In the 14th century, the Italian poet, Francesco Petrarca, noted the beginning of a new age in history following the existence of the Dark Ages of the medieval period. Between the 14th and 16th centuries, a conscious revival of antiquity and an increasing secular society took place, which led to the period's definition by the French word “Renaissance" (rebirth). Due to political, religious and economic changes in Tuscan society, an optimistic attitude toward the full realization of the creative and intellectual potential of individual humans arose. The spirit of humanism spurred artists to invent new techniques, and wealthy patrons to commission ambitious works, which still impress hordes of admirers today. To name just a few of such Renaissance works--- Brunelleschi's Dome in Florence, Botticelli's Birth of Venus, Leonardo da Vinci’s Last Supper, Michelangelo’s David statue and Sistine Chapel ceiling, and Raphael’s School of Athens--- are so skillfully executed, and have such profound content, that they represent some of the greatest human achievements of all time.

We can agree with Renaissance contemporaries who came to view such talented artists as intellectuals with an extraordinary divine gift of creativity. This course will critically examine the narrative of our most important primary source, Giorgio Vasari’s Lives of the Artists  (1550/1568). Vasari proposed an evolutionary model for Renaissance art over three centuries: from Giotto, who broke from the Medieval/Byzantine style to imitate nature, to Michelangelo, who revived the ideal beauty and monumentality of ancient sculpture.  Vasari's views continue to shape our understanding of Italian Renaissance art, but he was biased toward Florence, male artists, "disegno", the imitation of nature and classical antiquity. In recent years, scholars have sought to go beyond Vasari. In this course we will do so as well. We will give importance to Pietro Cavallini (the Roman contemporary of Giotto). We will focus on the "colore" and light in Renaissance art in Venice. We will ask ourselves if the Italian Renaissance can be applied to artistic production in the same period in Northern Europe. We will also study women artists and why they flourished in Bologna.  We will consider the cosmopolitan, multicultural art of Naples, which was too complex for Vasari to incorporate into the structure of his Lives.

Students will gain:

--knowledge of Renaissance art and culture in Italy.

--skills to analyze historical sources critically.

--appreciation for art and the ability to conduct a visual and iconographical analysis, and interpret works of art in historical context.

--skills to communicate ideas effectively (both oral and written).

Regular and punctual  class attendance is mandatory. Absences and late work are excused only with official documentation of illness or emergency.

The required one-day fieldtrip to Florence is the highlight of the course. Museum fees will be paid for my JCU. Students are responsible for travel expenses and food.