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JOHN CABOT UNIVERSITY
COURSE CODE: "AH 294-2"
COURSE NAME: "Renaissance Rome and Its Monuments (On-site; activity fee €25 or $33)"
SEMESTER & YEAR:
Spring Semester 2012
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SYLLABUS
INSTRUCTOR:
Nolan Linda
EMAIL: [email protected]
HOURS:
M 9:15-12:05
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
On-site; activity fee: €25 or $33
OFFICE HOURS:
After class or by appointment.
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COURSE DESCRIPTION:
Rome City Series - This on-site course will study the monuments of Renaissance Rome: painting, sculpture and architecture produced by such masters as Bramante, Raphael, and Michelangelo, all attracted to the lucrative service of popes, cardinals and nobles of the Roman court. On-site classes will investigate examples of palace and villa architecture, chapel decoration that encompasses altarpieces and funerary sculpture, as well as urbanistic projects where the city itself was considered as a work of art. In-class lectures will introduce historical context and theory allowing the student to understand artworks studied conceptually and place commissions of painting and sculpture within a socio-historic framework. On-site AH classes require a small fee for museum tickets, as well as an activity fee of €25 or $33.
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SUMMARY OF COURSE CONTENT:
Although conceived as a way to provide an in-depth introduction to monuments of the Roman Renaissance, students will be introduced to key themes in the study of Italian Renaissance art and artists by means of readings directly related to site visits. Some of the themes include: innovation versus tradition in artistic style and design; the problem of using the biography of an artist for understanding works of art; the changing status of the artist in society; artistic competitions; the critical reception and impact of ancient Roman “pagan” buildings and sculpture; the impact of the 1527 Sack of Rome and the start of the Council of Trent in 1545; women patrons and beholders of Renaissance art; the impact of Renaissance art on later periods; and the reception of Renaissance art in sacred spaces. By exploring these themes, students will be introduced to the Roman Renaissance as a moment in which the rediscovery of ancient Roman textual and material culture, changes in society, and competitions between artists led to innovations in thought and art making. Much emphasis will be placed on the artists Michelangelo and Raphael, and the meaning and reception of Renaissance art in the private and sacred spaces of Rome.
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LEARNING OUTCOMES:
Students will:
- learn the survey of Renaissance monuments and art in Rome.
- learn how to identify key moments in Roman Renaissance art.
- understand the social, political, and religious meaning of monuments in Renaissance Rome.
- gain experience in research and critical looking through the writing of a site-based paper assignment.
- develop critical thinking, reading, and observation skills.
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TEXTBOOK:
Book Title | Author | Publisher | ISBN number | Library Call Number | Comments | Format | Local Bookstore | Online Purchase |
The Renaissance in Rome. | Stinger, Charles L. | Bloomington: Indiana University Press, 1998 (1985). | 978-0-253-21208-5 | DG8121.1 S75 | | | | |
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REQUIRED RESERVED READING:
Book Title | Author | Publisher | ISBN number | Library Call Number | Comments |
Skin, Bones, and Dust: Self-Portraits in Michelangelo's "Last Judgment"” | Barnes, Bernadine | The Sixteenth Century Journal (on JSTOR) | xxxx | JSTOR | |
