Professor: Julia Doménech Office Hours: Tuesdays & Wednesdays 5 pm.

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1 Class code Instructor Details ARTH-UA Professor: Julia Doménech Office Hours: Tuesdays & Wednesdays 5 pm. Class Details Meets at Segre ( pm) and at the Prado Museum ( ). (Be aware that due to the Museum s own schedule the time of the visit may vary slightly.) Prerequisites Class Description Desired Outcomes N/A The aim of this course is to offer an introduction to Spanish Art from The Golden Age the early Nineteenth Century, with special emphasis on El Greco, Diego Velázquez and Francisco de Goya. Given its position as a primary depository for Spanish art, the collection of El Museo del Prado will be a major focus of the course, with regular class vis to the museum and related institutions. The artistic relationship artists of the Spanish School maintained with foreign artists (Bosch, Titian, and Rubens) will be considered in depth. Contemporary readings in art history are incorporated as relevant to the subject. The intentio of the course is to teach students how to approach the formal analysis of paintings within a ri context-based interpretative framework, including the social and historical conditions surrounding artistic production. After a general introduction and overview, individual classes will focus on case studies. In-class lectures are followed by sessions at the Prado Museum, the Royal Academy of Fine Arts of San Fernando (if possible) and the Thyssen Bornemisza Museum. Attendance during all class sessions and museum visits is mandatory. -To offer a general introduction to Spanish painting with a special emphasis on El Greco, Velázquez and Goya - To identify and analyse images at the Prado Museum, artistic schools and major transformations in Spanish art. -Students will write a critical essay on a work of art, applying art historical methodologies discussed in class. Assessment Components -Mid term (30%) (Analysis of five images including a discussion of the readings related to them) -Final exam (30%) (Analysis of five images including a discussion of the readings related to them) -Essay (30%) (10 pages). You have the opportunity to submit portions of your research Page 1 of 8

2 and writing throughout the course so that you can receive direction on how to improve. Therefore you may well hand out an abstract, bibliography, draft and final paper. --The practical classes at the Prado Museum and the oral comprehension of the discussed readings and class work will represent 10% of the final grade. Failure to submit or fulfill any required course component results in failure of the class. Grading Policy Attendance Policy -Participation should be active during the course, especially in the discussion of the readings and in relation to museum visits. -Work for extra credit is not permitted. -Once a subject for the research paper has been agreed upon by the instructor and the student, the topic may not be changed without specific permission from the instructor, and at least one week prior to the deadline. Attendance is required at the weekly practical classes at the Prado Museum. If you miss the practical sessions your final grade will suffer. Never more than two unjustified absences overall. Mobile phones must be switched off in class. At the Prado Museum there are certain etiquette requirements: no pictures, mobiles, cutting objects, drinking, eating or speaking in a loud tone are allowed. You can be expelled from the museums for disruptive behaviour. Please talk in a very low voice: behave properly in a responsible and adult manner. A high score for class participation is awarded to those students who contribute to class discussion in a significant way. PLEASE NOTE: If you are unable to attend class, you are required to your professors directly. Academic work can only be made up if you have an official medical excuse (i.e. a doctor s note). Late Submission of Work Plagiarism Policy No late work will be accepted At NYU, a commitment to excellence, fairness, honesty, and respect within and outside the classroom is essential to maintaining the integrity of our community. Plagiarism: presenting others' work without adequate acknowledgement of its Page 2 of 8

3 source, as though it were one s own. Plagiarism is a form of fraud. We all stand on the shoulders of others, and we must give credit to the creators of the works that we incorporate into products that we call our own. Some examples of plagiarism: Required Text(s) in Print Format Required Texts available via NYU Classes a sequence of words incorporated without quotation marks an unacknowledged passage paraphrased from another's work the use of ideas, sound recordings, computer data or images created by others as though it were one s own submitting evaluations of group members work for an assigned group project which misrepresent the work that was performed by another group member altering or forging academic documents, including but not limited to admissions materials, academic records, grade reports, add/drop forms, course registration forms, etc. using translation software. For further information, students are encouraged to check N. Abrams, Print. ISBN Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven & London: Yale University Press, Print. ISBN Alpers, Svetlana. The decoration of the Torre de la Parada. London & New York: Phaidon Press, Print. ISBN The Making of Rubens, New Haven & London: Yale University Press, Print. ISBN The Vexations of Art. Velazquez and Others. New Haven & London: Yale University Press, Print. ISBN Alpers, S. & Baxandall. M. Tiepolo and Pictorial Intelligence. New Haven & London: Yale University Press, Print. ISBN Blunt, Anthony. Poussin. London: Pallas Athene, Print. ISBN Bray, Xavier (Ed.). The Sacred Made Real. London, National Gallery, Print. ISBN hardback Broude, N. & Garrard, M.D. (eds.). The Expanding Discourse. Feminism and Art History. New York: Harper Collins. Print. ISBN Brown, Jonathan. Images and Ideas in Seventeenth-Century Spanish Painting. Princeton: Princeton University Press, Print. ISBN Velázquez: Painter and Courtier. New Haven & London: Yale University Press, Print. ISBN Brown, Jonathan & Elliott, John. Un palacio para el rey. El Buen Retiro y la corte de Felipe IV. Madrid: Alianza., Print. ISBN X Eisenman, Sthephen F. (ed.). Nineteenth Century Art. A Critical History. London: Thames & Hudson, Print. ISBN Harrison, C. et al (eds.). Art in Theory Oxford: Oxford University Press Print. ISBN Harris, Enriqueta. Velázquez. Ithaca: Cornell University Press, Print. ISBN , Goya. London: Phaidon Books, Print. ISBN Larson, Susan & Woods, Eva. Visualizing Spanish Modernity. Berg PUBLISHERS. Page 3 of 8

