UMM Fall 2017
ArtH 3161 AFTER LEONARDO:
Mannerist & Venetian Renaissance Art
Prof. Julia Dabbs
My Office: HFA 5
Office Hours:
M, W: 1:30-2:30; Tu: 11:45-12:45;
or by appt.
Phone: x6232
Email: dabbsj@morris.umn.edu
Scope and Objectives of the Course:
This course will
examine the fascinating art created in Italy between 1520 and 1580, just
following the period of the High Renaissance.
How did artists attempt to follow in the footsteps of such artistic
giants as Leonardo da Vinci, Raphael, and Michelangelo? And how were they affected by such unsettling
events as the Protestant Reformation and the Sack of Rome? The main art historical methods we will use
to explore such questions will include socio-historical, biographical,
historical criticism, and stylistic analysis.
A recurring
theme of the course will be that of the paragone, or comparison, a
popular intellectual debate in the 16th century. Following a quick
review of High Renaissance art, we will examine how central Italian artists
strove to create art of great intellectual and compositional complexity,
distorting reality in search of a more ideal form of representation and
expression – the style we now call Mannerism.
In radical
contrast, and created simultaneously, are the incredibly sensual, naturalistic,
and highly evocative masterpieces rendered by Venetian artists such as Bellini,
Giorgione, and Titian. Why were they seemingly unaffected by Mannerist trends,
and how did the unique qualities of the Venetian cultural, social, and
geographical contexts impact their art?
*Please
note: this is an upper-level art history
seminar, and while previous experience analyzing or creating works of art is
highly desirable, it is NOT required. If
you are new to art history (or even if not), please feel free to ask questions
either in or out of class for any additional clarification or explanation that
might be needed. See also the list of “Useful Resources” below.
UMM Student Learning Objectives Met by the Course:
·
Knowledge
of Human Cultures through core studies in the liberal arts, in particular in-depth
study of art history as evidenced in the practice and interpretation of Italian
Renaissance art.
·
Intellectual
and Practical Skills, including inquiry and analysis; critical thinking and problem-solving;
written, multi-media, and oral communication;
·
An
Understanding of the Roles of Individuals in Society as evidenced throughout
the history of Italian Renaissance art, whether as creators, patrons, viewers,
or critics.
·
Capacity
for Integrative Learning, including synthesis of ideas from readings, research, and discussion; and the application of knowledge and skills to interpret
artwork on one’s own.
Class Website:
http://cda.morris.umn.edu/~dabbsj/sixteenthindex.htm
This will be
updated throughout the semester, and will be especially important for the image
review lists that should be consulted regularly for class and exam prep.
Useful Texts: [all
available in the bookstore]
1) Coursepack *required
2) Linda Murray, The High Renaissance and Mannerism (Thames
& Hudson, 1985) --OPTIONAL
3) P. Humfrey, Painting in Renaissance Venice (Yale
Univ. Press, 1997) -- OPTIONAL
[ the Murray and Humfrey books, which provide
useful background info are on reserve in the library]
Grading:
Exams (3; each 15%): 45%
Attendance/participation: 20%
Catalogue entries (2 x 10%)
20%
Presentation 10%
Ekphrasis writing assignment 5%
Per the Univ. of Minnesota grading policy,
an A=
achievement that is outstanding;
B=
achievement that is significantly above level necessary to meet course
requirements;
C=
achievement that meets course requirements (i.e. average);
D= worthy
of credit, but fails to meet fully the course requirements
(I do give +s and -s; F’s are
given if the student regularly misses classes without any
documented
excuse, as well for deliberate academic
dishonesty in any portion of the
course. An “I” grade is given
only in very exceptional circumstances.
Exams: The exams will be given in
class and will consist of:
1)
slide identifications (by artist & title) of
selected works discussed in class, along with a short response question for
each (which may concern the subject matter, style, technique, or other
significance of the work). You will not have to memorize dates!
and 2) a longer response
question(s) that will give you a chance to synthesize material from class
lecture/discussion along with your own ideas.
This might be given out as a take-home; if not, you’ll be given possible
questions to prepare for in advance.
Exam dates (mark your calendars now!): Oct.
2; Nov. 8; Dec. 12
Make-up exam policy: Make-up exams will only be given if you have a reasonable (and
preferably documented) excuse for your absence, and have contacted me promptly.
They should be taken within a week of the scheduled exam, at a time convenient
to student, professor, and testing room availability.
How to do well on exams: take thorough class notes, and REVIEW both your notes AND the images
on a weekly basis. DO NOT wait until a few days before an exam to begin
reviewing – you will be overwhelmed! And
don’t hesitate to see me if any questions.
Policy on Equitable
Access to Learning/DRC
The
University of Minnesota Morris is committed to providing equitable access to
learning opportunities for all students. The Disability Resource Center
(DRC) is the campus office that collaborates with students who have
disabilities (whether short-term or long-term) to provide and/or arrange
reasonable accommodations. If you have, or think you may have, a
disability in any area such as mental health, attention, learning, chronic
health, sensory, or physical, please contact the DRC office at 240 Briggs
Library or call 320-589-6178 to arrange a
confidential discussion regarding equitable access and reasonable
accommodations. *Please also come see Prof. Dabbs early in the semester
so we can discuss how to best meet these accommodations and help you succeed in
the course.
