ARH 306 Italian Renaissance Art

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1 Stony Brook University Department of Art College of Arts and Sciences ARH 306 Italian Renaissance Art This course satisfies the DEC category I This course satisfies the SBC category HFA+ Course Instructor: Dr. Karen Lloyd Section: 01 Class hours and location: T/Th 10:00-11:20am, Staller Ctr Slide Library Office Hours and location: T/Th 2:30pm-5:00pm, and by appointment; Staller Center 4276 Contact Information: Karen.Lloyd@stonybrook.edu COURSE DESCRIPTION: General (Catalogue) Description: An introduction to art in Italy from the late 13th through the late 16th centuries, with special emphasis on major centers, such as Florence, Rome, and Venice, and major figures such as Masaccio, Donatello, Leonardo da Vinci, Michelangelo, Raphael, and Titian. (3 credits) Specific Description: In November 2017, the Metropolitan Museum of Art will open a "once-in-a-lifetime exhibition" of selected works of Renaissance artist Michelangelo Buonarroti ( ). The exhibition will focus particularly on his drawings, bringing 150 of them together, but will also include several marble sculptures, a painting, and a wooden architectural model. In Fall 2017, we will take advantage of the occasion of this remarkable exhibition to use Michelangelo's work and career as an entry point to approaching and understanding the art of the Italian Renaissance. Through Michelangelo we will consider key themes, such as: the education of an artist, the role of the arts in the domestic sphere, the impact of scientific developments on the arts, the influence of the classical world, and the impact of rivalry and collaboration in the arts. This is not a seminar on Michelangelo - that is, we will not undertake a comprehensive examination of all of Michelangelo's oeuvre - but instead we will use Michelangelo's remarkably long, varied, and productive career as a means to study key aspects of Italian Renaissance art. The course will require a visit to the Metropolitan Museum exhibition, hopefully as a group. Prerequisite: ARH 204 or U2 or higher standing COURSE LEARNING OBJECTIVES: This course satisfies the SBC category HFA+: Students must use the skills expected from their Versatility courses to study and practice them in greater depth, with further study applied to the area in which they are certified. 1. Develop an understanding of distinct regional developments in Italian Renaissance art and architecture, eg. Venetian vs. Florentine. 2. Develop an understanding of the careers and works of key Italian Renaissance artists and architects, eg. Masaccio, Donatello, Michelangelo, in their historical contexts. 3. Develop an understanding of the material and physical qualities of the various media of Italian Renaissance art and architecture, eg. marble carving, bronze casting, fresco painting, oil painting, printmaking. 4. Develop an understanding of the critical issues in Italian art and architectural theory in the 15th and 16th centuries, eg. style as character, paragone, perspective, optics, 1

2 naturalism. 5. Develop an understanding of the social and intellectual contexts in which Italian Renaissance art and architecture developed, eg. humanism, court culture, religious reform, migration. 6. Develop tools of aesthetic discourse through contact (often virtual, but also physical) with works of Italian Renaissance art and architecture as well as through writings on art related to its critical understanding, cultural placement, and appreciation. 7. Develop the written skills to articulate valid arguments on issues related to Italian Renaissance art and architecture and the bases of knowledge in the history of art. Learning outcomes will be reached through reading assignments, class discussions, and writing assignments. COURSE REQUIREMENTS: Students are required to be familiar with Stony Brook University's Minimal Instructional and Student Responsibilities. You can read them here: _instructional_student_resp.php Course information can be found on the class website: password: Michelangelo Attendance and Make Up Policy Attendance is mandatory. You are permitted two unexcused absences without impacting your grade. Each absence thereafter will have an incremental impact on your final grade (1 class=3% off your final grade, 2 classes = 6%, etc.), and six will result in a final grade of F. Attendance is taken every class meeting; arriving to class more than 15 minutes late counts as an absence. Excused absences and make up exams may be granted only in the following cases: documented illness. You must obtain a doctor's note. participation in a university sponsored event (such as research conferences, dramatic or musical performances, intercollegiate athletic competitions, or leadership meetings). Students are responsible for presenting a printed copy of semester obligations to all their professors at the beginning of the semester to alert them to activities that may present conflicts. Requests for accommodations made less than two weeks before the event/exam may not be honoured. religious reasons. Students are responsible for indicating any conflict with scheduled exams for religious reasons within the first two weeks of class. Description and schedule of Required Readings and Assignments Required Readings There is no required textbook for this class. On reserve at the library you will find Stephen Campbell and Michael Cole, Italian Renaissance Art (New York: Thames & Hudson, 2011). If you are looking for fundamental textbook reading about topics covered in class, look at this Campbell and Cole. For the weekly schedule of required readings see below; readings are to be done prior to each class meeting. Additional required readings can be found on the course website. 2

