociology 115 (2009): 405–50. Accessed February 28, 2010. doi:10.1086/599247. McDonald’s Corporation. “McDonald’s Happy Meal Toy Safety Facts.” Accessed July 19, 2008. http://www.mcdonalds.com/corp/about/factsheets.html. Pollan, Michael. The Omnivore’s Dilemma: A Natural History of Four Meals. New York: Penguin, 2006. Ward, Geoffrey C., and Ken Burns. The War: An Intimate History, 1941–1945. New York: Knopf, 2007. Weinstein, Joshua I. “The Market in Plato’s Republic.” Classical Philology 104 (2009): 439–58.13 DISCUSSION SESSIONS The Discussion/Participation component of the course is worth 20% of your final grade. In five sessions, we will discuss themes in Renaissance art, based around primary sources. The texts are in the folder "Discussion Assignments" on Blackboard. Each discussion is worth two points: one for participating in class and the other for submitting a written assignment. Our TA will keep track of who participated in the discussions. For each discussion, you are required to write a 400-word summary of the documents and submit it to Blackboard. The written summaries are required but will not be graded; however, if they are of poor quality or length they will not be counted towards your grade. The deadline will be midnight on the day before the discussion and late summaries will only be accepted with proof of a documented health crisis or other family emergency. Two further points are for giving feedback in regular classes about the assigned reading, so there are a maximum of 12 points for this component. Further guidance for the written summaries:  Upload either a .doc or .pdf document (never ‘pages’ format)  Do not use quotations from the text; you are asked to summarize the text in your own words  Write 400 words in total, not 400 per document. You must declare the number of words at the end of your text.  Do not include your own opinion; save this for the class discussion If you are absent for part of a discussion period (i.e. you arrive late or leave early), your contribution will not be counted. Grades (Percentage equivalents are at the discretion of the professor) 11 to 12 points: A/A- 10 points: B 9 points: C 8 points: D 7 or less: F 1: Negotiating art 1A: Contract for the St. Wolfgang Altarpiece 1B: Gerard Horenbout takes on apprentices 1C: Regulations of the Antwerp Guild of St Luke 2: Making art 2A: Cennino Cennini on how to paint 2B: Leon Battista Alberti, On Painting 2C: Benvenuto Cellini’s Autobiography 3: Appreciating art 3A: Leonardo Bruni: In Praise of the City of Florence 3B: Poggio Bracciolini: Showing off an antique sculpture garden 3C: Memo to Lodovico Sforza, Il Moro, concerning the reputation of Florentine painters 3D: Castiglione’s Book of the Courtier14 4: The Paragone Debate (the comparison between painting and sculpture) 4A: Leonardo da Vinci 4B: Varchi's Paragone 5: Art and Religion 5A: Savonarola on publicity in chapels 5B: Andreas Karlstadt, On the Removal of Images 5C: Inquisition Tribunal of Veronese15 MIDTERM AND FINAL EXAM Each exam will last one hour and consist of 5 questions each worth 20 points. You will have the remainder of the class period to check your answers.  Question 1 will be a series of 10 short questions (2 points each) based on terminology, techniques and iconography. Some of these will be image identifications.  Question 2 will ask you to write 4 longer definitions (5 points each) of specific terms we have encountered in class. Along with your paragraph definition, you will be asked to provide one example of an artwork which demonstrates the idea. Possibilities include, but are not limited to: fresco painting, oil painting, marble carving, bronze casting, linear perspective, atmospheric perspective, altarpieces, polyptychs, cassoni, etc.  Questions 3-5 will be comparison essays similar to those we will practice in class.  You will lose 0.5 points for each incorrect part of an identification (e.g. wrong artist name, title, date, blank answer). A date is considered correct if it is within 5 years either way. How to prepare for the exam:  Learn the identification of the images in the list (artist, title, date)  Re-read your notes and the textbook, making sure you can remember some salient points about each picture.  Review the techniques we've discussed (egg tempera, oil, fresco, bronze, marble) and technical advances in painting like linear and atmospheric perspective. When writing the comparison essays, consider the following:  technical details, e.g. materials used, size, shape  formal elements, e.g. composition, style, colour  iconography, subject matter  bigger picture, context, i.e. what does this comparison show? It could be that the comparison shows a development or influence, the same iconography treated by two different artists, different social contexts of the artworks, etc. Grading rubric for comparison essays: 19 or 20 (A) Excellent answer which includes some insightful or creative comments. 18 (A-) All of the information is correct and the student has included some particularly insightful comments. 