Class Attendance/Participation:
This course will
involve both lecture and discussion - thus, your attendance and participation
are crucial. If you need to miss a
class, please get notes from a classmate (mine will not be available). More
than 1 unexcused absence will negatively affect this portion of your
grade. More than 7 unexcused absences
will result in a “D” for this portion of the grade. If your absence should be
excused, please let me know.
Participation is vital to an atmosphere of learning –- to quote former
chancellor Sam Schuman, “we are all teachers, we are all students.” Have a goal
of making at least one contribution per class (this includes asking relevant
questions!)
Policy on Personal Use of Electronic Devices in
the Classroom:
Per University
policy, students may only use electronic devices in the classroom for class
purposes, such as note-taking or translating. Once class has begun, any cell
phones, etc. need to be out of sight and silenced, and laptops ONLY used for
note-taking (you may of course use them during the class break). It really is a distraction to the
teaching/learning process when cell phones ring or are being checked during
class, so please be considerate of others.
(source: www.policy.umn.edu/Policies/Education...)
OTHER COURSE WORK:
1)
“Catalogue Entries”: these will be a relatively brief (approx. 3
page, ds) visual description, analysis, and interpretation of a work of art,
intended for a museum-going audience to introduce them to the artwork and
enhance their understanding of it. You will write two of these (one on a
Mannerist work of art, the other on a Venetian work of art, of your choice),
and submit drafts of each ahead of time for feedback. You will receive a
handout with further info in the near future; due dates are on the course
outline that follows.
2) Artwork presentation: keeping with the museum scenario analogy, this presentation will involve a 12-15 minute “museum guide” introduction to a Mannerist OR Venetian Renaissance work of art (and it can be the one you are doing a catalogue entry on). Your presentation will be assessed based on: organization of material; clarity of presentation; ability to have some effective interactive aspect with your audience; quality of visual analysis (your own); quality of outside research incorporated; and enthusiasm for artwork (but don’t go over the top here!). We will talk about this assignment further in class.
Ekphrasis writing assignment: originating in
ancient times, ekphrasis became a popular form of art-writing
in Italy in the 1500s. It involved a written description of the work of art
that used particularly vivid language to attempt to make the painting or
sculpture “come alive” for the reader (and in this way, was part of the paragone between art and literature in
the period). After studying this form, you will write your own ekphrasis of a
work of art that falls within the scope of this course. (Approximately two
pages in length; see course outline for due dates of draft and final versions).
Hopefully there will be time in the last class session for us to have an
ekphrasis reading!
Useful General Resources for Art History:
S. Barnet, A Short Guide to Writing About Art
(2000; on reserve).
[I’d highly recommend getting a copy if you
are an art history major; there are
lots of older editions that are perfectly
useful and not so expensive.]
Gardner’s
Art Through the Ages, vol.
2 (any edition; one is on reserve); especially see the Introduction on the
“Subjects and Vocabulary of Art History.”
Other UM/UMM Policies to be aware of:
·
Univ of
Minnesota Student Conduct Code: please see: http://regents.umn.edu/sites/default/files/policies/Student_Conduct_Code.pdf.
·
Scholastic Dishonesty: You are expected to do your
own academic work and cite sources as necessary. Failing to do so is scholastic
dishonesty. Scholastic dishonesty means plagiarizing; cheating on assignments
or examinations; engaging in unauthorized collaboration on academic work; and
other dishonest acts. If it is determined that a student has cheated, he or she
may be given an "F" or an "N" for the course, and may face
additional sanctions from the University. See further: http://policy.umn.edu/Policies/Education/Education/INSTRUCTORRESP.html.
·
"Sexual harassment" means unwelcome sexual
advances, requests for sexual favors, and/or other verbal or physical conduct
of a sexual nature. Such behavior is not acceptable in the University setting.
See further: http://regents.umn.edu/sites/default/files/policies/SexHarassment.pdf
·
Equity, Diversity, Equal
Opportunity, and Affirmative Action: the University
provides equal access to and opportunity in its programs and facilities,
without regard to race, color, creed, religion, national origin, gender, age,
marital status, disability, public assistance status, veteran status, sexual
orientation, gender identity, or gender expression. See further: http://regents.umn.edu/sites/default/files/policies/Equity_Diversity_EO_AA.pdf.
·
Academic Freedom and
Responsibility: academic freedom is a cornerstone of the University.
Within the scope and content of the course as defined by the instructor, it
includes the freedom to discuss relevant matters in the classroom. Along with
this freedom comes responsibility. Students are encouraged to develop the
capacity for critical judgment and to engage in a sustained and independent
search for truth. Students are free to take reasoned exception to the views
offered in any course of study and to reserve judgment about matters of
opinion, but they are responsible for learning the content of any course of
study for which they are enrolled. See further: http://www.policy.umn.edu/Policies/Education/Education/ SYLLABUSREQUIREMENTS_APPA.htm
After Leonardo: Mannerist & Venetian Renaissance Art
Fall 2017
Course
Outline --- REVISED!
