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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 296"
COURSE NAME: "Italian High Renaissance Art"
SEMESTER & YEAR: Spring 2015
SYLLABUS

INSTRUCTOR: Carolyn Smyth
EMAIL: [email protected]
 HOURS: W9:15 AM 12:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Partially on-site; mandatory 3-day trip to Florence
OFFICE HOURS: Wednesdays 14:00-17:00 (2-5:00) or by apointment
COURSE DESCRIPTION:

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

 

-        A familiarity with period and individual styles of High Renaissance art through a study of major works. Ready recognition of selected works, and knowledge of relevant factual information.

 

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

 

-        An understanding of different art historical methodologies and views of the period through selected readings by major scholars in the field.

 

-        A familiarity with some contemporary sources and writings on High Renaissance art.

 

-        A basic understanding of the historical, political and social context in which this art and  architecture was produced and in which artists and architects were formed.

 

-        Development of critical thinking about art and art history through course readings,  assignments and class discussion

 

-        Improved research skills through use of not simply the JCU library (and ideally, others in Rome), Jstor, and use of bibliographical sources, published and electronic.

 

-        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.

 
SUMMARY OF COURSE CONTENT:

            It would not be hyperbolic to state that the period in Italy from ca. 1470-1520 was a moment in which art and architecture represented one of the most crucial areas of human endeavor.  Art in the High Renaissance was regarded, by those who made and used it, not as a gratuitous luxury or ornament to society, but as an integral part of religious worship, intellectual inquiry, and the fabric of the state. The importance given to the visual arts by popes and rulers, writers and thinkers, churchmen and businessmen, and of course, by artists themselves was immense, and the aesthetic and intellectual level achieved in painting, sculpture and architecture was nothing less than stupendous. This course will investigate this phenomenon, in an effort not only to appraise and to understand individual artworks, but also to examine who and how art in this period was considered of vital interest to society, religion, investigative thought and political persuasion.

            We will examine the works of some of the most accomplished figures of Western culture –Botticelli, Leonardo, Michelangelo, Raphael and Bramante, to name only a few – and the intellectual movements and social contexts in which these artists lives. The foundations of the High Renaissance begin largely, though not exclusively, in Florence; these explorations gather momentum as Central Italian artists, in Rome, lend their talents to the spiritual and imperial ambitions of the papal court. In these years artists and their patrons, along with influential men of letters, address the culture of the ancient past with renewed rigor and sophistication. Religious belief and doctrine, as well as the authority of the popes, are being defined and also challenged. In narrative cycles, altarpieces, mythologies and allegories, portraiture, ecclesiastical and civic building, some of the best minds of the period are enlisted to express contemporary ideas and debates.

            Wölfflin’s denomination of this cultural production as “Classic Art” is descriptive of a style that established the perfect balance between natural observation and ideal form. Also “classic” is the attention given by High Renaissance artists and patrons to the precedent of ancient Rome: in literary movements and antiquarianism, in formal style and motifs, in the recreation of the plan of ancient Rome. Already in the Early Renaissance the humanist enterprise of reassessing and appropriating, for contemporary purposes, ancient achievement was underway. In High Renaissance Rome, especially during the ambitious papacy of Julius II della Rovere, study of the ancient splendor of Rome was part of a program of “renovation,” as both model and legitimization of papal power.

            Some of the topics to be addressed will include: Medici culture in Florence and Neoplatonism; the rise of Savonarola and his legacy in religious art; continuity in della Rovere patronage between Sixtus IV and Julius II; private patronage in palace and chapel; public sculpture as commemoration and civic pride; the study of nature and art as science; portraiture as social image and speaking likeness; spatial illusion and new relationships beween art and the viewer; architectural theory and practice; the developing role of the artist in society; and the formation of the papal image through art and architecture.

            This course will take place in a double period, to allow on-site visits to monuments, churches and museums here in Rome. The Journal assignment will incourage you to investigate monuments on your own (or with classmates). In addition, there will be a weekend trip to Florence to examine painting, sculpture and architecture of the High Renaissance in person, often within the original context. (Weekend in Florence: from Friday 10:30 – Sunday 12:00 - April 17-19.)

PLEASE NOTE THAT THE SYLLABUS GIVEN TO YOU AS A HANDOUT IN CLASS, ON PAPER, IS THE FINAL ONE.

SHOULD THERE BE DISCREPENCIES WITH THIS ON-LINE VERSION, FOLLOW THE PAPER SYLLABUS.

