Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "AS 221"
COURSE NAME: "The Medieval Bottega: Tools and Techniques of the Medieval Artist"
SEMESTER & YEAR: Spring 2014

SYLLABUS

INSTRUCTOR: William Pettit
EMAIL: [email protected]
HOURS: W9:00 AM 11:45 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:

COURSE DESCRIPTION:
This course is a survey of traditional art studio techniques as practiced in Central Italy and Europe during the Middle Ages and early Renaissance. The goal is to learn the various processes and materials, and to create an artwork typical of the period between 900 and 1400 BCE. We will use the artists’ botteghe in Italy as a model, and focus on art-making as a multimedia collective workshop. As well as a survey of the period and styles, the course will cover techniques such drawing, painting in egg tempera, supports, and pigments typical of the period. Students will be guided through the steps in preparing a finished piece. Though we will discuss mosaics, frescoes, and oil paintings, we will focus on Icon painting in egg tempera. The course is well suited to students of different levels and backgrounds who wish to gain a greater understanding of the history of art-making

SUMMARY OF COURSE CONTENT:

The course functions as an introduction to various traditional materials and techniques, relevant styles of artwork, and an art historical framework to understand the use and value of Western art leading into the Renaissance. We will concentrate in particular on work in Rome and Central Italy. The artists job in the medieval and early Renaissance was quite complex, and involved procuring and preparing supports, pigments, and metals, as well as drawings and designs. Students will be guided through the various stages of traditional art-making in order to complete a final piece. We will cover panel preparation, drawing, design transfer, pigments, painting with egg tempera and oil, and sculptural elements such as woodcarving and gilding, as described in ancient texts. Course work will be supplemented by visiting artists, and studio and museum visits in order to situate our work locally. We will discuss important artists, media, and writers of the period.

LEARNING OUTCOMES:

Students will leave the course with knowledge of the material techniques of early Renaissance painting, in particular tempera painting and gilding, and be familiar with the principal artists in the genre.

TEXTBOOK:

NONE

REQUIRED RESERVED READING:

Book Title	Author	Publisher	ISBN number	Library Call Number	Comments
The materials and techniques of Medieval Painting	Daniel Thompson	dover	13-9780486203270

RECOMMENDED RESERVED READING:

Book Title	Author	Publisher	ISBN number	Library Call Number	Comments
The Prectice Of Tempera Painting	Daniel Thompson	dover	13-9780486203430

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
see below	Grading is based on attendance and completed work. Attendance (20%) is to include punctuality and class participation. Students are expected to be on time and present physically and mentally during critiques and studio time. Midterm Exam (10%) will consist of questions on reading and material covered in class. You may be expected to identify a style or medium of a work, to identify pigments, etc. Final Exam (20%) will consist of short answers on technical and art-historical topics from readings and materials covered in class. Completed Work/Final Project (50%) This is your finished piece, accompanied by a written thesis describing process and influence.	see below

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge 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.
BThis 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.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis 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.
FThis 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:

Students are expected to be on time and present physically and mentally during critiques and studio time.

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

CLASS Schedule

1. Intro to course and requirements. Intro to the Bottega: roles and rules.

Byzantine and Medieval Painting. Visit Santa Maria in Trastevere.

Project: sketchbook and research: What is Medieval Art?

Reading: Gardner, chaps, 11 and 12. Thompson, Practice…, Part I.

2. Painting supports: panels.

Tools: woods, sizing (animal glues), canvas

Project: fixing canvas and animal glue preparation and conservation

Reading: Cennini, part VI. Thompson, Practice…, Part II.

3. Panel preparation; painting surface

Tools: gesso grosso and gesso sottile

Project: priming, panel prep. Gesso in four stages

Reading: Mayer, chap. 6, Vasari, chapter VI

4. Drawing. Design and layout

Tools: pencil, paper, reproductions

Project: final design research

Reading: Vasari, Of Painting, chap. I and II, Thompson, Practice…, Part III

Visit Santa Sabina

5. Drawing and Design.

Tools: cartoon, tracing, transfer, pouncing, incising, inks

Project: final design transfer

6. Midterm Exam. Discuss final projects for approval.

HW: Video: Andrei Rublev.

7. (Gold Leaf, Gilding.

Tools: Gold leaf, size, bole, burnishing

Project: flat gilding, mordants, bole, tooling, punching

Reading: Vasari, chap. XIV; Cennini part VII, IX, Mayer, pp 555-563, Thompson, Practice.., Part IV

8. Painting. The Medieval Palette, Egg tempera and glair, grounds

Tools: powdered pigments, origins, vehicles

Project: color studies with homemade pigments

Reading: Mayer, chap. 5, Thompson, Practice…, Part V

9. Painting. Tempera lines.

Tools: brushes, tempera

Project: base colors, glair prep and conservation

Reading: Vasari, Of Painting, Chapter IV, Thompson, Practice…, Part VI, Materials…, Part III.

10. Painting. Tempera floating, first light

Tools: brushes, color mixing, tempera

Project: outlines, details, lights

Reading: Mayer, Chap. 3, Thompson, Materials…, Part II.

11. semester Break

12. Painting. Egg Tempera, second light

Tools: tempera

Project: schiaramento

Reading: Cennini, part II,

13. Painting. Tempera, third light..

Tools: tempera

Project: finishing

Reading: Thompson, Practice…, Part VII

14. last highlight and “firing”.

15. Final project presentations. Final exam.