ARH 299: Northern Art in the Renaissance Period

Size: px

Start display at page:

Download "ARH 299: Northern Art in the Renaissance Period"

Merilyn Howard
5 years ago
Views:

1 ARH 299: Northern Art in the Renaissance Period Fall Semester Instructor: Elisabetta Cunsolo Course description Throughout the centuries, thanks to its geographic position, to the presence of an important and antique University, and to some enlightened personalities, Bologna has always been characterized on the one hand by the spread of new ideas, and on the other hand by the conservation of its cultural, political and social independency. In particular, during the 16 th century there were radical changes in art and culture caused by external events. In 1506 Giovanni II Bentivoglio, the most prominent political leader of Bologna, had to leave the town that became definitely part of the Papal Estate. In those years, two important works of art, the bronze statue of pope Julius II by Michelangelo and the painting representing saint Cecilia with other saints by Raphael, hastened the expansion of Central Italian High Renaissance artistic norms across the Apennines. The Sack of Rome in 1527, the coronation of Charles V in 1530 inside the Bolognese Basilica of S. Petronio, the 1547 Spring session of the Council of Trent held in Bologna, are all important events which modified the artistic and cultural climate of the town preparing the ground for new artistic expressions, culminated in the Reform of painting introduced by the Carracci family and started at the end of the 16 th century in Bologna. This course intends to recreate and analyse the lively atmosphere present in Bologna in that period through the study of those works of art that more or less mirrored it. For this reason, a consistent part of the course will be made of visits that will allow the direct observation of paintings. Many lessons will be held in churches, palaces or museums in order to better understand for which context those works of art had been thought. Who commissioned them? And when? Why was that subject preferred to another? Why the painting is in that location and not in another? Which is the reason for its size? And for the technique used? Are foreign artistic influences evident? And, in case, through which ways did they arrive? What was the aim of the painting? What did it want to communicate in that particular period? In order to facilitate the answers to these and other questions, the course will be divided into three sections. The first part will focus on the art theory and the historical backgrounds fundamental to understand all the artistic expressions of the 16 th century. In the second section the changes those historical movements caused in the practice of Bolognese art, preparing the advent of the three Carracci, will be analysed. The study of the first two parts of the course will take to the third section which will examine the summa of the art developed in Bologna in the 16 th century, that of Ludovico, Agostino and Annibale Carracci, and the beginning of the Baroque period in Bologna and in Rome. Course materials Each section of this course is made of readings from different books or catalogues. It is warmly suggested to have a look at the books in their entirety to better understand the complexity of the material and the method adopted by the writers. Moreover, it is always better to study art history through original images rather than photocopies. For these reasons, at the beginning of the reading packet, students will find the complete Bibliography of the course with all the books, catalogues and articles from which the excerpts come from. Except for a few readings, for all the others there will be indicated the Library in Bologna where students can find the material and its correct location. In addition, a list of the main Bolognese Libraries where it is possible to study and find the material for the research paper will be prepared. In the Schedule below students can find indicated the material assigned throughout the course. Reading assignments must be completed before each lesson in order to achieve the in-class discussion. Since you are in Italy, it is strongly recommended to see as much as you can from the real life. A camera is a useful tool to document visits and field trips. A list of places nearby Bologna you can visit will be also handed out. 1