4 Session 1 May 30 Session 2 May 31 Session 3 June 1 MASTERPIECES IN THE PRADO MUSEUM (IN ENGLISH) PRINT. ISBN X Marías, Fernando. El Greco. Life and Work- A new history. London: Thames & Hudson, Print. ISB Moxey, Keith. The Practice of Theory. Ithaca & London: Cornell University Press, Print. ISBN Schulz, Andrew. Goya s Caprichos. Aesthetics, Perception and the Body. Cambridge : Cambridge University Press, Print. ISBN Stoichita, Victor. Visionary Experience in the Golden Age of Spanish Painting. London: Reaktion, Print. ISBN (pbk) & Coderch, Ana Mª. Goya the Last Carnival. London: Reaktion, Print. ISBN Stratton-Pruit, Suzanne (ed.). The Cambridge Companion to Velázquez. Cambridge & New York: Cambridge University Press, Print. ISBN paperback.. Velazquez s Las Meninas. Cambridge & New York: Cambridge University Press, Print. ISBN paperback. Sullivan, Edward. Baroque Painting in Madrid: The Contribution of Claudio Coello. Columbia:, Print. ISBN X The Oxford Guide to Classical Mythology in the Arts , New York & Oxford: Oxford University Press, Print. ISBN Tomlinson, Janis. Goya in the Twilight of Enlightenment, New Haven and London: Yale University Press, ISBN Francisco Goya y Lucientes London: Phaidon Press, ISBN Spain in the times of El Greco. Philip II and Renaissance patronage. Portraiture for the Spanish Court. Moxey, Keith. Making Genius. The Practice of Theory. Ithaca & London: Cornell University Press, (NYU Classes) (pp ) Titian and the Spanish Monarchy. El Escorial. N.Abrams, Print. ISBN (pp. 9-41) Visit to the Prado Museum: Northern and Italian Renaissance Paintings (Van der Weyden, Bosch, Raphael and Titian) Ames-Lewis, Francis. Ekphrasis, The Intellectual Life of the Early Renaissance Artist. New Haven & London: Yale University Press, Print. (NYU Classes) (pp ) Session 4 June 2 (FRIDAY) Introduction to El Greco. N.Abrams, Print. ISBN (pp.43-59) Brown, Jonathan. El Greco, the man and the myth. El Greco de Toledo. Madrid: Ministerio de Cultura, Print. (NYU Classes) (pp.15-33) Page 4 of 8

5 Session 5 June 5 Session 6 June 6 Session 7 June 7 Session 8 June 8 Session 9 June 12 Session 10 June 13 Session 11 June 14 El Greco and the theory of painting. Marías, Fernando. El Greco. Life and Work- A new history. London: Thames & Hudson, Print. (NYU Classes) ISBN (pp ). Classicism and Naturalism in Italy: Carracci/ Caravaggio. Rembrandt s Artemisa. French Classicism: Poussin & Claude Lorrain. Readings: Rembrandt van Rijin, Letters to Constantin Huygens (1636-9) from Harrison, C. et al (eds.). Art in Theory Oxford: Oxford University Press Print. (NYU Classes) Blunt, Anthony. Poussin. London: Pallas Athene, Print. (NYU Classes) (pp ) (optional). (NYU Classes) Rubens s Series for Philip IV: Absolutism and Mythological Paintings. Readings: Carroll, M., "The Erotics of Absolutism". Representations. nº 25, Winter 1989, pp Print. (Online version available, JSTOR). (pp.3-30) Visit to the Prado Museum (Greco-Caravaggio-Carracci-Rembrandt-Poussin- Rubens) Chiaroscuro in Spanish Painting: Maino, Ribalta, Zurbarán. Readings: Pacheco, The Art of Painting (extract) from Harrison, C. et al (eds.). Art in Theory Oxford: Oxford University Press Print. (NYU Classes) (pp.29-38). N.Abrams, Print. ISBN (pp ) Ribera and Naples. Brown, Jonathan, Painting in Spain New Haven and London: Yale University Press, Print. (pp ). Visit the Thyssen Museum. (Van Eyck, Ghirlandaio, Memling, Greco, Caravaggio, Ribera, Murillo, Rubens, Rembrandt, etc.) Readings: DePrano, M. At Home with the dead: The Postumous Remembrance of Women, Notes in the History of Art, Vol. 29, No. 4 (Summer 2010), pp (JSTOR Stork, D.G., Did Hans Memling Employ Optical Projections When Painting "Flower Still- Life?",Leonardo, Vol. 38, No. 2 (2005), pp (JSTOR) Page 5 of 8