3 As part of this course, we will travel to New York City to visit a special exhibition at the Metropolitan Museum of Art, "Michelangelo: Divine Draftsman and Designer", Nov. 13, Dec. 12, Useful internet resources: Assignments Writing assignments are to be submitted in hard copy and digitally. Digital copies will be submitted on Blackboard and analyzed by SafeAssign; hard copies will be submitted in class. Assignments are due by the beginning of the respective class period. Late assignments will be penalized 5% per day after the deadline; late assignments can be submitted only until such time as grades for the assignment have been returned. Bibliographies and citations will follow the Chicago Manual of Style ( All writing assignments must be double spaced and include a word count at the top of the first page. Writing Assignments Reading assignments #1 and #2 are intended to help prepare you for the Vasari paper. Reading assignment #1 asks you to critically assess two primary sources, while reading assignment #2 asks you to critically assess a number of short secondary sources and their relationship to primary sources. The next two assignments, the Vasari reading response + bibliography and annotated bibliography are intended as building blocks to a final research paper. You will read and analyze one of Vasari's Lives, build up a relevant bibliography, and then annotate that bibliography. Finally you will write a research paper bringing together your primary and secondary source analyses. The final graded discussion will ask you to reflect on the entirety of the semester's material, and offer an educated assessment of the Metropolitan Museum's Michelangelo exhibition. Reading Response #1 Due Week 2, Th words In his Commentaries, how does Ghiberti present himself and his interests as a young artist? What is the significance of how he presents himself? How do Ghiberti and Vasari differ in their accounts of the competition for the Baptistry cathedral doors, and what are the significances of those differences? Your assignment must be submitted with your name and a word count. The assignment will be assessed based on: clarity and coherence of the text (ie. grammar and organization), breadth (whether the questions have been addressed), accuracy of the observations, and thoughtfulness of the observations. Reading Response #2 Due Week 4, Th words What is the main argument of Jean Cadogan s article Michelangelo in the workshop of Domenico Ghirlandaio? What evidence is the argument based on, why does it need to be made, 3