Please note: this outline provides a framework for our course, and while I try to stay on schedule, it may be necessary to make modifications due to the flow of class discussion as well as any unforeseen circumstances. Any modifications will be announced in class.
The readings listed “for discussion” should be done for that class. To access e-reserves you will need our course password, which is dabbs3161. Background reading in the (optional) textbooks (Murray, High Renaissance and Mannerism or Humfrey, Painting in Renaissance Venice) can be done at your convenience, but will be most helpful to do either before or soon after the relevant class session.
---------------------------------------------------------------------------------------------
W Aug. 23: Welcome Back! And intro to the course
M Aug. 28: The High Renaissance Paradigm, & transition to Mannerism
[for High Renaissance overview/review, please skim HR chapters in Murray,
and/or see Gardner’s Art Through the Ages (any edition), pp. focusing on
Leonardo, Raphael, and Michelangelo]
W Aug. 30: Michelangelo and the maniera
[Background:
M Sept. 4: Labor Day, no class!
W Sept.6: Michelangelo and the maniera con’t.
[background: Murray, 109-112]
M Sept. 11: more Michelangelo
*Sign-up for Presentation Topic by today (googledoc)
(rev) W Sept. 13:
finish Michelangelo; Pontormo
[Background:
(rev) M Sept. 18: Vasari’s Lives of the Artists and Rosso Fiorentino
[Background:
*For discussion: “The Life Story of Il Rosso,” (coursepack)
(rev) W Sept.20: [we did Rosso here; handout on catalogue entry writing assignment]
(rev) M Sept. 25: 1) Bronzino
[Background: Murray,
p. 159]
*(dropping) For
discussion: M. Healy, “Bronzino’s London Allegory and the
Art of Syphilis” Oxford Art Journal (1997):3-11 (e-reserve)
2)Correggio [Background: Murray, pp.
171-176]
W Sept. 27: 1)
Parmigianino .
[Background: Murray, pp. 176-178]
*For discussion: “The Life Story of Francesco Mazzuoli (Parmigianino)” (in coursepack)
2) El Greco {Katie, me}
M Oct. 2: EXAM #1
W Oct.4:: Arcimboldo and Anguissola
[these artists are not in the
for Anguissola, do
background reading in Chadwick, Women,
Art,
and Society, pp. 77-86, posted to Moodle]
M Oct. 9: Mannerist Sculpture: Cellini and Giambologna
[Background:
·
Mannerist catalogue
entry DRAFT due today [due date pushed
back from Oct. 4; will email to me]
W Oct. 11: The Great Paragone debate
*For debate prep: “Comparative Merits of the Arts” and “Courtiers Discuss the Merits of Painting and Sculpture” in coursepack
M Oct. 16: FALL BREAK
W Oct. 18: Intro to the Venetian Renaissance; Gentile Bellini
[Background: Humfrey, Painting in Renaissance Venice, pp. 1-35]
·
Mannerist catalogue entry (revised) due
today [am happy to take earlier!]
M Oct. 23: Giovanni Bellini
[Background: Humfrey, pp. 63-71; 77-81; 142-147]
W Oct. 25: Bellini con’t;
*For discussion: R. Turner, “Giovanni Bellini,” in The Vision of Landscape in Renaissance Italy OR J. Fletcher, “The Provenance of Bellini’s Frick St. Francis” (on e-reserve).
M Oct. 30: Giorgione
[Background: Humfrey, pp. 117-129]
*For discussion: “The Life Story of Giorgione” in crspk
W Nov. 1: Giorgione con’t.
*For discussion: Barolsky & Land, “The `Meaning’ of Giorgione’s Tempesta” (in coursepack)
M Nov. 6: [catch-up day]
W Nov. 8:: EXAM #2
M Nov. 13: Titian’s Early Works
[Background: Humfrey, pp. 134-135; 149-152; 156]
W Nov. 15: Titian’s Mythological Paintings
[Background: Humfrey, pp. 152-53; 205-211]
· Venetian catalogue entry draft due today
M Nov. 20: Titian & ekphrasis
* For discussion: “Cupids” (ekphrasis from Philostratus’ Imagines) AND Ekphrasis of Titian’s Venus & Adonis (“The Letter of Dolce to A. Contarini”) – in coursepack
W Nov. 22: [no class; BUT: Venetian catalogue entry
(revised) due to me electronically by 5 p.m.]
M Nov. 27: Titian’s Women
[Background: Humfrey, pp. 162-164; 212-18]
** ekphrasis draft due today
W Nov. 29: Titian’s Religious Paintings
[background: Humfrey, pp. 156-59; 211-212]
M Dec. 4: Tintoretto and Veronese
[Background: Humfrey, pp. 238-254; 223-236]
W Dec. 6:: catch-up; and ekphrastic readings?
*Final version of ekphrasis
due today, can email
LAST EXAM (covering
last 1/3 of course) will be given at scheduled final exam time:
Tues. Dec. 12, 1:30-3:30