BOSTON UNIVERSITY STUDY ABROAD PADUA

Transcription

1 BOSTON UNIVERSITY STUDY ABROAD PADUA COURSE COURSE LANGUAGE INSTRUCTOR INSTRUCTOR CAS AH 349 BETWEEN THE LILY AND THE LION: ART IN RENAISSANCE PADUA English Maddalena Bellavitis OFFICE HOURS Monday and Wednesday SCHEDULE COURSE VALUE LEARNING OUTCOMES OF THE PROGRAM IESP COURSE DESCRIPTION LEARNING STATEMENT TEACHING METHODOLOGY 4 CREDITS Demonstrate increased proficiency in Italian language from elementary to low- intermediate level. Demonstrate knowledge of Italian culture with respect to three of the following areas: history, politics, economics, religion, literature, film and the arts. Develop an awareness of cultural difference and an understanding of culture s role in shaping beliefs and practices. Develop new perspectives on one s own culture and an ability to think critically about one s own values and beliefs. Padua can be considered the perfect case study to analyze Italian Renaissance Art and Culture. Art in Padua was strongly influenced by the two most important schools of Renaissance Art: Florence (whose symbol is the Lily) and Venice (whose symbol is the Lion). The best artists from those two cities such as Giotto, Donatello and Filippo Lippi from Florence, as well as Titian from Venice, came to work in Padua and instilled Renaissance ideals and style into the very fertile context of local culture and art. Because of its Roman origins, Padua was also a very important center for antiquarian Renaissance culture, attested by the activity of Mantegna. In addition to this, the contribution of scholars of the historical and renowned university of Padua made of the city a focal point for Italian Renaissance. The course proposes the students a journey through the rich pageant of Renaissance art and culture, providing them with the critical tools with which to analyze, understand and fully appreciate more the works of art produced in Padua and in the Veneto region from the 14th through the 16th centuries. Students will look closely at the way in which the evolution of styles in art reflects the historical and cultural attitude of the time. Visits to museums, churches and other places of historical and artistic interest in and around Padua, Venice, Vicenza, and Mantua, will give the students the opportunity to integrate classroom study with the actual viewing of main artworks. In addition to two 110-minute class meetings per week (Monday and Wednesday), students are required to read the materials listed for each class. Assessments will include one writing assignment (final research paper), two oral presentations (one in-class and one onsite) and two exams (mid-term exam and final exam). The course will require at least 8 hours per week from a student. Acquisition of knowledge and understanding are acquired by means

