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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 373"
COURSE NAME: "Caravaggio"
SEMESTER & YEAR: Spring 2016
SYLLABUS

INSTRUCTOR: Linda Nolan
EMAIL: [email protected]
HOURS: W 2:15PM 5:00PM
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:

Caravaggio (1571-1610) provides a noteworthy case study of how an artist’s fame changes over time when the works of art do not. Best known for his striking representation of light and use of naturalism, his anecdote-filled biographies led to a negative assessment of the artist and his works. The course looks at the artist’s output 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. The mandatory trip may require a fee.
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 through the artist’s biography
-  critically examine the use of primary source material for interpretations of paintings in situ.
-  write critical, persuasive descriptions of works of arts as part of in-class writing, oral presentation, and research paper assignment.

 

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Caravaggio's Pitiful RelicsTodd P. OlsonYale University Press, 20149780300190137     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Caravaggio: the Artist and His WorkSybille Ebert-SchiffererJ. Paul Getty Museum 2012978-1-60606-095-7  
Lives of Caravaggio / by Giorgio [i.e. Giulio] Mancini, Giovanni Baglione, Giovanni Pietro Bellori, with an introduction by Helen Langdon.Mancini, Baglione, Bellori, etc. Pallas Athene, c20059780952998686 (pbk)ND623.C26 M25 

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
CaravaggioHibbard, HowardHarper and Row 19830064333221 : 0064301281 (pbk.)ND623.C26H44 
Caravaggio: A LifeHelen LangdonFarrar, Straus and Giroux, 1999.0374118949 (alk. paper)ND623.C26L36 
Caravaggio StudiesFriedlaender, Walter F.Schocken Books, [1969, c1955]xxx  
Hope and healing : painting in Italy in a time of plague, 1500-1800 / edited by Gauvin Alexander Bailey ... [et al.] ; with contributions by Sheila C. Barker ... [et al.].V/AUniversity of Chicago Press, c2005.0936042052; 9780936042053ND615 .H66 
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 in 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, Jan 20Introduction 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, Jan 27Caravaggio's biographies and sources, Part I: Rowland 2008; Langdon 1999; Visitor text, English, to mostra Caravaggio: una vita dal vero (2011) DUE Friday, January 29 by 6pm via email: 1) Top three paintings by Caravaggio, for Midterm presentation; 2) Top three readings, for Lead Discussant assignment: starting Meeting 4 - assignments made in order receivedJCU Campus, 1.30pm
Meeting 3, Feb 3Caravaggio's biographies and sources, Part 2Warwick 2006, Intro; Puglisi 2006; Hibbard, esp Baglione and Bellori; JCU Campus, 1.30pm
Meeting 4, Feb 10Caravaggio 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, 1.30pm
Meeting 5, Feb 17Caravaggio and sacred art, pt. 2: “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, 1.30pm, then move to S. Maria della Scala CHURCH DRESS CODE
Meeting 6, Feb 24Caravaggio and sacred art, pt. 3: Contarelli and Cerasi ChapelsSteinberg 1959; Puttfarken 1998; 3.00pm - Steps of S. Maria del Popolo, end at S. Luigi dei Francesi CHURCH DRESS CODE
Meeting 7, March 2Caravaggio and the “low-life” in RomeOlson 2014, Ch. 1: “Cozenage” JCU Campus, 1.30pm
Meeting 8, March 9MIDTERM CLASS PRESENTATIONS  JCU Campus, 1.30pm
Meeting 9, March 16Competitions, pt. 1: Caravaggio, Baglione, Orazio GentileschiOlson 2014, Ch. 3: “Defemation” JCU Campus, 1.30pm
Meeting 10, March 23Competitions, pt. 2: Caravaggio, Guido Reni, Guercino, and PoussinOlson 2014, Intro; Rice; Wright 1978;DUE: Abstract and preliminary bibliography, Friday, March 25 by 6pm via emailMeet on steps of EXIT to Vatican Museums at 14.15pm, visit to paintings gallery (Pinacotheca) CHURCH DRESS CODE
March 30 SPRING BREAK - NO CLASS MEETING   
Meeting 11, April 6The followers of Caravaggio: Louis Finson and Artemisia Gentileschi - Judith and HolofernesDe Marchi and Capitelli 2014 (Louis Finson); Speer 2000 (Artemisia) JCU Campus, 1.30pm
Meeting 12, April 13Caravaggio re-discovered: "The Taking of Christ", "The Magdalene in Ecstasy", the death of Caravaggio, and recent interest in the artistBenedetti 1993 and 1995; Cappelletti and Benedetti 1993; La Fauci 2010; Art Daily; Telegraph;  JCU Campus, 1.30pm
DATE TBA overnight trip (April 15-16?)Weekend Trip to NAPLES, travel Friday AM, return to Rome Saturday early evening. Counts for two class meetings. TBAStudents are responsible for booking travel and accommodations (est. cost = btw 75 - 125 euro, depending on train/hotel). A handout with details and recommendations will be distributed at start of class.  
Meeting 13, April 20NO CLASS MEETING, contact hours used during trip to Naples  N/A
Meeting 14, April 27Caravaggio, from beginning to endStone 2006; Coliva 2006; Entrance to Galleria Borghese at 2.45pm
FINAL EXAM SLOTNO CLASS MEETING, contact hours used during trip to Naples DUE: FINAL PAPER, DATE by 6pm via emailN/A