Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "AH 373"
COURSE NAME: "Caravaggio"
SEMESTER & YEAR: Spring 2018

SYLLABUS

INSTRUCTOR: Anna Tuck-Scala
EMAIL: [email protected]
HOURS: T 2:15-5:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in Art History or permission of the instructor. Partially on-site; mandatory overnight trip to Naples; activity fee: €25 or $33
OFFICE HOURS:

COURSE DESCRIPTION:
Caravaggio (1571-1610) provides a noteworthy case study of how an artist’s fame changes over time when the works of art do not. Best known for his striking representation of light and use of naturalism, his anecdote-filled biographies led to a negative assessment of the artist and his works. The course looks at the artist’s output from an array of historical, thematic, and methodological points of view. The aim is to arrive at an understanding of Caravaggio’s works within their historical context from the 17th century to the present day. The mandatory trip may require a fee.

SUMMARY OF COURSE CONTENT:
At the turn of the seventeenth century, Michelangelo Merisi (1571-1610), known as "Caravaggio", created paintings which challenged the visual and cultural norms of western art. He blurred the boundaries between sacred and profane, and dismissed ideal beauty based on correct anatomical drawing. His idiosyncratic realism, unorthodox portrayal of religious subjects, dramatic night lighting, and promotion of still-life, led the seventeenth-century biographer, G. P. Bellori, to declare that with Caravaggio "began the representation of vile things." During the decade after his death, a variety of artists followed him (the Caravaggisti) and explored his revolutionary innovations. Interest in Caravaggio spread beyond Rome, shaping the development of the Neapolitan school of painting, and influencing great artists all over Europe, such as Rubens, Rembrandt and Velàzquez. With the revived taste in antiquity in the eighteenth-century, Caravaggio (as well as baroque art) fell into oblivion. In the early twentieth century, Roberto Longhi rediscovered Caravaggio for the modern era. In fact, the perception that modern painting emerged in Caravaggio's works has made him extemely popular today. His rebellious, violent life which ended prematurely in a mysterious way have also captured the imagination of mass culture. Since the 1980s, fascination with mythical Caravaggio as "the ill-fated, subversive modern painter" has morphed into "Caravaggiomania", producing an overwhelming avalanche of publications on his life and art, much of which fiction and movies.

This course focuses on Caravaggio's oeuvre and its historical importance. All efforts will be made to study the painter's works first hand, and in their original locations/contexts. Priority will be given to primary sources in order to obtain a solid understanding of what is known for certain about Caravaggio's life and art. Students will read selected publications in English: the monograph by Puglisi to grasp research on Caravaggio as a whole, and articles, with different methodological points of view, for analysis and discussion. Of import is discerning fact from fiction, unmasking the authors' agendas, and assessing the usefulness and significance of a wide range of interpretations of Caravaggio.

Classroom lectures, on-site visits in Rome, and two one-day field trips to Milan and Naples will provide precious and ample opportunities for students to immerse themselves in Caravaggio's art and vision. In Rome, every attempt will be made to see all of his output open to the public, as well as one of his works in a private collection. In Milan, twenty of his masterpieces from all over the world are on display in the exhibition "Dentro Caravaggio (Inside Caravaggio)" at the Palazzo Reale (exhibition ends on January 28, 2018). The Pinacoteca Ambrosiana and Brera Museum house other paintings by Caravaggio. In Naples, Caravaggio's works in the Capodimonte Museum, the Pio Monte della Misericordia and Galleria Palazzo Zevallos Stigliano will be viewed. Arrangements will be made to visit the largest Bank Archive in the world to learn about the importance of seventeenth-century documents for Caravaggio.

Please note: The mandatory two full-day fieldtrips to Milan and Naples require a transportation fee by train (approximately 150-175 Euros). Details will be discussed on the first day of class.

LEARNING OUTCOMES:
Student learning outcomes:
---Firsthand viewing of a large number of Caravaggio's paintings
---Knowledge about Caravaggio and his context from a historical perspective
---Understanding of the reception of Caravaggio from the Caravaggisti to his appropriation by popular culture
---Increased skills for critical thinking and interpretation of facts vs. fiction
---Improved proficiency in writing, communication of ideas, and oral presentation

TEXTBOOK:

Book Title	Author	Publisher	ISBN number	Library Call Number	Comments	Format	Local Bookstore	Online Purchase
Caravaggio	Catherine R. Puglisi	Phaidon	ISBN-0-714834165
The Lives of Caravaggio: Mancini, Baglione, Bellori	Helen Langdon	XXX	ISBN-101843681382

REQUIRED RESERVED READING:

Book Title	Author	Publisher	ISBN number	Library Call Number
Caravaggio: A Life	Helen Langdon	XXX	XXXX	ND623.C26L36
Caravaggio	Howard Hibbard	XXX	XXXX	ND63.C26H44
Painting in Naples 1606-1705 from Caravaggio to Giordano	(exhibition catalogue 1982)	XXX	XXXX	ND621.N2.P34
Caravaggio: Reflections and Refractions	Lorenzo Pericolo and David M. Stone (editors)	XXX	XXXX	ND623.C26C543
Caravaggio: Realism, Rebellion and Reception	Genevieve Warwick (ed.)	XXX	XXXX	(e-book)
Altarpieces and their viewers in the churches of Rome from Caravaggio to Guido Reni	Pamela M. Jones	XXX	XXXX	N7952.R6 JCC
Italian and Spanish Art 1600-1750, Sources and Documents	Robert Enggass and Jonathon Brown (eds.)	XXX	XXXX	N6916E5
Art and Architecture in Italy, 1600-1750	Rudolf Wittkower (Joseph Connors and Jennifer Montagu, eds.)	XXX	XXXX	N6916.W5 1999