THIS (PAPER, FINAL) SYLLABUS WILL BE SENT YOU VIA THE MESSAGE BOARD FOR THE COURSE

SEVERAL CHANGES IN EDITING COULD NOT BE ACCOMPLISHED HERE, DUE THE SCHEME OF THE MODULE
LEARNING OUTCOMES:
See Course Aims
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
History of Italian Renaissance ArtFrederick Hartt and David WilkinsPrentic HallXXXXXXX     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Other Readings are ForthcomingSee Schedule for Reading referencesXXXXXXXXXXXXX  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Recommended Readings forthcoming on this section of the SyllabusSee Schedule for Reading referencesXXXXXXXXXXXXXXXXX  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
JournalThere are several notable works of High Renaissance art in collections and churches in Rome (and elsewhere) for you to examine. The Journal should consist of four entries, each including a carefully considered analysis of a single work of art which is you have studied attentively and in person, not simply in reproduction. It is important that entries be written on the spot, since ideas develop as you write and look in context. A list of possible candidates for topics will be made available. The Journal is an informal but significant written assignment in which skills developed so far in the course may be demonstrated, and your learning progress made evident. Several paintings, sculptures and reliefs, and works of architecture should be addressed. More detailed instructions, including suggested lists of sites and works, and format and procedure, will be given to you immediately. 15%
Midterm Examination You will be asked to identify slides, and to write comparative essays on pairs of slides. In addition, you will be shown a slide of a work probably not familiar to you, to analyze and to compare to known works. A “Monument List” will be given to you in anticipation of the exam as well as more detailed instructions. Most works on the List will be drawn from the textbook, with the addition of a few visible here in Rome and works seen on visits. 10%
Summary of Three Scholarly Texts for Oral Research Presentation Topics are to be chosen early in the semester, and submitted in writing. (Suggestions will be given.) Several weeks before the Oral Presentation (to be delivered on-site, in Florence), students will submit a close summary of three of their scholarly sources for this research project, to ensure quality and understanding of appropriate bibliographical material relevant to the topic. Sources may include articles by authoritative arthistorians, chapters in books (or e-books, if these are texts by experts in the field), or extensive catalogue essays and/or entries. Unjuried internet sources are not accaptible as bibliographical sources for this reserach project.10%
Oral Research Presentation and Outline with BIbiography - on-site in FlorenceEach student will select a work of art or architecture in Florence, and perform in-depth research to present to the class during our weekend visit. In addition to basic “facts” on your monument, you should also review scholarly articles and books and be able to discuss the relevant historical context, visual and textual sources, patronage, interpretation, and other art historical issues. Debates encountered in the art-hsitorical literature on the work should be presented clearly and summarized. The presentation will be assessed for the depth of your visual analysis, research, organization, use of handouts or supplementary material, presentation style, and engagement. Each presenter will also submit, at their talk, and outline and a final bibliography of specialized literature on the topic. Notice that your topic is to be chosen early in the semester to give ample time for research, and that the Summary of Scholarly Texts is to submitted also in anticipation of the actual Presentation. Each student will be required to meet with me at least once before the week of the presentation. 15%
Comparative Paper of two works of Art or Architecture Select two works of art or architecture from the period under investigation (ca. 1470 – 1530), and write a succinct, well-organized essay comparing the similarities and differences presented by their juxtaposition, and what this reveals about the attitudes of the artists/architects and context in which they were produced. Your two selections should be similar in some fundamental way: subject matter, function, or date, for example. Some research will be essential for this assignment, but stress will be on your own visual analysis and clarity of argument. You might want to choose a work from the textbook, from visits, the Journal, or readings, and “match” it with another appropriate work for comparison. Do not choose your presentation topic as a subject for thisa assignment – expand your horizons. One work must be from outside the textbook. Comparitive topics will be submitted in advance for approval. Guidelines will be provided in anticipation of the assignment. 10%
Participation (See also "Attendance", copied here): Be sure to have completed the assigned readings before each class – these will consist of the textbook section, and the selected supplementary readings. Attendance is naturally a requirement of the course, since much material will be presented in lectures and discussions which is not available in the readings. In addition, this course is scheduled once a week, a double period, so absence from one class is actually absence from two class periods. More than two absences will lower your grade. Active participation and discussion in class and visits is of course toward your benefit for the grade – but also, helpful contributions and questions relevant to the material under consideration also make the class more interesting and lively for all of us. 10%
Final Examination The Final Examination will follow the same format as the Midterm: a monument list will also be provided as above. This exam will include in addition an essay question which will propose a theme interrelating various works and issues discussed during the semester, as well as readings. Besides the “Identifications”, Part I, which will test you on works from the post-Midtern period of the class, all sections will be cumulative (Part II Comparisons; Part III “Unknown”; and especially the Essay) for the rest of the exam. NB: DO NOT make plans to leave Rome before the day after Final Exams! 20%

-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:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________

                  Be sure to have completed the assigned readings before each class – these will consist of the textbook section, and the selected supplementary readings. Attendance is naturally a requirement of the course, since much material will be presented in lectures and discussions which is not available in the readings. In addition, this course is scheduled once a week, a double period, so absence from one class is actually absence from two class periods. More than two absences will lower your grade.  Active participation and discussion in class and visits is of course toward your benefit for the grade – but also, helpful contributions and questions relevant to the material under consideration also make the class more interesting and lively for all of us.

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

 Oh. Doesn't copy from my file. Will not cut and paste.

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