The Saint Anne Altar in Sant' Agostino: Restoration and Interpretation." | Bonito, Virginia Anne. | The Burlington Magazine 124.950 (1982): 268-76. (on JSTOR) | xxxx | JSTOR | |
"Pollaiuolo's Tomb of Pope Sixtus IV | Ettlinger, L. D. | Journal of the Warburg and Courtauld Institutes 16.3/4 (1953): 239-74. (On JSTOR) | xxxx | JSTOR | |
""Authority, Authenticity and Aura: Walter Benjamin and the Case of Michelangelo"." Sculpture and Its Reproductions. Ed. Anthony Hughes. | Hughes, Anthony. | London: Reaktion Books, 1997: 29-45. | xxxx | Main - NB1190 .S38 | |
°Joachimist Prophecies in Sebastiano Del Piombo's Borgherini Chapel and Raphael's Transfiguration." | Jungic, Josephine. | Journal of the Warburg and Courtauld Institutes 51 (1988): 66-83. (On JSTOR) | xxxx | JSTOR | |
Anachronic Renaissance | Nagel, Alexander, and Christopher Wood. | Zone Books; MIT Press, 2010. | xxxx | Main - N6370 .N34 | |
"The First Two Projects of Michelangelo's Tomb of Julius Ii." | Panofsky, Erwin. | The Art Bulletin 19.4 (1937): 561-79. (On JSTOR) | xxxx | JSTOR | |
"Render Unto Caesar the Things Which Are Caesar's: Humanism and the Arts in the Patronage of Agostino Chigi." | Rowland, Ingrid D. | Renaissance Quarterly 39.4 (1986): 673-730. (On JSTOR) | xxxx | JSTOR | |
"Friends and Relics at San Silvestro in Capite, Rome." | Wallace, William E. | Sixteenth Century Journal 30.2 (1999): 419-39. (On JSTOR) | xxxx | JSTOR | |
"Michelangelo’s Risen Christ." | Wallace, William E. | The Sixteenth Century Journal 28.4 (1997): 1251-80. (On JSTOR) | xxxx | JSTOR | |
"Michelangelo and the Medieval Pieta: The Sculpture of Devotion or the Art of Sculpture?" | Ziegler, Joanna E. | Gesta 34.1 (1995): 28-36. (On JSTOR) | xxxx | JSTOR | |
High Renaissance Art in St. Peter's and the Vatican | George L. Hersey | Chicago: University of Chicago Press, 1993. | xxxx | N6920.H45 | |
Pinturicchio and the Pilgrims: Devotion and the Past at Santa Maria Del Popolo | Anne Dunlop | Papers of the British School at Rome, Vol. 71 (2003), pp. 259-285 (On JSTOR) | xxxx | JSTOR | |
Portraits of the Borgias-Cesare, Pt. 2 | Andre de Hevesy | Burlington Magazine, Vol. 61, No. 353 (Aug., 1932), pp. 70+74-75 (On JSTOR) | xxxx | JSTOR | |
Some Portraits of the Borgias-Lucrezia
, Pt. 1 | Andre de Hevesy
| Burlington Magazine, Vol. 61, No. 352 (Jul., 1932), pp. 21+24- 26+31 (On JSTOR) | xxxx | JSTOR | |
Michelangelo: The Artist, the Man, and His Times. | Wallace, William E. | Cambridge: Cambridge University Press, 2010. | xxxx | N6923.M45 W35 | |
Empire without End: Antiquities Collections in Renaissance Rome, C. 1350-1527. | Wren Christian, Kathleen. | New Haven and London: Yale University Press, 2010. (Course Post-It) | xxxx | xxxx | |
"From Cult Images to the Cult of Images: The Case of the Raphael's Altarpieces." The Altarpiece in the Renaissance. Eds. Peter Humfrey and Martin Kemp. | Pagden, Sylvia Ferino | Cambridge: Cambridge University Press, 1990: 165-89. (Course Post-It) | xxxx | xxxx | |
RECOMMENDED RESERVED READING:
Book Title | Author | Publisher | ISBN number | Library Call Number | Comments |
The Art of the Renaissance in Rome | Loren Partridge | Prentice Hall, 2005 | 0131344005 (pbk.) | N6920 .P35 | |
“The History of the Site of St. Peter’s Basilica, Rome.” | McClendon, Charles B. | Perspecta 25 (1989): 32-65. (On JSTOR | xxxx | JSTOR | |
“The new St. Peter’s: Basilica or Temple?” | Campbell, Ian. | Oxford Art Journal 4.1 (1981): 3-8. (On JSTOR) | xxxx | JSTOR | |
"Michelangelo at the Campidoglio: Artistic Identity, Patronage, and Manufacture." | Burroughs, Charles. | Artibus et Historiae 14.28 (1993): 85-111. (On JSTOR) | xxxx | JSTOR | |
Dating Pinturicchio's Roman Frescoes and the Creation of a New All'Antica | Claudia La Malfa | Journal of the Warburg and Courtauld Institutes, Vol. 70 (2007), pp. 119-141 (On JSTOR) | xxxx | JSTOR | |
Lucrezia Borgia as Entrepreneur | Diane Yvonne Ghirardo | Renaissance Quarterly, Vol. 61, No. 1 (Spring 2008), pp. 53-91 (On JSTOR) | xxxx | JSTOR | |