RECOMMENDED RESERVED READING:

Book Title	Author	Publisher	ISBN number	Library Call Number
Caravaggio (exhibition catalogue 2010)	Claudio Strinati	XXX	XXXX	ND623.C26A4
Caravaggio and His Followers in Rome	(exhibition catalogue 2011)	XXX	XXXX	ND623.C26A4
Caravaggio's Pitiful Relics	Todd Olson	XXX	XXXX	ND623.C26047
Caravaggio and His Copyists	Alfred Moir	XXX	XXXX	(e-book)
Caravaggio: the Artist and His Work	S. Ebert-Schifferer	XXX	XXXX	ND623.C26 E241
Caravaggio Studies	Walter F. Friedlaender	XXX	XXXX	ND623.C26F7
Beyond Caravaggio	(exhibition catalogue 2016)	XXX	XXXX	ND623.C26T752016
The Italian Followers of Caravaggio	Alfred Moir	XXX	XXXX	ND623.C26M6

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
General requirements	This is an upper-level art history course. All students are expected to attend every class and meet on time, keep up with the assigned readings, and complete all assignments and take exams on schedule. Grades will be lowered for non-compliance and unexcused absences. Specific guidelines for all assignments will be provided and graded accordingly. Assigned readings will be available on reserve or on JSTOR or Course Post-it on the MyJCU website. The professor should be contacted immediately if any questions or problems arise. Any student who has a need for accommodation based on the impact of a disability should contact the professor privately to discuss the specific situation as soon as possible at the beginning of the course. The required documentation should be on file. Please see the website for the complete policy.
Journal	Students will keep an intellectual journal of what is learned from viewing, discussing, reading and thinking about Caravaggio's paintings. Specific guidelines will be provided. Journals must be well-written to earn a high grade.	20%
Participation and improvement	Regular and punctual class attendance is mandatory. Viewing Caravaggio's paintings in person and discussing them in class are the focus of the course. Even if students have studied Caravaggio before, it is expected that they will attend every class and learn something new. It is essential to meet on time and bring student IDs for discounts when possible. In churches, respectful behavior and appropriate dress are required (no sleeveless shirts, mini-skirts, shorts, hats, flip-flops, etc.). Visits to locations outside of Rome to see Caravaggio's paintings will be recommended. To earn a high grade it is necessary to be actively engaged, do the readings, and participate regularly in class discussions.	15%
Oral presentation	A brief oral presentation will be given (about ten minutes) which will compare a Caravaggio painting to a work by a Caravaggisti painter. The topic will be chosen by the student.	15%
Midterm Examination (25%) and Final Examination (25%)	Specific guidelines will be provided for the exams. The final exam is not cumulative.	50%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until _(see academic calendar)___________

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Session	Session Focus	Reading Assignment	Other Assignment
Tuesday, January 16, 2018 (Meet in classroom C.2.5 at 2: 15 pm)	Introduction	John Gash, entry on "Caravaggio, Michelangelo Merisi di", Grove Dictionary of Art, Oxford Art Online.	Over the course of the semester, students should read the monograph by Puglisi and the Lives of Caravaggio with introduction by Langdon
Tuesday, January 23, 2018	Caravaggio's Lives and preparation for field trip to Milan	Warwick 2006, 13-22; Puglisi 2006, 23-35.
***Saturday, January 27, 2018	All-day field trip to Milan	Wittkower, vol. I, 1999, 19-26; Christiansen 1986, 421-445.
***Tuesday, January 30, 2018 NO CLASS
Tuesday, February 6, 2018	Caravaggio's span of development (Villa Borghese Gallery 15:00-17:00)	Posner 1971, 301-324; Stone 2006, 36-46;
Tuesday, February 13, 2018	Caravaggio's early religious paintings and Doubles (Doria-Pamphilj gallery and Capitoline Gallery)	Cardinali 2015, 83-96.
Tuesday, February 20, 2018	Caravaggio in the Palazzo Barberini Gallery	Braider 1998, 286-315.
Tuesday, February 27, 2018	Midterm exam
Tuesday, March 6, 2018	Caravaggio's paintings in Churches in Rome	Enggass and Brown 1970, 16, 84-86; Hess 1951, 186-201; Puttfarken 1998, 163-181; Steinberg 1959, 183-190; Jones 2008, 75-136.
Tuesday, March 13, 2018	Caravaggio in the Vatican Pinacoteca	Wright 1978, 35-42.
Tuesday, March 20, 2018	Caravaggio in Trastevere: Santa Maria della Scala and the Corsini Gallery	Parks 1985, 438-448; Gash 1992, 186-188.
Tuesday, March 27, 2018	Caravaggio in Naples and southern Italy (slide lecture in classroom)	Tuck-Scala 1993, pp. 127-163; McTighe 2006, 583-589; Rowland 2017.
***Tuesday, April 3, 2018 NO CLASS/SPRING BREAK
***Tuesday, April 10, 2018 NO CLASS
***Friday, April 13, 2018 ALL-DAY FIELD TRIP TO NAPLES
Tuesday, April 17, 2018	Caravaggio painting in a private collection	To be announced
Tuesday, April 24, 2018	Caravaggio today and Neo-Baroque popular culture's appropriation of a baroque genius (meet in classroom)	Rorato 2014, 203-208.
DATE TO BE ANNOUNCED: FINAL EXAM