2 COURSE MATERIALS BIBLIOGRAPHY of a combination of lectures, excursions, in-class discussions and active involvement. Students have group discussions on assigned readings, with further information and data provided by the instructor through lectures and slides. Lessons are not simply to explain the readings, but complement them and present different material. Taking notes during classes, as well as actively participating in the in-class discussions and during excursions and visits to museums and churches, is highly recommended since the topics discussed there will be an integral part of the exams. Student participation is encouraged, appreciated and rewarded. Students need to purchase one course copy pack including all readings and materials for the class and to study at home, except for the manual (Paoletti&Radke), which is available in the library. PowerPoint presentations including artworks to be studied for the mid-term and final exam (slide identifications section) will be provided by the instructor on Google drive. Avery, C., Donatello. An Introduction, John Murray Publishers, Clark, L. R., Collecting and replicating antiquities Casts, substitutions, and the culture of the copy in the Quattrocento, Journal of the History of Collections vol. 28, no. 1, 2016, pp Dunkelman, M.L., Donatello s Influence on Mantegna s Early Narrative Scenes, The Art Bulletin, Vol. 62, No. 2 (Jun., 1980), pp Fletcher, J., Marcantonio Michiel, 'che ha veduto assai', The Burlington Magazine Vol. 123, No. 943, 1981, pp Fletcher, J., Marcantonio Michiel: His Friends and Collection, The Burlington Magazine Vol. 123, No. 941, 1981, pp Frugoni, C., La cappella Scrovegni di Giotto a Padova, Einaudi, Torino, 2005 Gilbert, C.E., The Original Assembly of Donatello's Padua Altar, Artibus et Historiae, Vol. 28, No. 55, 2007, pp Humfrey, P., Painting in Renaissance Venice, second printing, Yale Univ. Press, Jacobus, L., Giotto and the Arena Chapel. Art, Architecture & Experience, Harvey Miller Publishers, Joannides, P., Titian and Michelangelo/Michelangelo and Titian, The Cambridge Companion to Titian, ed. by P. Meilman, Cambridge Univ. Press, 2004, pp Manca, J., Andrea Mantegna and the Italian Renaissance, Parkstone International, 2012, pp Mommsen, T.E., Petrarch and the Decoration of the Sala Virorum Illustrium in Padua, The Art Bulletin, Vol. 34, No. 2 (Jun., 1952), pp Norman, D., Siena, Florence, and Padua, 2 Voll., Yale Univ. Press, Paoletti J.T. & Radke G.M., Art in Renaissance Italy, second edition, Laurence King Publishing, Richards, R., Altichiero. An Artist and His Patrons in the Italian Trecento, Cambridge University Press, Rosand, D., Painting in Sixteenth-Century Venice, revised edition, Cambridge Univ. Press, Cambridge, Saalman, H., Carrara Burials in the Baptistery of Padua, The Art

3 Bulletin, Vol. 69, No. 3 (Sep., 1987), pp Wilk, S., Titian's Paduan Experience and Its Influence on His Style, The Art Bulletin, Vol. 65, No. 1 (Mar., 1983), pp Video: Frugoni, C., La cappella Scrovegni di Giotto a Padova, Einaudi, Torino, 2005, DVD in English. AIMS OF THE COURSE By the end of the course, students will have acquired: 1.General knowledge of early and late Renaissance art in Italy. 2. Specific knowledge of Medieval and Renaissance art in Padua and in the Veneto Region. 3. Extended familiarity with backgrounds, styles and works of the great Renaissance masters who worked in Padua, such as Giotto, Donatello, Mantegna, Titian, Palladio, Veronese. 4.Critical tools necessary to understand and appreciate Renaissance Italian Art. GRADING CRITERIA Attendance and participation (10%) Students are expected to read the materials listed for each class and to engage in active discussions on relevant topics. In-class slide identification exercises and in-class/on-site looking exercises will be scheduled along the course and will be assessed as a part of students attendance and participation. In-class oral presentation (10%) There will be one in-class oral presentation for each student based on the readings of that day. PowerPoint presentations are required. On-site oral presentation (15%) There will be one on-site oral presentation (15/20 min. each) for each student, related to the visit of the chosen day. Students are expected to carry out a field research by visiting their chosen artwork on their own. This oral presentation will be based on students close observation and analysis of the artworks and on some additional research into the historical and physical context of the chosen work. The purpose of this oral presentation is to present the artwork with relation to its historical, cultural and physical context (either present or reconstructed) and to analyze its appearance and significance making use of the analytical skills learnt during the course. Students should discuss the artwork selected and their ideas with the instructor beforehand. Students must hand in a detailed outline of their presentation by November 29; the outline should include a bibliography. Mid-term exam (20%) Final exam (25%) The course include a mid-term exam (October 25) and a final exam (December 13). Both exams include: 1) slide identifications and brief descriptions of selected artworks studied on site and/or in class; 2) short-answers and/or multiple choice questions (definitions or discussion of terms); 3) essay questions (discussion of broader topics). Both of them will be cumulative (the final exam will cover the entire coursework). Final research paper (20%) Students are required to write a final research paper (due on

