ART
384, ITALIAN RENAISSANCE ART
PROFESSOR
SHELLEY STONE OFFICE: DDH C108 (Tel.665 - 6029)
OFFICE
HOURS: MTWR 1-2, and by appointment.
The modern modes of society
in
Renaissance Italy produced some of the
greatest artists in world history: Leonardo, Michelangelo, Raphael and Donatello are only a few of the names that still hold magic
today. This course will examine the development of Italian art and architecture
from ca. 1300 to ca. 1550, focusing on the major artists and architects in this
period as well as art as an expression of Renaissance values.
Grading
Grading for the course will be based on a
three tests (each worth 15% of the final grade, or 60 points each), a book
review (worth 10% of the final grade, or 40 points), a research paper (worth
30%, or 120 points), and attendance (worth 15%, or 50 points). There are 400
possible points, and I will divide your total by four to arrive at your final
grade. The assignment of final grades will be on the following scale:
100-91.5=A
77.5-79.4=C+
91.4-89.5=A-
71-77.4=C
87.5-89.4=B+ 69.5-71=C-
81.5-87.4=
B
68.5-69.4=D+
79.5-81.4=B-
61-68.4=D
I
hope there won’t be any grades below this. I suppose that I would give a D- if
you achieved a 59.5-60.9% in the course. Below 59.4 is failing.
Missing a test will drop you over a letter
grade, because the highest you can achieve in the course would be 85; failing
to turn in the book review will drop you a letter grade. If you do not turn in
the research paper you will fail the
course, since the best grade you could achieve by getting every other point in the course is 70% or a C-. Failing to attend
class can hurt your final grade a lot too.
Tests
The format of the examinations will be as
follows: 10 slide identifications (worth 40 points, or 4 points each), four
short answers selected from seven possibilities (worth 20 points, or 5 points
each). The slide identifications will be chosen from the illustrations in your
text. The images that you need to know for each test are illustrated in image
files attached to my home page at the CSUB web site
(http://www.csubak.edu/art/sstone.html).
You will need a password to get into these (for copyright reasons). This
will provided in the second class meeting. Makeup
examinations are not given unless the student can prove a hardship that
prevented attendance on the scheduled day of the test.
Art 384
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Papers
Each student will research an important
topic in Renaissance art, either the career of an important artist
or architect, or a thematic topic. This will result in a paper of approximately
10-12 pages in length. As part of the research, each student will write a 3-4
page book review of an important source for the research paper. Both
paper and book review must be given in electronic format to the instructor,
whether as an e-mail attachment or on a CD or floppy disk. Papers, whether
book review or research, turned in late will be docked one-third of a grade per
day late (i.e. B to a B- to a C+ etc.) unless the student makes prior
arrangements with the instructor. Students are requested to turn in a one-page
prospectus to the instructor on July 26,
indicating the topic of the student’s paper, and the book to be read for the
book review (which means you should check that book out of
the library or otherwise procure it by that date). The prospectus should be in
printed format. Students who hand this in as requested on the scheduled date
will receive five points of extra credit!!! If you are unable to attend class
on the day scheduled to turn in the book review (August 4), or the paper (August
9), papers
may be sent as an attachment to an e-mail. In addition, the instructor has a
mail box in Dorothy Donohue Hall (D101, Liberal Studies).
Plagiarism,
conscious or unconscious, on the papers will incur the penalties specified in
the university catalog.
Academic Integity
This
is defined on page 57 of the 2003-5 catalog. Here are
some pertinent sections:
There are certain
forms of conduct that violate the university’s policy of academic integrity.
ACADEMIC DISHONESTY (CHEATING) is a broad category of actions that use fraud
and deception to improve a grade or obtain course credit. Academic
dishonesty (cheating) is not limited to examination situations alone, but
arises whenever students attempt to gain an unearned academic advantage.
PLAGIARISM is a specific form of academic dishonesty (cheating) which consists
of the misuse of published or unpublished works of another by claiming them as
one’s own. Plagiarism may consist of handing in someone else’s work,
copying or purchasing a composition, using ideas, paragraphs, sentences, phrases
or words written by another, or using data and/or statistics compiled by
another without giving appropriate citation. Another example of academic
dishonesty (cheating) is the SUBMISSION OF THE SAME, or essentially the same,
PAPER or other assignment for credit in two different courses without receiving
prior approval.