17 (B) This is the average grade. Information is correct and most of the main points have been covered. 16 (B-) Lacking in information or analysis, but has some basic points.16 15 (C) Given for rather limited answers which may have omitted important information. 14 and below (C-) Answers which show little understanding or are severely lacking in factual information.17 SCHEDULE OF CLASSES Tuesday 17th January Introduction to Renaissance Art Friday 20th January Inauguration Day: no class Tuesday 24th January Techniques and terminology Textbook, pp. xx-xxxv Learn iconography of the Life of Christ from this website: http://www.christianiconography.info/ (scroll down to Christ) and read about it here: http://www.metmuseum.org/toah/hd/chri/hd_chri.htm Friday 27nd January Fourteenth-century art in Europe Textbook, pp. 531-551 Tuesday 31st January North-European art I Textbook, pp. 563-579 Friday 3rd February DISCUSSION 1: Negotiating art Reading: Document 1A: Contract for the St. Wolfgang Altarpiece Document 1B: Gerard Horenbout takes on apprentices Document 1C: Regulations of the Antwerp Guild of St Luke Tuesday 7th February North-European art II: Portraiture James Snyder, Northern Renaissance Art, pp. 111-118 Wednesday 8th February Guest lecture, 4pm, Abramson Recital Hall, Katzen “Never the Same Day Twice: Art History and Curatorial Practice” Virginia Treanor, Associate Curator for the National Museum of Women in the Arts18 Friday 10th February North-European art III Textbook, pp. 576-585 Tuesday 14th February Early Sculpture in Florence Textbook, pp. 595-609 Friday 17th February Patronage essay due The Early Renaissance in Florence Textbook, pp. 609-17 Art in Renaissance Italy, pp. 228-234 Tuesday 21st February Medici Florence Textbook, pp. 617-626 William Hood, “Saint Dominic's Manners of Praying: Gestures in Fra Angelico's Cell Frescoes at S. Marco”, The Art Bulletin, Vol. 68, no. 2 (1986), pp. 195-206 Friday 24th February DISCUSSION 2: Making art Reading: Document 2A: Cennino Cennini on how to paint Document 2B: Leon Battista Alberti, On Painting Document 2C: Benvenuto Cellini’s Autobiography Tuesday 28th February Botticelli and classical mythology Textbook, pp. 626-628 Art in Renaissance Italy, pp. 279-282 Friday 3rd March The Italian Domestic Interior Textbook, p. 616 Document: Letter from Isabella d'Este to Perugino Document: Giovanni Boccaccio, The Decameron, Day 2, Story 919 Tuesday 7th March Leonardo and the portrait Textbook, pp. 636-640 Patricia Simons, “Women in Frames. The Gaze, the Eye, the profile in Renaissance Portraiture”, in The Expanding Discourse. Feminism and Art History, eds Mary Garrard and Norma Broude (1992), pp. 39-57. Friday 10th March DISCUSSION 3: Appreciating art Reading: Document 3A: Leonardo Bruni: In Praise of the City of Florence Document 3B: Poggio Bracciolini: Showing off an antique sculpture garden Document 3C: Memo to Lodovico Sforza, Il Moro, concerning the reputation of Florentine painters Document 3D: Castiglione’s Book of the Courtier 13th-17th March SPRING BREAK: No classes Tuesday 21st March Midterm exam Friday 24th March Papal Rome I: Michelangelo Textbook, pp. 643-653 Art in Renaissance Italy, pp. 401-409 Tuesday 28th March Papal Rome II: Raphael Textbook, pp. 640-643; 648-49 Wednesday 29th March Guest lecture, 4pm, Abramson Recital Hall, Katzen “Foregrounding the Background: Dutch and Flemish Images of Household Servants” Diane Wolfthal, the David and Caroline Minter Chair in the Humanities and Professor of Art History, Rice University20 Friday 31st March No class: Dr Allen away at academic conference (Renaissance Society of America Annual Meeting) Tuesday 4th April DISCUSSION 4: The Paragone Debate Reading: Document 4A: Leonardo da Vinci Document 4B: Varchi's Paragone Friday 7th April NGA assignment due Renaissance and Mannerist Sculpture Textbook, pp. 667-668 Art in Renaissance Italy, pp. 387-89, 524-27 Document: The location of Michelangelo's David Tuesday 11th April Between East and West: The Early Renaissance in Venice Textbook, pp. 629-631 Alan Chong, “Gentile Bellini in Istanbul”, in Bellini and the East, (2005), pp. 106-118 Friday 14th April Giorgione and Titian: Painted Poetry Textbook, pp. 656-661, 672-677 Rona Goffen, “Sex, space and social history in Titian's Venus of Urbino”, in Titian’s Venus of Urbino (1997), pp. 63-90 Tuesday 18th April Dürer and the Print Textbook, pp. 679-687 Northern Renaissance Art, pp. 303-317 Friday 21st April Sixteenth-century Northern painting Textbook, pp. 683-89; 698-700, 706-708 Northern Renaissance Art, pp. 337-34221 Tuesday 25th April The Global Renaissance Christopher Heuer, “Difference, Repetition and Utopia: Early Modern Print’s New Worlds”, in Crossing cultures : conflict, migration and convergence : the proceedings of the 32nd International Congress of the History of Art, ed. Jaynie Anderson (Carlton: Melbourne University Publishing, 2009), pp. 203-208. Friday 28th April DISCUSSION 5: Art and Religion Reading: 5A: Savonarola on publicity in chapels 5B: Andreas Karlstadt, On the Removal of Images 5C: Inquisition Tribunal of Veronese Friday 5th May Final exam, 8.10am