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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 339"
COURSE NAME: "Venetian Art"
SEMESTER & YEAR: Spring Semester 2012
SYLLABUS

INSTRUCTOR: Smyth Carolyn
EMAIL: [email protected]
HOURS: TTH 16:00-17:15
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in Art History or permission of instructor; mandatory 3-day trip to Venice
OFFICE HOURS: TBA or by appointment

COURSE DESCRIPTION:

Students will be expected to develop, in the course of the semester, the following:

      - A familiaritiy with period and individual styles of Venetian art through a study of major works. Ready recognition of selected works, and knowledge of basic facts related to them.

      - Command of problems of interpretation, in relation to the study of selected works; basic familarity with subject matter and iconography, function, patronage and purpose.

      - A basic familiarity with the stylistic and technical qualities of Venetian painting, which distinguish it from other Renaissance schools.

      - An awareness of the particular issues relevant to art in Venice, such as:  the "myth" of Venice, the Venetian sense of identity, institutions and customs peculiar to Venice, aspects of Venetian culture and society, and the role of art in promoting an image of the city as Republic and "Serenissima." A basic understanding of the historical, political and social context in which Venetian art was produced and in which artists were formed.

      - An understanding of different art historical methodologies through reading of a variety of approaches by major scholars in the field (Rosand, Goffen, Fehl, Fortini-Brown, etc.). Development of critical thinking about art and art history through course readings, assignments and class discussion.

      - A familiarity with some contemporary sources and writings on Venetian art (Vasari, Aretino, Dolce, etc.)

      - Improved research skills developed through use of not simply the JCU library and Jstor, but also use of bibliographical sources, published and electronic, and several visits to the art history library in Palazzo Venezia here in Rome.

      - Furthering of writing skills: declaration and development of a clearly stated thesis, organization, discussion of distinctive views and
      approaches, written expression and structure.

      - Furthering of oral communication skills, through class discussion and oral presentation.

      - Development of visual skills - the art of looking thoughtfully.

SUMMARY OF COURSE CONTENT:

      Weekend Field Trip to Venice (required for course): date April 13, 14 and 15 (Friday 2:00 to Sunday 12:00) 

      Description:

    Venice is set apart from Italy and from Europe not only by its watery setting, but also by its history, traditions, and sense of cultural      identity. Unique for its birth from the sea, distinguished by its Byzantine past, splendid for its civic ritual, glorious for its colorful palaces and churches, "La Serenissima" produced a distinct type of Renaissance painting. From the middle of the 15thC to the late 16thC, Venetian painters created a "school" of art that became celebrated for color and brushwork, for attention to light and landscape, and for new poetic and sensual themes. The political, religious and social structure in which these painters worked was essentially conservative, and the state, confraternities, and religious orders demanded that artists heed time-honored traditions. Other factors - such as independent-minded patrician connoisseurs, the influence of humanist thought and literature, the atmosphere of religious tolerance, and contact with Northern Europe - fostered innovation. The tensions between tradition and innovation, Venice and the world, the state and the individual, provided Renaissance art in Venice an especially lively and sometimes conflicted environment.

    Venetian painting began to participate in an identifiably Renaissance culture with the art of the Bellini.  Giovanni Bellini especiallly, in his long life, developed a type of oil painting that would then be transformed in the High Renaissance by Giorgione, given European stature by Titian, and continued in the vast production of Veronese and Tintoretto. Beyond the Renaissance, in the later Baroque period, Giambattista Tiepolo created another high moment in the history of Venetian painting, and we will take a brief look at how his painting revives previous tradition and also refashions it for a new kind of clientele. The subject of this course will be an investigation of this development within the historical and cultural context of Venice. We will examine also the structure of patronage and critical response, the specific civic, religious and private functions of Venetian art, and the rich iconography developed by painters and their patrons in Renaissance Venice and the Veneto.

    While we will concentrate on Venetian painting, reference will also be made to relevant works of sculpture and architecture. The course will be an investigation of major themes, issues , controversies and problems concerning the understanding of Venetian art by means of analysis of selected key works, rather than an inclusive chronological survey of the period. A few topics to be addressed will include:  the development of the altarpiece from Vivarini to Titian; the Venetian Renaissance portrait; images of beautiful women, their identity and meaning; the concept of the poesia; the Venetian aesthetic and theoretical discourse concerning disegno vs. colore; the scuole and narrative painting from Carpaccio to Tintoretto; landscape and the pastoral in Venice; the place of the artist in Venetian society; technique and workshop practices.