When a faculty member
discovers a violation of the university’s policy of academic integrity, the
faculty member is required to notify the university’s Coordinator of Student
Discipline and Judicial Affairs of the alleged violation, including the name(s)
of the student(s) suspected, the class in which the alleged violation occurred,
the circumstances of the alleged violation, and the evidence (including
witnesses) supporting the allegation. The faculty member shall also
formally notify the student(s) suspected of violating the university’s policy
of academic integrity, the department chair, and the school dean. The
Coordinator for Student Discipline and Judicial Affairs shall conduct an investigation,
confer with the faculty member, student(s), and any witnesses identified, and
review all evidence submitted by the faculty member and student(s).
Normally, the Coordinator for Student Discipline and Judicial Affairs shall
make a settlement agreement with the student for his/her first violation of
academic integrity with the following sanctions:
Art 384
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• final course grade of “F”
• one-year “academic
probation” requiring a meeting with the Coordinator of Student Discipline and
Judicial Affairs prior to registration for each subsequent academic term of the
probationary year.
A second offense leads to suspension from
the university for at least a year.
Attendance
As mentioned above, 15% of a student’s grade
is based on attendance at scheduled classes. This does not count test dates; it is assumed that you will show up for
the tests. Since there are three of these, there are 13 remaining class
meetings during the quarter. I will allow each student to miss one of these
classes unpenalized, leaving 12 classes. You will
receive five (5) points for each of these classes you attend, or a total
possible of 60 points. In other words, each time you miss a class after the one
allowed, you lose a point off your final grade.
At the beginning of class an attendance sheet
will be passed out for each student in attendance to sign. This will be
collected by the instructor. If you show up late, it is your responsibility to
approach the instructor apologetically at
the break, and ask to sign the daily roster.
Please note that exceptions will be allowed
in exceptional cases (i.e. severe illness, maneuvers, etc.). It is assumed that
life’s occasional eccentricities (like “car trouble,” the flu) are covered by
the three absences allowed.
The required text for this course is L.S.
Adams, Italian Renaissance Art (2001). Students
are strongly advised to purchase their own copies of these books, since they
are responsible for the content (tested in various ways) and for the
illustrations in the text (from which the slide identifications on the tests
will be chosen).
It is assumed by the instructor that
students who attend the scheduled classes are there to learn the material. This
means that the student will remain attentive and quiet (unless called upon to
speak)). The student should stay in his or her seat, unless under severe
duress, until the daily break (at about the halfway point in the class) or the end of class. If you leave
class, you should wait to return to your seat until the next break. If you must
leave class early for an important appointment, you should leave at the break,
or not come at all. Not disturbing the class is a common courtesy to your
fellow students. Students who fail to meet these standards will incur the wrath
of the instructor.
Cell phones should turned
off during class, or, if receiving a call is vital, set to vibrate. When
receiving a phone call, a students must leave the
classroom, and return at the next break.
Please
Note: if you plan to receive General Education credit for this course, you must
achieve upper-division status before the quarter in which Art 384 is taken!
Art
384 Page
4
Course
Objectives
1.
To learn how to analyze an artistic composition in terms of its
"language" of visual symbolism, and to understand that, when this
language is understood, one can interpret these symbols (or "motifs")
in terms of universal human values and/or individual cultural needs. The basic
analytic methods learned in this course can be applied to any work of art,
because they can be used to "read" a work of art and sort its
composition into meaningful categories. These skills should be exhibited in the
slide identifications.
2.
To understand the fundamental importance of visual imagery in a largely
non-literate society, and how visual imagery may serve to instruct its audience
as to cultural values and norms.
Throughout the period covered by Art 384, the visual arts were far more
important for the instruction of cultural values than they are today. As a
result of this cultural importance, its "language" was far more fixed
than in our primarily aesthetic and /or metaphoric art of today. Students will
become familiar with basic art terminology, such as form and content. The
resulting knowledge should be demonstrated in the tests, and in the papers.
3.
To understand changes in artistic styles, both in terms of continuing human
development and as expressions of the artistic requirements of diverse
cultures. Each student should learn the meaning and application of basic
stylistic categories used in classifying art such as Realistic, Naturalistic,
Abstract, and Expressionistic, as well as how each affects the content
(meaning) of works of art. The resulting knowledge should be demonstrated in
the tests, and in the papers.
4.
To understand the major social and historical forces which
conditioned the art of each period and/or culture studied. For example,
the art of the Late Renaissance was imbued with a deep pessimism. This reflects
the (disastrous) interference of northern
5.
