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

-          A familiarity 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 familiarity 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, etc.)

-          Improved research skills 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

-          Furthering of writing skills: declaration and development of a clearly stated theme, 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.

            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 15C to the late 16C, Venetian painters created a Venetian “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 the 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 invention, Venice and the world, the state and the individual provided Renaissance art in Venice with 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 especially, 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. 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 or overview 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 versus 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. We will also visit the Borghese Gallery to see the paintings of Titian and his contemporaries. In addition, we are fortunate this semester that a major exhibition of the work of Tintoretto and his circle is to be held here in Rome at the Scuderie del Quirinale – we will take a Friday morning to visit it. Other visits in Rome will be assigned, and you will be immediately encouraged to start looking at the Venetian works available in nearby museums.

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.

Readings: Required readings must be completed before each class for discussion. Some recommended readings are included and are also on reserve; others will be suggested during class.

(Some changes may be made with regard to recommended readings: forthcoming)

Exact Schedule forthcoming: below is the basic sequence of topics for classes.

Introduction: Introduction to the course and requirements; An introduction to “La Serenissima:” the culture, history and legends of Venice as a city, and the “myth” of Venice.

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.

Readings:

David Rosand, The Myth of Venice, Chapter I

Humfrey, Introduction and Chapter 1 to p. 89

Fortini Brown, Chapters I, II and IV

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

Narrative Painting and the Scuole: The phenomenon of the scuole and social patterns in Venice; 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

A discussion of art and issues (and 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). This section will be addressed the week before the Midterm Examination.

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

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

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)

Visit to the Galleria Borghese (date TBA)

Portraiture in Venice: The problematics of likeness and identity; the depiction of  status, elegance, power, chastity and the beloved; the “speaking likeness” - idealization and aspiration.

Readings: Fortini Brown, Chapter VI

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   

Titian III: His international career: The courts of northern Italy; Roman influences and the Roman trip; Titian paints for the Emperor; Mythologies; Pordenone and other alternatives

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)

Titian III: The late work. The essence of painting and Titian’s old age; considerations of workshop contribution

Readings: Freedberg, Painting in Italy 1500-1600, later Titian

                 Texts on Titian’s method: Aretino, Boschini, Vasari

                 Recommended:

                 Fehl, “Realism and Classicism,” Czechoslovakie Past and Present

                        (photocopy)

                 Tietze-Conrat, “Titian’s Workshop in his Late Years,” AB 1946

Veronese and TIntoretto: Art, life and splendor in a declining Republic; The frescoes at Villa Barbaro, Maser; Tintoretto and “disegno and colorito;” a look at the architecture of Palladio

Readings: Humfrey, 218-67

                 Rosand, “Theatre and Structure in the Art of Veronese”

                 Rosand, “Action and Piety in Tintoretto’s Religious Pictures, “ in Painting in

                      Cinquecento Venice

                 Nichols, Tintoretto, Chapters 4 and 5

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 NB: November 8, 9 and 10: WEEKEND TRIP TO VENICE

ON-SITE ORAL RESEARCH PRESENTATIONS

Submit: Final outline and bibliography with your on-site talk.

Readings: Fortini Brown, Chapter III

                 Rosand, Myths of Venice, Chapters 2 and 3

FINAL EXAMINATION – to be scheduled, December 7-13 – we will have a review in either the last part of the last class, or an evening

Do not leave Rome before December 14!!