Michelangelo's Last Judgment: The Renaissance Response. | Barnes, Bernadine. | Berkeley: University of California Press, 1998. | xxxx | Main - ND623.B9 A69 | |
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GRADING POLICY
-ASSESSMENT METHODS:
Assignment | Guidelines | Weight |
Attendance and Participation | | 15% |
In-Class Writing Assignments | | 10% |
Mid-Term Exam | | 20% |
Paper Assignment | | 25% |
Final Exam | | 30% |
-ASSESSMENT CRITERIA:
Assessment Guidelines for assigning main letter grades: A, B, C,D, and F.
A: Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge 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.
B: This 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.
C: This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
D: This 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.
F: This 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:
One unexcused absence is permitted (but highly discouraged) without grade penalty. You are still responsible for the content of that missed meeting, which may include a site-based writing assignment (10%). Three tardies count as one unexcused absence. Please note that being physically present in all class sesssions (or missing 1 session) will only result in a grade of B- for Participation/Attendance (15%). If you strive for a higher grade, you must participate in discussions.
Because this is an on-site class, students are expected to plan accordingly to arrive on time to class, wear the appropriate shoes and clothing for inclimate weather and dress appropriately for sacred spaces (knees and shoulders covered, and all parts in between!). Please see the ATAC link below for directions on public transit to arrive. A document including tips on arriving to various sites will also be posted on the course page (MyJCU).
PLEASE arrive on time. Students who arrive late to class will have to find the group on their own, pay their own entrance to the museum, miss important information announced at the start of class, and/or possibly not be able to enter the museum due to group reservations.
Please refer to the university catalog for the attendance and absence policy.
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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.
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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.
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SCHEDULE
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Session | Session Focus | Reading Assignment | Other Assignment | Meeting Place/Exam Dates |
Meeting 1, Mon, Jan 16 | Introduction to the Course and visit to Pantheon (CHURCH - please note dress code) | Reading to be done after first class: “The Renaissance”, Oxford Art On-Line (Course Post-It); Wallace 2010, 3-19; Stinger 1998, 1-13 | | Meeting Point: Campus - Classroom (TBA) |
Meeting 2, Mon, Jan 23 | S. Pietro in Montorio: Intro to reading a Renaissance Church | Readings: Jungic 1988, esp 66-69, 76-79; Nagel and Wood, 2010, Ch. 15, esp 165-74; Stinger 1998, 186-88. | | Meeting Point: Gate (Porta Settim.) near JCU Guarini campus |
Meeting 3, Mon, Jan 30 | Renaissance Sculpture in St. Peter's Basilica | Readings: Stinger 156-86; Ettlinger, 1953, 250-71; Ziegler, 1995, 28-36. | | Meeting Point: Obelisk in piazza, St. Peter’s Basilica |
Meeting 4, FRIDAY, Feb. 3 (Make-Up Day for April 9) | (TBC) Visit to Special Exhibition: “Il Rinascimento a Roma” (The Renaissance in Rome) at Fondazione Roma Museum | TBA | | Meeting Point: TBA |
Meeting 5, Mon, Feb. 6 | Vatican Museums, Pt. I: The Papal Palace (Borgia Apartments) and Sistine Chapel (Walls), Pt. I; Belvedere collection of antiquities | Readings: Stinger 1998, 264-81; Wren 2010, 265-70; Hevesy 1932, pt. 1 and pt. 2; Recommended: Hersey 1993; Ghirardo 2008.