To recognize masterpieces of art which exemplify the visual culture of the
period covered by the course. This will allow the
student to create a historical framework of artistic monuments with which to
evaluate and classify works of art of the same cultures and periods that are
encountered after he or she has completed the course. In addition, the student
should learn the names of major artists (i.e. Raphael), architects (i.e. Brunelleschi), rulers (i.e. Pope Julius II), and cultural
figures (i.e. Baldassare Castiglione)
whose achievements effected the directions taken by the visual arts during
their period. The resulting knowledge should be demonstrated in the tests..
6.
To understand the interrelationship of the visual arts and other areas in the
humanities. This is vital to the understanding of Italian Renaissance art,
which illustrates contemporary societal values. The resulting knowledge should
be apparent in your papers.
Art
384
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SYLLABUS
July
18: Introduction to the course. The visual culture of the
Italian Renaissance. Duecento (Dugento)
Art and Society in central
July
19:
July
20: The Bronze Door competition of 1401. Brunelleschi and the beginning of Renaissance architecture. Orsanmichele and Early Renaissance sculpture.
July
21: Painting in
July
25: Florentine Painting 1430-1460: Fra Angelico and Fra Filippo Lippi. Review.
July
26: Test 1 (one hour). Painting in
July
27: Art and architecture in
July
28: Sculpture, Painting, and Architecture in
August
1: Early Renaissance art in
August
2: Early Renaissance Art in
August
3: Test 2 (one hour). Leonardo and Bramante in
August
4: Raphael in
Art
384
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August
8: Raphael in
August
9: Venetian Renaissance painting and architecture in the 16th
century. The Crisis of the Late Renaissance. The late work of Michelangelo. Paper due.
August
10: The Mannerist Crisis in
THE THIRD TEST IS SCHEDULED FOR
ART 384, CRITICAL BOOK REVIEW ASSIGNMENT
This
short paper will consist of a critical book review of around three or four
pages in length on an important source (not a picture book) for your research
paper. The topic for your research paper, and
the book to be reviewed, must be submitted by the instructor for approval
on July 26. You should read your chosen book carefully, noting the author's
arguments, and comparing them to what you find in your texts. You likely will
want to do some supplementary reading to check further on these, and to compare
them to other scholarly opinion. The review should be written in clear English,
and must be in printed format. It is due on August 4. Reviews submitted after this date (unless cleared with
the instructor) will be graded off one-third of a grade per day late.
The Book Review
A critical book review is an informed critique
of a scholarly work. It should take something like the following form:
1. Bibliographical information about the work:
author, title, place and date of publication. This is given as a heading.
2. A brief statement of the book's purpose or
thesis (why it was written). This may be combined with an introduction to the
material dealt with in the book.
3. A synopsis of the order in which the author
presents his or her information.
4. Critical evaluation of the success or failure
of the book in meeting its thesis. This may include any errors in the book you
find (including typos), any features which made the book difficult to read, and
mention of additional material that the author failed to include.
5. A final evaluation of the book as a success
or failure, including what readership it is suitable for.
APPROVED
REVIEW TOMES
1)
Giotto: d'Arcais, Giotto ; Eimerl, The World of Giotto , Maginnis, Painting in the Age of Giotto
; Smart, The Dawn of Italian Painting,
1250-1400 ; White, Art and
Architecture in Italy, 1250-1400 3
Ghiberti: Finn The
Masaccio: Spike, Masaccio ; Berti Masaccio
Donatello: Bennett and Wilkins, Donatello ; Poeschke, Donatello ; Pope-Hennessy, Donatello . Art of the World?
Fra Angelico:
Pope-Hennesssy, Fra Angelico ; Hodo Fra Angelico in San Marco .
Fra Filippo Lippi: Holmes, Fra Filippo Lippi .
Piero della
Francesca: Bertelli, Piero della Francesca ; Cole,
Piero della Francesca
; Clark Piero della Francesca
.
Castagno: Horster,
Andrea del Castagno .
Veneziano: Wohl,
The Paintings of Domenico
Veneziano .
Mantegna: Lightbown,
Mantegna ; Martineau, Andrea Mantegna .
Giovanni Bellini:
Goffen, Giovanni
Bellini ; Robertson, Giovanni
Bellini ;
Review p. 2
Botticelli:
Ettlinger, Botticelli ; Lightbown, Botticelli .
Ghirlandaio:
Cadogan, Domenico Ghirlandaio
.
Carpaccio: Brown, Narrative Painting in the Age of Carpaccio.; Sgarbi, Carpaccio .
Leonardo:
Bramley, Leonardo,
the Artist and the Man ;
Gould, Leonardo ; Kemp, Leonardo da Vinci
; Letze and Buchsteiner, Leonardo da Vinci
; Turner, Inventing Leonardo .