4 and why is it significant? Considering all of the assigned readings, was Michelangelo s training typical for a young artist in the 15th century? Explain why or why not. Finally, why is knowing about an artist s training important? Your assignment must be submitted with your name and a word count. For this assignment, you may use in text citations. When you need to indicate where a piece of information or an idea came from, put the author s name and a page number in parentheses at the end of the sentence. If there is no author indicated, use a short form of the article title, eg. Training and Practice. The assignment will be assessed based on: clarity and coherence of the text (ie. grammar and organization), breadth (whether all of the questions have been addressed), accuracy of the observations, and thoughtfulness of the observations. Vasari response and bibliography Due Week 6, Th words Step 1: Choose one of Vasari s Lives to be the topic of your final paper. All of the lives are available online in an early translation by Gaston du C. De Vere; you can find a list and links here: You must choose a life of an artist that we have not and will not cover in class. Some lives will be easier than others, based on available bibliography. The following is a list of suggestions, with particularly accessible names in bold: Niccola and Giovanni of Pisa (Niccola Pisano; Giovanni Pisano); Pietro Laurati (Pietro Lorenzetti); Andrea Pisano; Ambrogio Lorenzetti; Pietro Cavallini; Simone Sanese (Simone Martini); Taddeo Gaddi; Andrea di Cione Orcagna; Agnolo Gaddi Duccio; Taddeo Bartoli; Jacopo della Quercia (Jacopo della Fonte); Nanni D antonio Di Banco; Luca Della Robbia; Paolo Uccello; Masolino Da Panicale; Michelozzo Michelozzi Antonio Filarete and Simone; Giuliano da Maiano; Piero della Francesca (Piero Borghese); Leon Batista Alberti; Antonello da Messina; Alesso Baldovinetti; Fra Filippo Lippi; Gentile da Fabriano and Vittore Pisanello of Verona; Pesello and Francesco Peselli (Pesellino or Francesco di Pesello); Benozzo Gozzoli; Francesco di Giorgio and Lorenzo Vecchietto; Antonio Rossellino (Rossellino dal Proconsolo) and Bernardo his Brother; Desiderio da Settignano; Mino da Fiesole (Mino di Giovanni); Lorenzo Costa; Ercole Ferrarese (Ercole da Ferrara); Cosimo Rosselli; Domenico Ghirlandajo; Antonio and Piero Pollaiuolo; Sandro Botticelli (Alessandro Filipepi or Sandro di Botticello); Benedetto da Maiano; Andrea Verrocchio; Andrea Mantegna Filippo Lippi, called Filippino; Bernardino Pinturicchio; Francesco Francia; Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve); Vittore Scarpaccia (Carpaccio), and other Venetian and Lombard Painters; Luca Signorelli (Luca da Cortona); Giorgione da Castelfranco; Antonio da Correggio; Piero di Cosimo; Bramante da Urbino; Fra Bartolommeo di San Marco (Baccio della Porta); Torrigiano; Giuliano and Antonio da San Gallo Baldassarre Peruzzi; Andrea del Sarto; Madonna Properzia de Rossi; and Dosso and Battista Dossi; Polidoro da Caravaggio and Maturino; Franciabigio (Francia); Jacopo Palma (Palma Vecchio) and Lorenzo Lotto Giulio Romano; Fra Sebastiano Viniziano del Piombo; Perino del Vaga; Domenico Beccafumi; Niccolo, called Tribolo; Baccio Bandinelli; Jacopo da Pontormo; Giovanni Antonio Bazzi, called Il Sodoma Francesco Primaticcio; Jacopo Sansovino; Leone Lioni of Arezzo; Don Giulio Clovio Step 2: Closely read the Life that you have chosen. Take note of particular themes, keywords, or ideas that distinguish the Life from others that we have read or that are related to topics and ideas discussed in class. 4

5 Step 3: Write a 500 min. 550 word max assessment of the Life, outlining the principle themes and critical information. This should provide a starting point for your final paper: what themes or works will you choose to investigate? Step 4: Compile a bibliography related to your chosen artist. Sources must be scholarly and accessible (ie. in a language that you can read) to you; at least one source must be a scholarly monograph. This will be the basis for your annotated bibliography assignment. You must have at least 8 sources. The bibliography must follow Chicago Manual of Style format; for Chicago Style and tips on how to locate bibliography see Resources. Your submitted assignment will have: a word count, a title, page numbers, your analysis of the selected life, citations if necessary, a bibliography of at least 8 sources. The assignment will be assessed on the basis of: whether or not it meets the basic requirements, the clarity and organization of the writing (ie. grammar and structure), the attentiveness of the analysis (ie. demonstrating that you have read the Life carefully and considered it in relation to course material and discussion), the quality and relevance of the sources for the bibliography, whether the bibliography follows appropriate formatting. Annotated Bibliography Due Week 9, T words + bibliography Step 1: Physically access (get pdfs of, get the book) as many of the sources from your previous Vasari/Life bibliography as possible. Step 2: Read your sources carefully. For at least 5 sources you will write a short (100 word min.-125 word max.) discussion of the source. Your discussion should: identify what kind of source this is (eg. monograph, scholarly article, exhibition catalogue) and analyze why it is important for understanding your chosen artist s career and work. What specific information do you learn from this that you perhaps could not find elsewhere, what questions does the work try to answer or raise for further discussion, what are the strengths or weaknesses of this source? Step 3: Formatting. Organize your bibliography as normal (alphabetical order, etc.) and below the bibliographic entry place the respective paragraph. For help on how to write and format an annotated bibliography see: Be sure to include a word count (only including your texts, not the bibliographic entries) with the assignment. You assignment will be assessed based on: the quality and relevance of the sources, whether it follows proper Chicago Manual of Style formatting, the clarity and coherence (grammar and organization) of the analyses, and the depth of the analyses (do they clearly indicate that you have read and carefully considered your sources). Vasari Paper Due Week 12, Th words This assignment requires you to bring together and expand on your analysis of one of Vasari s Lives and the secondary source research that you did for the annotated bibliography. You must write a word paper on a focused theme related to the research and reading that you have done. Consider how Vasari s Life of your artist has been used and assessed in secondary 5

