Schedule of Classes
The professor reserves the right to make changes in the schedule with advance notice and the agreement of the students.
For example: early in the semester we will use either one class period or a Friday morning to visit the Biblioteca di Storia dell’arte in Palazzo Venezia to introduce you to the use of this research institution – a requirement for your oral presentation. Appointment TBA.
In addition, we will visit the Borghese Gallery and the Tintoretto exhibition at the Scuderie, each on a Friday morning; reservation dates to be decided in the next week or so, probably those given as “tentative” in the schedule below.
Readings: Readings below are required. Some recommended readings are included and are also on reserve; others will be suggested during class.
Jan. 17 - Introduction to the course
Jan. 19 - An introduction to “La Serenissima:” the culture, history and legends of Venice as a city, and the “myth” of Venice. Discussion of Reading.
Readings: David Rosand, The Myth of Venice, Chapter I
Humfrey, Introduction
Jan. 24 and 26 – The transition from Gothic traditions to Renaissance humanism in the art of Jacopo Bellini and Andrea Mantegna; Giovanni Bellini’s early work and Antonello da Messina; Devotional art and the development of the altarpiece in Quattrocento Venice. Discussion of Reading.
January 26: FIRST JOURNAL SUBMISSION DUE
Readings: Humfrey, Chapter 1 to p. 89
Fortini Brown, Chapters I, II and IV
Jan. 31 and Feb. 2 – Giovanni Bellini, continued: the mature and late production - devotional works, portraits, allegories and new subjects in his later work; Cima da Conegliano. Discussion of Reading, especially Rosand and Hill.
Readings: Humfrey, Chapter 1, 89-111
Rosand, Venice in the Cinquecento, Introduction
Hill, Venetian Color, Chapter 6
Feb. 7 – Narrative Painting and the Scuole: Gentile Bellini, Carpaccio
and others. Discussion of Reading.
Readings: Fortini Brown, Narrative Painting in the Age of Carpaccio,
selections (choose three) from Chapters 2, 3, 8 and 10
Feb. 9 – A discussion of readings so far – be prepared to summarize, ask and answer questions: the deliberate creation of a Venetian self-identity; how did the Renaissance arrive in Venice? Bellini’s contribution; the nature of the Venetian altarpiece; private paintings for devotion and pleasure; light and color; what makes Venetian art Venetian (and more).
Feb. 14 and 16 – Giorgione: A new kind of Venetian painting. The pastoral ideal, painting and poetry; problems of interpretation; patrons and collectors
Readings: Humfrey, Chapter 2, to p. 149
Rosand, Places of Delight, “Giorgione, Venice, and the Pastoral
Vision”
Fehl, “The Hidden Genre: A Study of the Concert Champêtre in the Louvre,” Journal of Aesthetics and Art Criticism, XVI (1957)
Recommended:
Vasari, “Life of Giorgione”
Settis, Giorgione’s Tempesta, Chapter on Tempesta
Feb. 21 and 28 – Titian I: The early work of Titian in the shadow of Giorgione; Titian’s altarpieces in the Frari; painted poetry challenges the ancients in the “poesie” for the Camerino of Alfonso d’Este
Feb. 21 - COMPLETED JOURNAL DUE
Submit in addition to your first entry, two more carefully considered and on-site entries on works of Venetian art seen in Rome (or travels).
Readings: Humfrey, Chapter 2, 149-183
Fortini Brown, Chapter V
Rosand, “Titian and the Challenge of the Altarpiece,” in Painting in
Cinquecento Venice
Texts for Alfonso’s “poesie”: Ovid, Philostratus, et al.
Titian, exh. cat., National Gallery, London, 2003, 101-111 (photocopy on reserve)
Feb. 23 – No Class
Feb. 24, FRIDAY MORNING – Visit to the Galleria Borghese (tentative date)
March 1 – Portraiture in Venice: The problematics of likeness and identity; the depiction of status, elegance, power, chastity and the beloved; the “speaking likeness” and the mask.