6 Session 12 Visit to the Prado Museum (Ribera-Zurbarán- Maino- Ribalta) June 15 Session 13 Mid Term Exam. June 19 Session 14 June 20 Session 15 June 21 Session 16 June 22 Session 17 June 26 Velázquez: Aerial Perspective as a New Visual Space. N.Abrams, Print. ISBN (pp ) Alpers, Svetlana, Interpretation without Representation, or the viewing of Las Meninas, Representations 1, no.1 (February 1983). JSTOR (pp.31-42) Ut Pictura Poesis: Velázquez as a reader of Ovid. Readings: Ovid, The Fable of Arachne. (From Metamorphoses, Book the Sixth). Online version: Moffitt, J.F., The "Euhemeristic" Mythologies of Velázquez, Artibus et HistoriaeVol. 10, N 19 (1989), pp (JSTOR) Visit the Prado Museum (Velázquez-Murillo-Coello) Steinberg, Leo, Velazquez s Las Meninas October, Vol. 19 (Winter, 1981), pp (JSTOR) Painting in Spain in the second half of the Seventeenth Century (Murillo, Coello, etc.) N.Abrams, Print. ISBN (pp ). Session 18 June 27 The Arrival of The Bourbons: A New Art for a New Dynasty; From Canova to Kauffmann: Neoclassicism at the Prado. Readings: N.Abrams, Print. ISBN (pp ). J.J. Winckelmann extract from Reflections on the Imitation of Greek Works in Painting and Sculpture (1755) from Harrison, C. et al (eds.). Art in Theory Oxford: Oxford University Press Print. (NYU Classes) (pp ) Page 6 of 8

7 Session 19 June 28 Goya: A Sign of the Times. Tomlinson, Janis, From El Greco to Goya. Painting in Spain New York: Harry N.Abrams, Print. ISBN (pp ). Stoichita, Victor & Coderch, Ana Mª. Goya the Last Carnival. London: Reaktion, Print. ISBN (NYU Classes) (pp ). Session 20 June 29 Session 21 July 3 Session 22 July 4 Session 23 July 5 Session 24 July 6 Visit the Prado Museum. (Goya-Mengs-Tiépolo) Paper Deadline. Late Goya: The Black Paintings. J. Addison, On the Pleasures of Imagination (1712). (Extracts) from Harrison, C. et al (eds.). Art in Theory Oxford: Oxford University Press Print. (NYU Classes) (pp ). Tomlinson, Janis. Francisco Goya y Lucientes, New York: Phaidon Press, Print ISBN (NYU Classes) (pp ). The Nineteenth-Century at the Prado. Soliño, M.E., Madness as Nationalistic Spectacle: Juana and the Myths of Nineteenth-Century History Painting in Juana of Castile. History and Myth of the Mad Queen, eds. Gómez, M.A., Juan-Navarro, S. and Zatlin, P., Print. (pp ) (NYU Classes). Visit the Prado Museum (19 th Century). (Goya-Rosales-Pradilla-Sorolla-Fortuny) FINAL EXAM Required Cocurricular Activities Suggested Cocurricular Activities Visit the R.A.B.S.F. s Museum and Calcografía Nacional (C/ Alcalá SN) You are encouraged to visit the Convento de las Descalzas Reales, Palacio Real de Madrid and San Antonio de la Florida. Page 7 of 8

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Masterpieces in the Prado Museum (English) SAMPLE. Professor: Julia Doménech Office Hours: Tuesdays & Wednesdays 5 pm.

Masterpieces in the Prado Museum (English) SAMPLE. Professor: Julia Doménech Office Hours: Tuesdays & Wednesdays 5 pm. Class code ARTH-UA.9338.001 Instructor Details Professor: Julia Doménech E-mail: jd93@nyu.edu Office Hours: Tuesdays & Wednesdays 5 pm. Class Details Meets at Segre (3.30-5.00 pm) and at the Prado Museum