6 sources. Has it been deemed reliable or problematic? Is the current scholarly assessment of your artist far from what Vasari presented, or have his views continued to shape how your artist and his/her career have been understood? You may focus your paper in whatever way you deem fitting based on the material, for example by focusing on a particular theme or work of art. In addition to the sources used for the annotated bibliography you must reference at least two additional sources. Your assignment must have: a word count, a title, page numbers, proper citations (footnotes or endnotes) for all information taken from your sources, and a bibliography. Citations and bibliography must follow Chicago Manual of Style format. Failure to include citations means an automatic 0 on the assignment. If you choose to include images proper formatting is the following: following the title of the work in your text write: (Fig. 1), (Fig. 2), etc. in order as they appear in the text. Images are then inserted at the end of the paper with captions indicating the figure number eg. Fig. 1, Fig. 2, as well as the artist s name, the title of the work, and the date of the work. Your assignment will be assessed based on: whether or not it follows the basic requirements, clarity and coherence of the writing (grammar and organization), quality of the sources, depth of the analysis, contextualization of the material in relation to ideas and themes discussed in class. Michelangelo Discussion Due Week 14, Th grade out of 5 We will have a final discussion of the Michelangelo exhibition at the Metropolitan Museum. In addition to some evidence that you visited the show (a ticket stub, or photo of yourself there) you will need to bring prepared discussion notes with you to class. Notes should address issues such as the following: how is the exhibition organized and how are objects physically displayed? what kinds of choices were made in terms of wall labels and texts? Were they effective? what are the challenges of displaying an exhibition of this nature, and how were they dealt with? what are the strengths and weaknesses of the exhibition? what did you gain from seeing Michelangelo s works, particularly his drawings, in person? Did it change your understanding of his work at all, and if so, how? This is a graded discussion. You will be evaluated on: whether you completed the assignment (proof of attendance, appropriate notes), insightfulness of your observations, and ability to respond to questions and to other students observations collegially and constructively. Exams There will be two exams in this class, a Midterm (Tuesday October 10, Week 7) and a Final Exam (date TBD by the university). Each exam is worth 20% of your overall grade and each exam will have the same format. You will be shown 8 works of art, each with the identifying information (ie. artist s, name, title, and date). For each image you will have 7 minutes to write an explanation of the work s significance, answers will be worth 5 points each. Works of art will be chosen from a pre-determined and shared list. In particular, I will look for your use of specific, precise, and accurate terminology as well as contextual information. A strong answer will address a variety of important aspects of a work of art, including the following: artist. who is the artist, what defined their career, why are they important in the history of Renaissance art? subject. what is the subject or content of the work, and what is its significance? 6

7 composition. what is the significance of the visual or physical arrangement of the work? style. where does the work fit in the development or history of Italian Renaissance art? context. when and where was the work made, what were the historical circumstances surrounding its production, and why are they important? Final exam dates and times are set by the university, I cannot change them. Travel plans are not an acceptable reason to miss or change an exam time and will not be accommodated. Make up exams are offered only in the cases of approved student participation in university sponsored activities, for religious reasons, or for severe documented illness. Note: for participation in university sponsored activities, [s]tudents are responsible for presenting a printed copy of semester obligations to all their professors at the beginning of the semester to alert them to activities that may present conflicts. The beginning of the semester should be within the first two weeks. The same is true for religious holidays, notification should be provided within the first two weeks of class. GRADING: Your grade will be based on the following: 5% Reading response #1 10% Reading response #2 10% Vasari reading response and bibliography 20% Midterm 10% Annotated bibliography 20% Vasari paper 5% Michelangelo discussion 20% Final Exam All grading will be done via Blackboard. As per SBU's Minimal Instructional and Student Responsibilities: Assigning additional work to individual students who wish to improve their grades, during or after the semester, is prohibited. The grade scale is: A A B B B C C C D D D F 60- Note: All courses offered to satisfy D.E.C. requirements must be taken for a letter grade. Courses taken under the Pass/No Credit option will not satisfy D.E.C. requirements. CLASS PROTOCOL My classes are part lecture, part discussion. Lecture portions are intended to outline the significant themes and concepts of the class meeting and to indicate what factual information is required knowledge. Discussions are intended to give you the opportunity to apply those concepts, and to work through such fundamental art historical skills as formal analysis and 7