ORAL RESEARCH PRESENTATION TOPIC DUE
Submit one paragraph (typed, well-written and organized) which declares and defines the topic of the presentation. You may select a work or group of related works that will be seen in Venice, for an on-site presentation, or a topic to be presented in class through power-point.
Readings: Fortini Brown, Chapter VI
March 6 – MIDTERM EXAMINATION
March 8 – Titian II: Representations of Women in the work of Titian and other Venetian artists; wives, lovers, courtesans? Painting beauty as a woman.
Readings: Goffen, Titian’s Women, p 33 ff; 139-157
(alternatively for p 33 ff, Goffen in Broude and Garrard, eds., The
Expanding Discourse)
Goffen, ed., Titian’s Venus of Urbino, 1997: Goffen or Rosand
March 13 and 15 – Titian’s international career: The courts of northern Italy; Roman influences and the Roman trip; Titian paints for the Emperor; Mythologies; Pordenone and other alternatives
March 15 – BIBLIOGRAPHY AND TWO CRITIQUES DUE
Submit a bibliography of your research for the oral presentation. Submit two (ca. 2pp each) summary/critiques of two of the specialized articles or book chapters you will use for your presentation.
Readings: Humfrey, 188-218
Hope, “Problems of Interpretation,” Tiziano e Venezia
Recommended:
Fehl, “Titian and the Olympian Gods,” Tiziano e Venezia
(the last two are photocopies on reserve)
SPRING BREAK
March 27 – Titian III: The late work
Readings: Freedberg, Painting in Italy 1500-1600, later Titian
Texts on Titian's method: Vasari, Boschini, Aretino
Recommended:
Fehl, “Realism and Classicism,” Czechoslovakie Past and Present
(photocopy)
Tietze-Conrat, “Titian’s Workshop in his Late Years,” AB 1946
March 29 – No Class
April 3 – Veronese: Art, life and splendor in a declining Republic; The frescoes at Villa Barbaro, Maser; a look at the architecture of Palladio
Readings: Humfrey, 218-67
Rosand, “Theatre and Structure in the Art of Veronese”
April 5 – No Class
April 6, Friday morning – Visit to “Tintoretto,” Scuderie del Quirinale (tentative date)
We will study the art of Tintoretto and his circle through first-hand examination of the works in the exhibition.
Readings: Rosand, “Action and Piety in Tintoretto’s Religious Pictures, “ in Painting in
Cinquecento Venice
Nichols, Tintoretto, Chapters 4 and 5
April 10 – We will discuss the trip to Venice this weekend and the required readings.
OUTLINE OF PRESENTATION DUE
Submit an out line of your oral presentation, indicating the works of art you will discuss, including comparative examples, handouts, etc.
Readings: Fortini Brown, Chapter III
Rosand, Myths of Venice, Chapters 2 and 3
April 12 – No Class
April 13, 14 and 15: WEEKEND TRIP TO VENICE
ON-SITE ORAL RESEARCH PRESENTATIONS
Submit: Final outline and bibliography with your on-site talk.
April 17 – No Class
April 19 and 24 –
IN-CLASS ORAL RESEARCH PRESENTATIONS
Submit: Final outline and bibliography with your in-class talk.
April 26 – Review for the Final Examination
FINAL EXAMINATION – to be scheduled, April 28 - May 4
Do not leave Rome before May 5!!!
SUMMARY OF ASSIGNMENT DUE DATES:
JAN. 26 – First Journal submission, one entry
FEB. 21 – Completed Journal, all three entries
MARCH 1 – Presentation Topic Due
MARCH 6 – Midterm Examination
MARCH 15 – Bibliography and two Critiques
APRIL10 – Presentation Outline
APRIL 13-15 – TRIP TO VENICE and On-site Presentations
APRIL 19 and 24 –In-class Presentations
TBA, APRIL 28- MAY 4 – Final Examination