4 December 6). The paper should be 5 or 6 pages long (cover page and bibliography/sitography excluded) and should be based on one or more artworks among those viewed on site and discussed in class. Students are expected to carry out some additional research and to include both a bibliography and a sitography (if used). When you quote from any text without using your own words, please make sure to include bibliographical information on footnotes, according to the policy on plagiarism. Students should discuss the topic selected and their research ideas with the instructor beforehand. A detailed outline of research papers and a bibliography is due on November 15; a draft research paper is due on December 4. Papers can be handed in in printed form or sent by as a PDF file. Text editing guidelines: Type: Times New Roman 12 Line spacing: 1,5 Justify text on a page BU POLICY Attendance Boston University Padova students are expected to attend each and every class session, tutorial, and field trips required for the class. Students should note that attendance will be taken into account by faculty when determining final grades. Plagiarism Simply stated, plagiarism is taking another s work and presenting it as you own. Dictionary definitions of plagiarism frequently include terms such as theft or steal. Plagiarism is, in fact, intellectual theft. It is one of the most serious forms of academic misconduct. Plagiarism committed by a student will certainly result in course failure and may result in suspension or dismissal. For more details please see Boston University s Code of Student Responsibilities: Religious Holidays Boston University s Office of the University Registrar states: The University, in scheduling classes on religious holidays and observances, intends that students observing those traditions be given ample opportunity to make up work. Faculty members who wish to observe religious holidays will arrange for another faculty member to meet their classes or for cancelled classes to be rescheduled. See Chapter 151C of the General Laws, Commonwealth of Massachusetts. Disabilities Accommodations If you are a student with a disability or believe you might have a disability that requires accommodations, please contact the Office for Disability Services (ODS) at to coordinate any reasonable accommodation requests. For more information, please visit: CALENDAR DATE TITLE AND CONTENT OF THE LESSON ASSIGNEMENTS 1.Monday, September 11 In-class lesson: Introduction to the none course. History of Padua from the origins to the XVI century. 2.Wednesday, September 12 In-class lesson: The significance of Renaissance. Giotto and the beginning of

5 Monday, September 18 3.Wednesday, September 20 Renaissance art. No class On-site lesson: Visit to the Church of Santa Sofia and the Zairo (Roman Theatre). Evening: Visit to the Scrovegni Chapel Paoletti&Radke, pp ( The Painting Studio ); 79-84; C. Frugoni, La cappella Scrovegni di Giotto a Padova, Einaudi, Torino, 2005 (dvd). L. Jacobus, Giotto and the Arena Chapel. Art, Architecture & Experience, Harvey Miller Publishers, 2008, pp. 3-24; 30-35; Friday, September 22 CLASS TRIP VENICE C. Frugoni, La cappella Scrovegni di Giotto a Padova, Einaudi, Torino, 2005 (book). 4.Monday, September 25 In-class lesson: Giotto s legacy and pictorial cycles in XIV century Padua: Guariento and Giusto de Menabuoi Paoletti&Radke, pp Norman, vol. I, pp.20-23; Wednesday, September 27 6.Monday, October 2 7.Wednesday, October 4 On-site lesson: Visit to Palazzo della Ragione and Baptistery In-class lesson: Giotto s legacy and pictorial cycles in XIV century Padua: Altichiero and Jacopo Avanzi On-site lesson: Visit to San Giacomo Chapel and San Giorgio Oratory. Donatello in Padua Basilica del Santo s high altar, Gattamelata. H. Saalman, Carrara Burials in the Baptistery of Padua, The Art Bulletin, Vol. 69, No. 3 (Sep., 1987), pp ; Norman, vol. I, pp R. Richards, Altichiero. An Artist and His Patrons in the Italian Trecento, Cambridge University Press, 2000, pp R. Richards, Altichiero. An Artist and His Patrons in the Italian Trecento, Cambridge University Press, 2000, pp ; Paoletti&Radke, p Monday, October 9 In class: International Gothic and Early Renaissance in Florence and in Northern Italy. Donatello and XV century sculpture. In-class looking exercise Paoletti&Radke, pp ( The Sculpture Workshop ); ; ; ; ; ; ; Wednesday, October 11 On-site lesson: Chiesa dei Servi and Oratorio of Saint Michael 10. Monday, October 16 In-class lesson: The antiquarian painting in Padua: Squarcione and C.E. Gilbert, The Original Assembly of Donatello's Padua Altar, Artibus et Historiae, Vol. 28, No. 55, 2007, pp ; C. Avery, Donatello. An Introduction, John Murray Publishers, 1994, pp