8 comparative analysis. I expect that you will be engaged throughout the class period, meaning that you will listen when other people are speaking and that you will contribute to the discussion. Cell phones are not permitted in the classroom. They must be silenced and out of view at all times. If you violate this policy, I will ask you once to you put away your phone; twice in one class period and I will ask you to leave for the remainder of the class. Laptops and tablets are permitted for the purposes of taking notes and, at times, for in class activities. Any other use is prohibited. If you violate this policy you will be instructed to put away the computer for the remainder of the class, at a minimum. Remember, you are not alone in the room - what you do affects everyone around you, and if you are distracted, so are the people behind you, and the people behind them. Creating an engaged classroom is everyone's responsibility and obligation. Nota bene: recent, peer-reviewed research indicates that students learn more effectively when they take notes by hand. For the research see: Pam A. Mueller and Daniel M. Oppenheimer, "The Pen is Mightier Than the Keyboard: Advantages of Longhand Over Laptop Note Taking," Psychological Science 25 (6) 2014: (available online). Mueller and Oppenheimer's conclusions were discussed in popular news outlets, including NPR ( CLASS RESOURCES Library resources (course reserves) Online resources: Oxford Art Online, ArtStor, Chicago Manual of Style Blackboard Writing Center Career Center Others (see link) The University Senate Undergraduate and Graduate Councils have authorized that the following required statements appear in all teaching syllabi (graduate and undergraduate courses) on the Stony Brook Campus. See also DISABILITY SUPPORT SERVICES (DSS) STATEMENT If you have a physical, psychological, medical or learning disability that may impact your course work, please contact Disability Support Services, ECC (Educational Communications Center) Building, room128, (631) They will determine with you what accommodations, if any, are necessary and appropriate. All information and documentation is confidential. Students who require assistance during emergency evacuation are encouraged to discuss their needs with their professors and Disability Support Services. For procedures and information go to the following website: ACADEMIC INTEGRITY STATEMENT Each student must pursue his or her academic goals honestly and be personally accountable for all submitted work. Representing another person's work as your own is always wrong. Faculty are required to report any suspected instances of academic dishonesty to the Academic Judiciary. Faculty in the Health Sciences Center (School of Health Technology & Management, Nursing, Social Welfare, Dental Medicine) and School of Medicine are required to follow their school-specific procedures. For more comprehensive information on academic integrity, including categories of academic dishonesty, please refer to the academic judiciary website at CRITICAL INCIDENT MANAGEMENT 8

9 Stony Brook University expects students to respect the rights, privileges, and property of other people. Faculty are required to report to the Office of Judicial Affairs any disruptive behavior that interrupts their ability to teach, compromises the safety of the learning environment, or inhibits students' ability to learn. Faculty in the HSC Schools and the School of Medicine are required to follow their school-specific procedures. 9

10 Fall 2017 Weekly Schedule *the schedule and readings are subject to change at the professor's discretion All readings are to be done before the class period for which they are assigned. T Introductions Week 1 Topics/Themes/Artists: What is the Renaissance?, Giorgio Vasari, Michelangelo, disegno, Academy of Design Reading: 1) Loren Partridge, Renaissance, from Art of Renaissance Florence, , 1. 2) Vasari, excerpt from the Introduction to the Lives, ) Vasari, excerpt from the Life of Michelangelo, For Reading #2, begin at It goes without saying on page 31 and read up to to until gradually they lost all perfection of design. on page 32. For Reading #3, read up to hammer and chisels I use to make my statues. Th Origins and Historiography Topics/Themes/Artists: Giotto, Cimabue, Pisano; The geography of early Italian Renaissance art history Reading: 1) Lorenzo Ghiberti, excerpt from The Commentaries, ) Vasari, excerpt from the Life of Cimabue, ) Catherine King, The Geography of Art History, from The Trecento: New Ideas, New Evidence, , in Siena, Florence, and Padua, Art, Society and Religion , vol. 1, ed. Diana Norman (New Haven and London, Yale UP: 1995). For Reading #1, read up to on walls, in oil, and on panels T No Class Labor Day Week 2 Th Sculpture in Early Renaissance Florence READING RESPONSE #1 DUE Topics/Themes/Artists: Lorenzo Ghiberti, Filippo Brunelleschi, Florence s Baptistry, Competition in early Renaissance Florence, bronze sculpture Reading: 1) Lorenzo Ghiberti, excerpt from The Commentaries, ) Vasari, excerpt from the Life of Ghiberti, ) Campbell and Cole, Competition at Florence Cathedral, Lorenzo Ghiberti, Filippo Brunelleschi, and the Commission for the Baptistery Doors, Goldsmiths, 55-59, 75. For Reading #1 begin at I, O most excellent reader and read up to It was erected in Week 3 T Architecture in Early Renaissance Florence 10