| | Entrance to Vatican Museum at 9.00am- exact place TBA |
Meeting 6, Mon, Feb. 13 | S. Maria del Popolo and S. Agostino | Readings: Stinger 1998, 31-46; Dunlop 2003, 259-285; Nagel and Wood 2010, 109-22; Bonito, 1982, 268-76. | | Meeting Point: Steps of S. Maria del Popolo, Piazza del Popolo |
Meeting 7, Mon, Feb. 20 | Roman Renaissance Palaces and Urban Development: Palazzo Cancelleria, Palazzo Farnese, and the Campidoglio | “Via Giulia” essay (Course Post-It); Stinger 1998, 254-64; Wren 2010, 103-119. Recommended: Burroughs 1993 | | Meeting Point: Ponte Sisto, on steps of fountain at Piazza Trilussa (between Guarini and Tiber campus) |
Meeting 8, Mon, Feb. 27 | Mid-Term Exam on Campus | | | Mid-Term Exam on Campus |
Meeting 9, Mon, March. 5 | Vatican Museums, Pt. II: Raphael (Stanze and Paintings Gallery) and Michelangelo (Sistine Chapel, Pt. II) | Barnes, 2004, 969-986; Nagel and Wood, 2010, 343-65; Jungic 1988, 79-83 (Raphael's Transfiguration); Highly Recommended: Hersey 1993, 129-76 and 177-224 | | Entrance to Vatican Museum at 9.00am- exact place TBA |
Meeting 10, Mon, March 12 | Villa Farnesina: Raphael, Sebastiano del Piombo, and Agostino Chigi | Readings: Rowland 1986, 673-94. | DUE: Paper Topic Selection (See Paper Assignment Handout for Details) | Meeting Point: Entrance to JCU Guarini Campus |
Mon, March. 19 | NO CLASS – Spring Break | | | NO CLASS – Spring Break |
Meeting 11, Mon, March. 26 | S. Maria sopra Minerva and S. Silvestro: Michelangelo and private patrons; tradition versus innovation in Renaissance painting
| Readings: Wallace, 1997, 1251-80; Wallace, 1999, 419-39; Stinger 1998, 140-155. | | Meeting Point: Steps of S. Maria sopra Minerva |
Meeting 12, Mon, April 2 | S. Pietro in Vincoli: Michelangelo’s Tomb of Julius II | Readings: Hersey 1993, 249-76; Wallace 2010, 74-78, 188-99, and 208-209. Recommended: Panofsky 1937, 561-79. | | Meeting Point: Steps of S. Pietro in Vincoli |
Mon. April 9 | NO CLASS – Holiday – “Pasquetta” (Day After Easter Sunday) Buona Festa! | | | NO CLASS – Holiday – “Pasquetta” (Day After Easter Sunday) |
Meeting 13, Mon, April 16 | S. Maria in Aracoeli and the Ancient City: The Renaissance tomb (Bergno versus Michelangelo) and the Reformation response to the Renaissance | Readings: Stinger 1998, 59-82; Wallace 2010, 200-06; Pagden 1990 (Course Post-It), | | Meeting Point: Bar Campidoglio, Piazza di Ara Coeli, near the round fountain |
Meeting 14, Mon, April 23 | S. Andrea della Valle and S. Maria della Anima: the Reception of Michelangelo’s Pietá | Readings: Hughes, 1997, 29-45; review reading from Jan 30, Ziegler “Pietà”. | PAPER DUE, Mon, April 23 (See Paper Assignment Handout for Details) | Meeting Point: Piazza Vidoni, east side of S. Andrea della Valle, near talking statue of “Abate Luigi” |
Meeting 15: Date/Time TBA | FINAL EXAM on Campus | | | Date/Time (Campus TBA) Final Exam Week (April 28 – May 4) |
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