6 11.Wednesday, October 18 Mantegna. Courts of Northern Italy On-site lesson: Ovetari Chapel, Art Museum M. L. Dunkelman, Donatello s Influence on Mantegna s Early Narrative Scenes, The Art Bulletin, Vol. 62, No. 2, pp ; Paoletti&Radke, pp ; ; Monday, October 23 In-class lesson: Mid-term exam review J. Manca, Andrea Mantegna and the Italian Renaissance, Parkstone International, 2012, pp Wednesday, October Monday, October 30 Mid-term exam In-class lesson: Renaissance collections in the Veneto 14. Monday, November 6 In-class lesson: Introduction to XV and XVI century painting in Venice. Early Renaissance Venetian painting: the Vivarini and Bellini families. 15. Wednesday, November 8 On-site lesson: Church of Saint Francis and visit to Loggia and Odeo Cornaro. none Paoletti&Radke, pp ; ; J. Fletcher, Marcantonio Michiel, 'che ha veduto assai', The Burlington Magazine Vol. 123, No. 943, 1981, pp ; J. Fletcher, Marcantonio Michiel: His Friends and Collection, The Burlington Magazine Vol. 123, No. 941, 1981, pp P. Humfrey, Painting in Renaissance Venice, second printing, Yale Univ. Press, 1996, pp ; Paoletti&Radke, pp Monday, November 13 In-class lesson: High Renaissance in Veneto: Giorgione, Giulio Campagnola and Titian s early works and the beauty of landscape. 17. Wednesday, November 15 On-site lesson: Titian in Padua Visit to the Scoletta del Santo and the Scuola del Carmine. Humfrey, pp S. Wilk, Titian's Paduan Experience and Its Influence on His Style, The Art Bulletin, Vol. 65, No. 1 (Mar., 1983), pp ; D. Rosand, Painting in Sixteenth-Century Venice, revised edition, Cambridge Univ. Press, Cambridge, 1997, pp Monday, November 20 In-class lesson: Theory and criticism: disegno vs. colorito. Titian and Michelangelo as Renaissance rivals. In-class looking exercise Research paper outline due P. Joannides, Titian and Michelangelo/Michelangelo and Titian, The Cambridge Companion to Titian, ed. by P. Meilman, Cambridge

7 19. Wednesday, November Monday, November 27 On site lesson: Visit to Sala dei Giganti Saint Roch Oratory In-class lesson: Late Renaissance painting in Venice: Titian s late works; Veronese. Univ. Press, 2004, pp T.E. Mommsen, Petrarch and the Decoration of the Sala Virorum Illustrium in Padua, The Art Bulletin, Vol. 34, No. 2 (Jun., 1952), pp Humfrey, pp Wednesday, November 29 On-site lesson: Veronese s work in Padua Visit to the church of Santa Giustina Humfrey, pp In-class lesson: Tintoretto 22.Monday, December 4 In-class lesson: Titian s heritage Humfrey, pp Wednesday, December 6 On-site lesson: Palazzo Zuckermann Draft research paper due L. R. Clark, Collecting and replicating antiquities Casts, substitutions, and the culture of the copy in the Quattrocento, Journal of the History of Collections vol. 28, no. 1, 2016, pp Monday, December 11 In class lesson: REVIEW AND STUDY SESSION Wednesday, December 13 Final exam Final research paper due none Final research paper due

8