11 Topics/Themes/Artists: Brunelleschi, classicism, linear perspective, palace design, Leon Battista Alberti Reading: 1) Partridge, The Cathedral Dome, ) Campbell and Cole, Filippo Brunelleschi and the Foundling Hospital, 87, Linear Perspective, Regular Space ) The Eye Like a God of Human Parts, from Italian Renaissance Resources 4) Christoph Luitpold Frommel, excerpt from Living all antica: palaces and villas from Brunelleschi to Bramante, in Renaissance from Brunelleschi to Michelangelo: the Representation of Architecture (Milan: Rizzoli, 1997), Th Painting in Early Renaissance Florence I Topics/Themes/Artists: Masaccio, naturalism, Fra Angelico, decorum, Domenico Veneziano and Andrea del Castagno, style and biography Reading: 1) Vasari, Life of Masaccio, , ) Campbell and Cole, Masaccio, Masolino, and the Brancacci Chapel, ) Vasari, Life of Fra Angelico, , ) Campbell and Cole, San Marco, , Domenico Veneziano, , Andrea del Castagno and the Convent of Sant Apollonia, ) Vasari, Life of Andrea del Castagno and Domenico Veneziano, T No class Week 4 Th Artistic Training and Painting in Early Renaissance Florence II READING RESPONSE #2 DUE Topics/Themes/Artists: workshop practice and artist s training, the role of drawing in the workshop, Domenico Ghirlandaio, Michelangelo s early career Reading: 1) Training and Practice, from Italian Renaissance Learning Resources, 2) Francis Ames-Lewis, Drawing in Workshop Training, Drawing in early Renaissance Italy (Yale UP, 2000), ) Michael Hirst, Michelangelo and his Drawings (Yale UP, 1988), ) Jean K. Cadogan, Michelangelo in the workshop of Domenico Ghirlandaio, The Burlington Magazine 135 (1993): ) Campbell and Cole, Ghirlandaio s Tornabuoni Chapel, T Painting in early Renaissance Venice Week 5 Topics/Themes/Artists: The Bellini family (Jacopo, Gentile, Giovanni), drawing in Venice, oil pain, Antonello da Messina, light and landscape Reading: 1) Vasari, excerpt from the Lives of Jacopo, Giovanni, and Gentile Bellini, 58-59, ) Campbell and Cole, Jacopo Bellini and the Transformation of the Modelbook, , Oil Painting, and Antonello da Messina and Giovanni Bellini: Light as Actor, ) Ames-Lewis, excerpt from Figure-Drawing outside Florence, Th Sculpture in Renaissance Florence II 11

