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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 373"
COURSE NAME: "Caravaggio"
SEMESTER & YEAR: Fall 2014
SYLLABUS

INSTRUCTOR: Linda Nolan
EMAIL: [email protected]
 HOURS: W 9:15 AM 12:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in Art History or permission of the instructor. Partially on-site; mandatory overnight trip to Naples; activity fee: €25 or $33
OFFICE HOURS:
COURSE DESCRIPTION:

AH373-Caravaggio is an in-depth study of the artistic production of Michelangelo Merisi da Caravaggio (1571-1610). The class meetings are held both at the JCU campus and on-site in Roman churches and museums.  The course is arranged by themes and chronology.  Emphasis is placed on understanding and interpreting the meaning and viewing of Caravaggio's works in the moment in which they were created and in successive periods. 
SUMMARY OF COURSE CONTENT:

 

Caravaggio (1571-1610) is best known for his daring use of naturalism during a time when Renaissance classicism was the dominant visual vocabulary.  The artist’s anecdote filled biographies led to a negative assessment of the artist and his works.  Not until the later part of the 20th century did art historians begin to reassess the sources and his artistic output. Caravaggio provides the noteworthy case study of how an artist’s fame changes over time when the works of art do not.  The course will have a monographic approach, meaning that the artist’s entire output will be discussed and analyzed from an array of historical, thematic, and methodological points of view.  The aim is to arrive at an understanding of Caravaggio’s works within their historical context from the 17th century to the present day.  Along with classroom lectures and site visits in Rome, there will be a required overnight trip to Naples. Mandatory field trip classes may require a fee.
LEARNING OUTCOMES:

Students will learn to:
-  identify and learnedly discuss the oeuvre of Caravaggio in and outside of Rome.
-  critically analyze contemporary and modern scholarship relating to the interpretation of Caravaggio and his contemporaries
-  critically examine methodological issues of using primary source material for interpreting art history through the artist’s biography
-  critically examine the use of primary source material for interpretations of paintings in situ.

 
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Caravaggio's Pitiful RelicsTodd OlsonYale University Press9780300190137xxxxhttp://yalepress.yale.edu/yupbooks/book.asp?isbn=9780300190137   
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance and Participation 20%
On-site, observation based writing assignments 15%
Lead discussant of assigned readings 15%
Class presentation, guiding the class to looking and understanding a work of art  20%
Critical response/research paper (10-12 pages), possibility derived from presentation 30%

-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:

One unexcused absence is permitted (but highly discourages) without grade penalty.  You are still responsible for the content of the missed meeting, which may include a site-based writing assignment.  Three late arrivals (“tardies”) count as one unexcused absence. Please note that being physically present in all class sessions (or missing 1 session) will only result in a grade of B- for Participation/Attendance.  If you strive for a higher grade, you must participate in discussions and complete in-class work.
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
SessionSession FocusReading AssignmentOther AssignmentMeeting Place/Exam Dates
Meeting 1, Sept 3Introduction to course, syllabus, assignments; Sebastiano del Piombo’s Flagellation of Christ, S. Pietro in Montorio Background reading to be completed during the first few days: John Gash, “Caravaggio, Michelangelo Merisi di.” Oxford Art Online.  JCU campus, then move on-site CHURCH DRESS CODE
Meeting 2, Sept 10Caravaggio's biographies and sources, Part I: Rowland 2008; Langdon 1999; Warwick 2006, Intro; Visitor text, English, to mostra Caravaggio: una vita dal vero (2011) DUE: Tuesday, September 9, by 6pm via email: 1) Top three paintings by Caravaggio, for Midterm presentation; 2) Top three readings, for Lead Discussant assignment: starting Meeting 4JCU Campus
Meeting 3, Sept 17Caravaggio's biographies and sources, Part 2Puglisi 2006; Hibbard, esp Baglione and Bellori; JCU Campus
Meeting 4, Sept 24Caravaggio and sacred art, pt. 1: Mannerism and the cult of relicsOlson 2014, Ch. 2: “Martyrdom”, and pp. 156-68 of Ch. 4: “Corruption”; Jones 2008, Ch. 2; JCU Campus
Meeting 5, Oct 1Caravaggio and sacred art, pt. 2: Contarelli and Cerasi ChapelsSteinberg 1959; Puttfarken 1998; Steps of S. Maria del Popolo, end at S. Luigi dei Francesi CHURCH DRESS CODE
Meeting 6, Oct 8Caravaggio and sacred art, pt. 3: “rejected” and collected (First version of St. Matthew, first version of Conversion of St. Paul, Madonna dei Palafrenieri, and Death of the Virgin)Olson 2014, Ch. 4: “Corruption” JCU campus, then move to S. Maria della Scala CHURCH DRESS CODE
Meeting 7, Oct 15MIDTERM CLASS PRESENTATIONS  JCU Campus
Meeting 8, Oct 22Caravaggio and the “low-life” in RomeOlson 2014, Ch. 1: “Cozenage” JCU campus After class: optional visit to exhibition “I Bassifondi del Barocco” at Villa Medici
Meeting 9, Oct 29Competitions, pt. 1: Caravaggio, Baglione, Orazio GentileschiOlson 2014, Ch. 3: “Defemation” Entrance to Palazzo Barberini (Galleria Nazionale)
Meeting 10, Nov 5Competitions, pt. 2: Caravaggio, Guido Reni, Guercino, and PoussinOlson 2014, Intro; Sohm; Rice; Wright 1978;DUE: Abstract and preliminary bibliography, Tuesday, November 5 by 6pm via emailEntrance to Vatican Museums (exact place TBA), visit to paintings gallery (Pinacotheca) CHURCH DRESS CODE
Nov 7 - Nov 9Weekend Trip to NAPLES, travel Friday, return to Rome Sunday afternoon/evening. Counts for two class meetings. TBAStudents are responsible for booking travel and accommodations. A handout with details and recommendations will be distributed at start of class.  
Meeting 11, Nov 12Caravaggio re-discovered, pt. 1: The Taking of Christ, and the Martyrdom of S. Lorenzo (Il Gesu)Benedetti 1993 and 1995; Cappelletti and Benedetti 1993; JCU campus, then move to Il Gesu CHURCH DRESS CODE
Meeting 12, Nov 19Caravaggio re-discovered, pt. 2: Derek Jarman’s Cravaggio (1986), the death of Caravaggio, and recent interest in the artistSohm 2002; La Fauci 2010; Art Daily 2011;  JCU Campus
Meeting 13, Nov 26NO CLASS MEETING, contact hours used during trip to Naples  N/A
Meeting 14, Dec 3Caravaggio, from beginning to endStone 2006; Coliva 2006; Entrance to Galleria Borghese at ** 8.45AM **
FINAL EXAM SLOTNO CLASS MEETING, contact hours used during trip to Naples DUE: FINAL PAPER, Tuesday, December 9 by 6pm via emailN/A