2 Frequent on-site lessons are planned for this class. Students will be required to pay for trains, busses and museum entries. Please, remember to set aside approximately 200 to be used for cultural trips. Exams At the end of each section there will be an exam in order to verify the complete understanding of the subjects studied. The first exam (10/07) will consist of two questions referring to the reading materials assigned for that part of the course and to the notes taken in class, and of the identification of two works of art discussed during the lessons related to that section. For each work of art, students will have to indicate the author, the title, the date, the location, and have to write a brief critical essay showing their comprehension of the context in which that particular work of art has been done. Comments with a simple description of the subject represented will have a lower evaluation. The lack of a written answer to one of the questions or an incorrect essay will penalize the final evaluation. This exam is worth 15% of the final course grade. The second exam (10/30) will consist of two questions referring to the reading materials assigned for that part of the course and to the notes taken in class, and of the identification of two works of art discussed during the lessons related to that section. For each work of art, students will have to indicate the author, the title, the date, and have to write a brief critical essay showing their comprehension of the context in which that particular work of art has been done. Comments with a simple description of the subject represented will have a lower evaluation. The lack of a written answer to one of the questions or an incorrect essay will penalize the final evaluation. This exam is worth 15% of the final course grade. The final exam (12/04) will consist of four questions. Two questions will refer to the reading materials assigned for the final part of the course and to what has been said during the lectures of the section. The other two questions will refer to the reading materials assigned for the first and the second section of the course, and again to those lectures. The lack of a written answer to one of the questions or an incorrect comment will penalize the final evaluation. This exam is worth 20% of the final course grade. Written Requirements: Essay: one original research paper of words (6-8 typed pages) is required for this course (12/08). Students will be free to choose a topic among the large number of works of art we will have discussed in class, and are expected to write an in-depth analysis of it. The essay must introduce the artist and the context in which he lived and worked, and comment the artwork through an analysis of the subject and style adopted, and through comparisons with other works of art by the artist himself and by contemporaries. Students must prove to have developed a critical eye by carefully looking at the work of art through some basic research. As well as the content of the papers and the method used, also the form adopted will be taken into consideration. The use of sources (ideas, quotations, etc.) in essays and Bibliography must be properly documented in MLA format. The course Bibliography will be a valid help and a starting point for further readings. Students are expected to cite at least one book and one article on the artist and/or the artwork. Web sources are allowed on the base of their consistency, and only if written by scholars of the matter (e.g. Wikipedia will not be accepted as scholarly source). Images must be part of the research paper. A detailed outline with an index and the Bibliography selected is required by Tuesday, November 18. Late outlines and papers will be marked down one-half of a letter grade per day. I will not accept outlines and papers more than three days late. The paper will be worth 20% of the final grade. Presentations: Students will present specific topics during the field trips (10/24 and 11/29). In both cases, they will be told the subjects of their presentations in advance. Each presentation will be roughly 5/10 minutes and will be followed by a discussion. Each presentation will be worth 10% of the final grade. Academic Policies: All works submitted in this course must be your own and be written exclusively for the present course. Plagiarism and cheating on the exams are grounds for failure in the course. Plagiarism is copying the exact words of another work without using quotation marks and providing reference, and using facts, information or ideas from another work without providing credit in brackets, footnotes or endnotes to the source of the 2

3 information or ideas. Submission of a paper copied from another work, or which contains fictitious or falsified notes risks automatic failure of the course. If you have a disability (physical or learning) that you think may affect your performance in this class, please inform me early in the Semester so that we can discuss whatever accommodation may be available. Grades Chart: A = 957 up A- = 914 up B+ = 871 up B = 828 up B- = 785 up C+ = 742 up C = 699 up C- = 656 up D+ = 613 up Attendance and Participation: Attendance and participation are crucial to the successful completion of this course that is mainly based on on-site visits, some of which reserved for this class only in places usually not open to public. In the Schedule below are indicated all the visits with the addresses and the times of appointments. Attendance at classes is required to all students. Students are expected to arrive on time, having completed the course readings and assignments, with a pen, paper and books in-hand. Students are expected to read the daily to keep abreast of important academic issues. It is the student s responsibility to notify me of an anticipated absence, make arrangements to complete the work, and then complete the work as agreed. Students who will come to lesson with a delay of more than 5 minutes, will be considered absent. In the event a student misses more than two classes he/she will automatically be marked down one grade point. A student may be absent two times before being penalized. For example, if a student is excepted to receive a B for this course, but has two unexcused absences on his/her report, the final grade for the course will be dropped to a B-. Excused absences require a note from the Spring Hill medical Doctor or from Dr. Todd Waller. Any change in status which will result in absence, the student must contact me immediately. It is a student s responsibility to keep him/herself informed of pending strikes, and any other potential obstacles that may prohibit one from being at class on time. Excuses related to travel delays will not be accepted. Examinations missed by reason of absence must be made up at my convenience. Students are required to familiarize themselves with the course schedule and should not attempt to make travel plans that may conflict with course meetings, on-site visits, and exams. Furthermore, if students do not show active engagement with the issues we discuss in class, their grade (and the entire class) will suffer. It might be possible that I decide for unexpected tests if I notice that students are not completing the work assigned for each class. Attendance and active participation will account for 10% of the total grade. Grading Summary: Exam #1 (15%); Exam #2 (15%); Exam #3 (20%) Essay (20%); Presentation #1 (10%); Presentation #2 (10%); Attendance and Participation (10%). 3