12 Topics/Themes/Artists: Donatello, the status of the artist, the Medici as patrons, the nude in Florence Reading: 1) Vasari, excerpts from the Life of Donatello, , , ) Paul Barolsky, Looking at Renaissance Sculpture with Vasari, from Looking at Italian Renaissance Sculpture, ) Campbell and Cole, on the David and Judith, ) Ames-Lewis, Study of the Nude in Florence, For Reading #2 begin at 193, Explicitly developing the analogy and end at 194, petrified persona of the fierce Donatello himself. Discussion questions: What sense of Donatello s personality, artistic style, and skills do we get from Vasari s life of the artist? How, for example, do the anecdote about his competition with Brunelleschi to make a crucifix (pg ), and the anecdote about his pension from Piero de Medici (pg ) work together to define Donatello s character and work? Week 6 T Early Michelangelo and Medici Florence Topics/Themes/Artists: Lorenzo de Medici, Michelangelo s early works, Madonna and Child imagery, relief sculpture in marble, art academies Reading: 1) Vasari, excerpt from the Life of Michelangelo, ) P. Barolsky and W. E. Wallace, The Myth of Michelangelo and Il Magnifico Source 12 (1993): ) Italian Renaissance Resources, Unit 1, Virgin and Child; (Introduction, Saint Luke Paints the Virgin and Child: Genealogy of an Image, Icons and Panel Paintings in the West, Florence and the Renaissance, Images of the Virgin and Child at Home). Th Fame, Vanity, and the Afterlife VASARI READING ASSIGNMENT AND BIBLIOGRAPHY DUE Topics/Themes/Artists: apocalyptic imagery, Savonarola, Luca Signorelli, Michelangelo s early sculpture in the round, tombs Reading: 1) Campbell and Cole, The World Ends , Judgment Day in Orvieto, Last Things in Bologna, , Michelangelo, Early Works in Marble, PDF 2) Barnes, Michelangelo s Pietà, from Michelangelo and his Viewers, T Midterm Th Leonardo da Vinci Week 7 Topics/Themes/Artists: Leonardo da Vinci, the idea of the High Renaissance, art and science Reading: 1) Linda Murray, excerpt on Leonardo from The High Renaissance and Mannerism, ) Campbell and Cole, Leonardo Goes to Milan, ) Vasari, excerpt from the Life of Leonardo, , , , Week 8 12

13 T Staking a Claim: Leonardo and Michelangelo Topics/Themes/Artists: the paragone, Leonardo and Michelangelo in Florence Reading: 1) Campbell and Cole, The Heroic Body and Its Alternatives, and Michelangelo s David, , Leonardo vs. Michelangelo: Battle Paintings for the Great Council Hall, ) Leonardo on painting vs. sculpture, from The Making of an Artist, Italian Renaissance Resources 3) Martin Kemp, excerpt from What is good about sculpture?: Leonardo s Paragone revisited, in Leonardo da Vinci and the art of sculpture, Gary Radke, ed. (New Haven: Yale University Press, 2009), Discussion questions: The paragone (meaning comparison or competition ) between which art form was superior, painting or sculpture, was a frequent topic of conversation among Renaissance Italian artists and critics. Based on the excerpt Leonardo on painting versus sculpture, which of the two does Leonardo da Vinci believe is the superior art? What are his arguments? Do his arguments help you to understand any works of art by the artist that you may have seen? What is Kemp s argument, and is it convincing? Th Architecture in Rome Topics/Themes/Artists: Bramante, Julius II, New St. Peter s, the Belvedere courtyard, the tomb of Julius II. Reading: 1) Campbell and Cole, Rome: A New Architectural Language, ) Rowe and Satkowski, excerpt on the Cortile del Belvedere, from Italian Architecture of the 16th Century, ) Barnes, Michelangelo s Moses, from Michelangelo and his Viewers, Week 9 T Michelangelo at the Vatican: The Sistine Ceiling ANNOTATED BIBLIOGRAPHY DUE Topics/Themes/Artists: Michelangelo s Sistine ceiling, fresco painting Reading: 1) Campbell and Cole, The Sistine Ceiling, 2) Hirst, Michelangelo and his Drawings, 80. 3) Carmen C. Bambach, Michelangelo s Cartoon for Haman, in Drawing and Painting in the Italian Renaissance Workshop, Theory and Practice (Cambridge UK: Cambridge UP, 1999), For a 3D interactive view of the Sistine chapel, go to: You can look at each part of the chapel separately, or take the Virtual Tour. Th Michelangelo and Raphael at the Vatican Topics/Themes/Artists: Raphael, competition at the Vatican, papal authority, the status of the artist Reading: 1) Vasari, excerpt from the Life of Raphael, , , , ) Campbell and Cole, Eloquent Bodies: Raphael and the Stanza della Segnatura, ) Catherine Whistler and Ben Thomas, Raphael, The Drawings (Oxford: Ashmolean Museum, 2017), cat.s 42-46,