    The highpoint of the class will be a three-day trip to Venice (April 13-15). We will also visit the Borghese Gallery here in Rome to see the paintings of Titian and other relevant works, and take advantage of the Tintoretto exhibition at the Scuderie del Quirinale. Several visits in Rome, also, will be assigned, and you will be encouraged immediately to start looking at the Venetian works available in nearby museums.

      Textbooks:

      Peter Humfrey, Painting in Renaissance Venice, New Haven and London, Yale
      University Press (1995), 3rd ed. 2001

      Patricia Fortini-Brown, Art and Life in Renaissance Venice, London,
      Lawrence King Publishing, 1997

      Required supplementary readings for each section will be assigned also, and will be required for discussion. Recommended readings also appear on the schedule of classes.

LEARNING OUTCOMES:
See "Course Aims" (above)
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Painting in Renaissance VenicePeter HumfreyYale University Presscheckcheck    
Art and Life in Renaissance VenicePatricia Fortini BrownLawrence King PublishingLondon, 1997Check    
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Painting in Cinquecento VeniceDavid Rosand ND621.V5 R67  
Myths of VeniceDavid Rosand N6921.V55R6919  
Narrative Pinting in the Age of CarpaccioPatricia Fortini Brown ND1452.V18B76  
Venetian COlorPaul HIll N.6921:V5H56  
Giorgione's "Tempesta"Salvatore Settis ND 623.G5A7638  
Places of DelightDavid Rosand et al. ND1349.C34  
Tintoretto. Tradition and IdentityTom Nichols ND623. T6 N53  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
THe Art of Renaissance VeniceHuse, Wolters N6921.V5 H8713  
Giovanni BelliniRona Goffen ND623.B39 G64  
The Genius of Jacopo BelliniColin Eisler ND6923.B45 A4  
Titian's "Venus of Urbino"Rona Goffen ND623.T7A7885  
The Architectural HIstory of VeniceDeborah Howard NA1121.V4H68  
Renaissance Venice and the NOrthBernard Aikema et al. ND621:V5R5613  
Venice and Antiquity; The Venetian Sense of the PastPatricia Fortini Brown DG 675,6B7  
Venice and the East...Venetian ArchitectureDeborah Howard NA1121.V4  
The Altarpiece in Renaissance VenicePeter Humfrey Call Number  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Midterm 20%
Final 30%
Forthcoming details for Journal, Presentation, Critical essay 50%

-ASSESSMENT CRITERIA:

Grading is determined by the following scheme:

- Work of "A" quality (90-100%) demonstrates mastery of the facts, controversies and interpretations found in readings, lectures, discussions, and research. Work at this level exibits a comfortable command over the course material and is characterized by the student's independent evaluation and critical consideration of that material. "A" work consists of an interesting and original argument that is consistantly supported by well-integrated and well-chosen evidence, as well as careful examination of the visual evidence and awareness of different approaches and methods.

- Work of "B" quality (80-89%) demonstrates a solid understanding of the material, adequately addresses the assigned topic or task, and is written clearly and free of technical errors. A "B" exam, paper or presentation is one that fails to analyze material thoroughly or is marred by problems of presentation, organization, a weak or lack-luster argument and/or evidence that is used inconsistantly or ineffectively.

- Work of "C" quality (70-79%) shows a general working knowledge of the material and addresses the assigned topic or task, but has some significant structural flaw, absence of information or research background, or too imprecise or superficial a treatment. The submitted assignment may have no argument, ignores important and obvious sources and/or contains only a minimum of interpretation.

- Work of "D" quality (60-69%) does not demonstrate a working knowledge of the necessary material, fails to support its argument with sufficient evidence, indicates a hasty or inconsidered preparation, and/or fails to fulfil the assignment in some way.

- Work of "F" quality (below 60%) fails to fulfil the assignment in some fundamental way. It may have been late, thrown together quickly, with little or no attention to the instructions assigned or with inadequate preparation.


-ATTENDANCE REQUIREMENTS:

Students are expected to attend all classes, with assigned reading completed. More than two absences from class may result in a lower letter grade for the final appraisal of performance.

Trips and visits, including the weekend trip to Venice, the instructional visit to the Palazzo Venezia, and the Friday AM visit to the Borghese Gallery (date TBA first day of class) are a required - and in fact essential - part of the course, and are not optional. 

Please refer to the university catalog for the attendance and absence policy.

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

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 MORNINGVisit 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 15BIBLIOGRAPHY 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