4 Tentative Class Schedule Class 1: Introduction and presentation of the course. Historical notes Class 2: Class 3: Class 4: Class 5: Class 6: Class 7: The concept of the Renaissance and the art of Leonardo. (Vasari: 3-6, > see SHC library for this book; Hartt and Wilkins: > see SHC library for this book) Painters of the High Renaissance: Raphael and Titian. (Hartt and Wilkins: , , , > see SHC library for this book) Michelangelo and the Mannerism. (Hartt and Wilkins: , , ; 589; > see SHC library for this book) From the Renaissance to Counter-Reformation through Mannerism in Bologna. Visit to the Oratory of S. Cecilia (via Zamboni 15) and to the church of S. Paolo Maggiore (via Carbonesi 18) (Boschloo: , ; Aspertini s life in The age of Correggio and the Carracci: 56-57) Religious Reformations in Italy and Europe. (Fatio, Understanding the Reformation: 10-34; Elsig and Sala, Hell or Paradise: 25-33, 47-54; Kaborycha: 241, ) 1 st exam The way to the Carracci Reform of Painting Class 8: Class 9: Class 10: Art in Emilia in the 16th century, and the importance of foreign contributions. (Briganti in The age of Correggio and the Carracci: XV-XXX; Hartt and Wilkins: > see SHC library for this book ) Raphael and Parmigianino in Bologna. Their influence on Bolognese 16th century painting. Visit to the church of S. Giovanni in Monte (piazza S. Giovanni in Monte) and to the Basilica of S. Petronio (piazza Maggiore). (Connoly in La Santa Cecilia di Raffaello: ; Hartt and Wilkins: > see SHC library for this book; The age of Correggio and the Carracci: 58-60) The Michelangelesque manner in Bologna: Pellegrino Tibaldi s frescoes in Palazzo Poggi. Visit to Palazzo Poggi (via Zamboni 31) (Tibaldi s life in The age of Correggio and the Carracci: 202) 4

5 Class 11: Class 12: Class 13: Class 14: Class 15: Intellectual and artistic life in Bologna: Achille Bocchi and his Academy, and Bartolomeo Passerotti (1). (Watson, Achille Bocchi and the Emblem Book as Symbolic Form: 3-6, 17-20, 56-77; Passerotti s life in The age of Correggio and the Carracci: 177) Bartolomeo Passerotti (2), and Ulisse Aldrovandi: between Reality and Imagery. Visit to the Musei Universitari di Palazzo Poggi (via Zamboni 33). (Olmi and Prodi in The age of Correggio and the Carracci: pp ) Field trip to Parma (Hartt and Wilkins: > see SHC library for this book) The 16 th century in Bologna between Mannerism and Counter-Reformation. Visit to the church of S. Michele in Bosco (piazzale S. Michele in Bosco), and to the Legato Chapel in the Palazzo Comunale (piazza Maggiore). (Fortunati in The age of Correggio and the Carracci: 31-44, 136; Italian Women Artists: ; Vasari: introduction, VI-XIV > see SHC library for this book) 2nd exam The Carracci Class 16: Class 17: Class 18: Class 19: Class 20: Class 21: The Carracci Reform of Painting. (Dempsey in The age of Correggio and the Carracci: pp ; Feigenbaum in Captured Emotions. Baroque Painting in Bologna, : 15-19) The beginning of Annibale s career. Visit to the churches of S. Maria della Carità (via San Felice 64) and SS Gregorio e Siro (via Montegrappa 15). (Carracci s lives in The age of Correggio and the Carracci: , , , ) The Carracci fresco decoration in Palazzo Magnani (visit to the palace, via Zamboni 20). (Vitali in Palazzo Magnani in Bologna: 23-28) Learning through drawings and prints. Visit to the Gabinetto disegni e stampe della Pinacoteca Nazionale di Bologna (via Belle Arti 56). (DeGrazia Bohlin: pp ) Some examples of Ludovico s art. Visit to the churches of Corpus Domini (via Tagliapietre 19) and S. Cristina (piazzetta G. Morandi) Last presence of the Carracci in Bologna. The Carracci Academy in the Oratory of S. Colombano (visit to the Oratory, via Parigi 5). (Brejon de Lavergné in The age of Correggio and the Carracci: ) Preparation to the field trip to Rome Class 22: Field trip to Rome. 5

6 (Dempsey and Hipp in Captured Emotions. Baroque Painting in Bologna, : 1-13; 55-60) Class 23: Class 24: Class 25: Final discussion on the course and preparation to the final exam. Final exam. Handing in of research papers. 6

ARH 311: History of Italian Art from the 15th to the beginning of the 17th Century

ARH 311: History of Italian Art from the 15th to the beginning of the 17th Century Spring Semester Instructor: Elisabetta Cunsolo ecunsolo@shc.edu Course Description: This course will offer an introduction