14 Discussion questions: According to Vasari, what differentiated Raphael and Michelangelo? How was Raphael influenced or not by Michelangelo s work? T Raphael Sacred and Secular Week 10 Topics/Themes/Artists: the status of the artist, Raphael, secular decoration Reading: 1) Vasari, excerpt from the Life of Raphael, 312, , ) Campbell and Cole, Raphael and His Team , The Villa Chigi, , and Altarpieces, ) Angelamaria Aceto, Appendix: Two Sonnets, Raphael as a Poet-Lover, in Raphael, The Drawings (Oxford: Ashmolean Museum, 2017), ) Catherine Whistler and Ben Thomas, Raphael, The Drawings (Oxford: Ashmolean Museum, 2017), cat.s 110 and 120, 231 and Th The 1520s: Early Mannerism Topics/Themes/Artists: maniera, Mannerism, the Sack of Rome, Rosso, Parmigianino, Pontormo, Giulio Romano Reading: 1) Campbell and Cole, Loss of the Center, , ) Vasari, excerpts from the Life of Giovanni Battista Rosso, , 172, , and excerpts from the Life of Francesco Mazzuoli (Parmigianino), , , T Michelangelo and the Medici Popes Week 11 Topics/Themes/Artists: Michelangelo and the Medici, mannerist architecture, speaking sculptures, Michelangelo s workshop Reading: 1) Campbell and Cole, Michelangelo s New Sacristy, ) William Wallace, A Week in the Life of Michelangelo, Discussion questions: What were Michelangelo s major challenges in big projects involving sculpture and architecture, such as his project to construct a new façade for the church of San Lorenzo in Florence? Does Wallace s description of a week in the life of the artist change how you view Michelangelo and his work? Th Venetian High Renaissance Painting I: Titian Topics/Themes/Artists: Giorgione, early Titian, Michelangelo and Titian, Alfonso d Este Reading: 1) Campbell and Cole, Giorgione and the Young Titian, , ) Vasari, excerpt from the Life of Titian, , PDF 3) Jean Sorabella, Venetian Color and Florentine Design, 4) Goffen, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, ) William E. Wallace, Titian looks at Michelangelo looking at Titian, Source: Notes in the History of Art 22 (2003): Week 12 14

15 T Michelangelo and Paul III Topics/Themes/Artists: Pope Paul III and the Farnese, the Reformation, civic architecture, Michelangelo s later fresco work Reading: Campbell and Cole, Rome under the Farnese, , Rome: the Capitoline Hill, , Michelangelo s Last Judgment, , Michelangelo: The Pauline Chapel, Th Michelangelo, Vittoria Colonna, and Gifts VASARI ESSAY DUE Topics/Themes/Artists: drawings as gifts, Vittoria Colonna, reform poetry Reading: 1) Campbell and Cole, Michelangelo s Gift Drawings and the Pietà, , Michelangelo: The Pauline Chapel, ) Hirst, The Making of Presents, in Michelangelo and his Drawings (Yale UP, 1988), T Gender Issues Week 13 Topics/Themes/Artists: gender in early modern art theory, women as patrons, Eleonora da Toledo, Sofonisba Anguissola, portraiture and self-portraiture Reading: 1) Loren Partridge, Introduction, 149, Bronzino s Eleonora of Toledo with her son Giovanni, in Art of Renaissance Florence (UC Press, 2009), ) Campbell and Cole, Sofonisba Anguissola, ) Fredrika H. Jacobs, Defining the Renaissance Virtuosa : Women Artists and the Language of Art History and Criticism, 1-4, For Reading #3, read up to pg. 4, some women were artists. And pg. 152, from Of the two self portraits to the end of pg Th No class Thanksgiving Break T Late Titian and the rise of Tintoretto Week 14 Topics/Themes/Artists: Titian s later work, painterly style, Tintoretto, confraternities Reading: 1) Campbell and Cole, Titian and Rome, , ) J. B. Shaw, Drawing in Venice, in The Genius of Venice, , Th Final Discussion Discussion of Michelangelo: Divine Draughtsman and Designer Reading: TBD Week 15 T Guest Lecture: Jeffrey Fraiman, Research Assistant, Metropolitan Museum of Art. Final date TBD Th Review 15

16 Final Exam review Final Exam Period: December For a complete Final Exam Schedule go to: brook.edu/registrar 16