Raphael:
Ettlinger, Raphael ; Jones and Penny, Raphael ; Pope-Hennessy, Raphael
; Oberhuber, Raphael,
The Paintings .
Michelangelo, in general:
Hibbard, Michelangelo
; Murray, Michelangelo ; de Tolnay, The Art and
Thought of Michelangelo .
Michelangelo, painting:
Mariani, Michelangleo the Painter ;
Gilbert, Michelangelo On and Off the
Sistine Chapel .
Michelangelo, sculpture:
Baldini, The
Sculpture of Michelangelo ;
Hartt, Michelangelo:
the Complete Sculpture ; Poeschke, Michelangelo and His World .
Giorgione:
Anderson, Giorgione ; Pignatti, Giorgione .
Titian:
Cole, Titian , Hope, Titian ; Rosand,
Titian: His World and Legacy ;
Various, Titian: Prince of Painters ;
Williams, The World of Titian ; Rosand, Painting in
16th Century Venice (second ed.) ; Meilman, Titian and the Altarpiece in Renaissance
Correggio: Ekserdjian, Correggio .
Parmigianino:
.Gould Parmigianino .
Pontormo: Nigro, Pontormo.
Bronzino: McCorquodale, Bronzino
.
2)
Brunelleschi: Saalman, Filippo Brunelleschi: the
Buildings ;
Battisti, Filippo Brunelleschi .
Alberti: Kelly, Leon Battista Alberti .
Bramante: Bruschi, Bramante
.
Michelangelo:
Ackerman, The Architecture of Michelangelo ; Argan and Contordi, Michelangelo the Architect .
Palladio: Ackerman, Palladio ; Boucher, Andrea Palladio ; Taverner, Palladio and Palladianism .
3)
Mannerism: Hauser,Mannerism ; Shearman, Mannerism ; Hall, After
Raphael .
4)
Catholic Church and 16th century art: Goffen, Piety and Painting in Renaissance Venice ; Freedberg, Painting
in
5)
Renaissance theories of art: Blunt, Artistic Theory in Italy, 1450-1600 ;
Summers, The Judgement
of Sense ; Jorzombek, On Leon Battista Alberti: his Literary and
Aesthetic Theories ; Wohl, The Aesthetics of Italian Renaissance Art .
6)
Italian Renaissance art in Renaissance society: Burke, Culture and Society in Renaissance Italy 2; Cole, Italian Art, 1250-1550: The Relation of
Renaissance Art to Life and Society ; Shearman, Only Connect: Art and the Spectator in the Italian Renaissance ; Wackernagel, The
world of the Florentine Renaissance Artist ; Ames-Lewis, The Intellectual Life of the Early
Renaissance Artist.
PAPER
ASSIGNMENT AND SUGGESTED TOPICS, ART 384
Write a paper of at least ten (10) typed,
double-spaced pages, following extensive research in the Library, on one of the
following topics. If the suggested topics are unsatisfactory, students are free
to develop a topic of their own choosing, but they must discuss its feasibility
with the instructor to gain his approval before undertaking the topic. Papers
will be graded on content, clarity and style. Citations may be done with any
coherent system (APA or MLA are the most common), but the source of your
information needs to be documented. Plagiarism, whether direct copying, or
illegal paraphrase, will cause the paper to be failed. Unless otherwise cleared
with the instructor, papers will marked down one third letter grade per day
late. It is due August 9.
1)
Discuss the artistic career of one of the following artists, with attention to
his importance and influence on the development of Italian Renaissance style,
and the ways in which his works represent Renaissance values: Giotto, Ghiberti, Masaccio, Donatello, Fra Angelico, Piero della Francesca, Castagno, Veneziano, Mantegna, Giovanni Bellini, Botticelli, Ghirlandaio, Carpaccio, Leonardo da Vinci,
Raphael, Michelangelo (painting or sculpture, not both), Titian, Giorgione, Pontormo, Parmigianino, Correggio.
2)
Discuss the career of one of the following architects, with attention to his
importance and influence on the development of Renaissance style, and the ways
in which his work represents Renaissance values: Brunelleschi,
Alberti, Bramante,
Michelangelo, Palladio.
3)
Examine the Mannerist crisis of the 1520s and 1530s in painting or
architecture in
4)
Discuss the changing attitudes of the Catholic Church towards Renaissance art
in the 16th century. Particular attention should be paid to the differences
between the High Renaissance and the Counter-Reformation.
5)
Discuss the evolution of, nature of and the changes in Renaissance theories of
art.
6)
Discuss the role of and intent of Italian Renaissance art in Renaissance
society.