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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 272"
COURSE NAME: "Special Topics in Early Modern Art: Life and Art in Renaissance Venice"
SEMESTER & YEAR: Fall 2016
SYLLABUS

INSTRUCTOR: Carolyn Smyth
EMAIL: [email protected]
HOURS: TTH 4:30 PM 5:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: Wednesdays 14:00-18:00 or by appointment

COURSE DESCRIPTION:
Specialized courses offered periodically on specific aspects of the art of the early modern world. Courses are normally research-led topics on an area of current academic concern. May be taken more than once for credit with different topics.
SUMMARY OF COURSE CONTENT:

AH 272 / Life and Art in Renaissance Venice

Fall 2016 / Carolyn Smyth

 

            This course invites the student to embark on an imaginative and informed submersion into the culture of 15-16C Venice. The course is primarily a study of the great painters of “La Serenissima” (Venice The Most Serene Republic), in the 15-16C, with an investigation of Giovanni Bellini, Giorgione, Titian, Tintoretto and Veronese. In addition to considering the unique image and/or everyday actuality of Venice as a political and social entity,  we will also examine Venice as international emporium and as a vibrant collection of peoples. The art and artists will be framed in the context of their location in an intersection of international exchange, since contacts with  Byzantium, Islam, and Northern Europe were vital factors in Venetian art, architecture and thinking. A provocative field in Venetian studies concerns how public and private spaces and their use, rituals, civic and religious concerns and behaviors shaped the art and architecture of Venice. We will consider Venetian culture also beyond the parameters of traditional art-historical study to consider objects of material culture: glass, fashion, domestic objects, and other genres as the telling expression of normal daily existance.

 

 

            The very title of this course owes a debt to the many studies of Patricia Fortini-Brown, especially one of our textbooks, Art and Life in Renaissance Venice, and also her work on the intricate braiding of ancient culture into the peculiarly Venetian modes through which artists and citizens conveyed their own “antiquity” as a third Rome. Fortini-Brown also proposes one of the most interesting interpretations of the art of that most Venetian of social intitutions, the “scuole,” which, through a formation of group membership among professions, neighborhood cliques, and foreign residents, created a “chronicle” of life  - as pictured in the representations of Carpaccio and others. We will also be reading several essays by David Rosand: in The Myth of Venice, this scholar explores several themes through which artists created a specific and distinctive identity for their city, drawing upon historical legend and iconographical themes (Venice-Virgin-Venus, the story of St. Mark, and Justice as representative of La Serenissima itself); in other writings he explores the relationship between painting, site, and observer (for instance, Titian’s works in the great Franciscan church in Venice, the Frari). Through these and other readings we will examine what is Venetian about Venetian art, and the Venetian way of life in the Renaissance. We will also learn about how cultural and trade connections with the Islamic East, Germany in the North, Rome and Florence, and other exchanges formed the very unique visual texture and identity of this city on the sea.

 

 

            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. Other visits in Rome will be assigned, to encourage you to start looking immediately at the Venetian and related works available in nearby museums.

 

Textbooks:

 

Peter Humfrey, Painting in Renaissance Venice, New Haven and London, Yale University Press (1995), 3rd ed. 2001

 

Patricia Fortini Brown,  Art and Life in Renaissance Venice London, Lawrence King Publishing, 1997

 

 

LEARNING OUTCOMES:

            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.

 

-       A beginning understanding of cross-cultural issues, both as exemplified in the study of Venetian art and culture, and as methodology.

 

-       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.

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Art and Life in Renaissance VeniceFortini BrownLawrence King Publishing, London1997     
Painting in Renaissance VenicePeter HumfreyYale University Pressthird edition, 2001     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Renaissance Venice and the Northeds. B. Aikema and B.L. BrownRizzoliND621.V5R 5613  
Venice and AntiquityPatricia Fortini BrownYale University Press, 1996DG675.6.B7  
The Myths of VeniceDavid RosandChapel Hill, NC and London, 2001N6921.V55R6919  
Painting in Cinquecento VeniceDavid RosandCambridge (1982) 1997ND621.V5 R67  
Narrative Painting in the Age of CarpaccioFortini BrownYale (1988) 1991ND1452.18.B76  
Venetian ColourPaul HillsYale 1999N6921.V5H56  
Places of DelightD. Rosand, et al.Phillips Collection WDC, 1988ND1349.C34  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
An Architectural History of VeniceDeborah HowardYale, 2002NA1121.V4H68  
Venice and the EastDeborah HowardYale 2000NA1121.V4  
The Art of Renaissance VeniceW. Wolters, N. HuseChicago and London (1986) 1990N6921.V5 H8713  
Giovanni BelliniRona GoffenYale ND623.B39 G64  
Titian's Venus of UrbinoGoffen, ed.Cambridge, 1997ND623.T7 XXX 885  
Tintoretto. Tradition and IdentityTom NicholsReaktion Books, London 1999ND623.T6 N53  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Midterm ExaminationGuidelines will be given in advance, including a list of monuments. The in-class examination will consist of identifications of slides, two comparative essays based on slides, and discussion and analysis of one "unknown" slide.15%
Final ExaminationGuidelines and lists of works to be provided in advance. The format will be similar to that of the Midterm, with the addition of an hour essay on a general theme relating to Venetian study - you will have a choice of three-four essay questions. THe examination will take place in the assigned period during FInals Week (TBA). Do NOT leave Rome before Final examinations are over!20%
Class participationStudents are expected to arrive in class with readings accomplished, and with observations and questions from these readings and other related study. "Participation" includes more than mere attendance; lively discussion makes the course more interesting for everone!20%
JournalYou will be given an assignment (Guidelines and lists to be distributed immediately, first class) which involves active looking and thinking about several of the most significant examples of Venetian art here in Roman museums. This is an informal but crucial assignment which requires the writing of your own observations in a notebook, on-site. You will be given a list of suggested sites and artworks, and asked to select four for this assignment.15%
Oral Research PresentationThis is your reserach assignment for the course. Students will submit work for this project in stages: fairly early in the semester, topic and basic issues to be addressed (suggestions will be supplied); bibliography, including documented session in the JCU library for meeting with the Research Librarian; outline of the Oral Presentation; required meeting with the instructor to consult on sources, approaches, organization, effective handouts; the Presentation itself, on-site during the Study VIsit in Venice of November 4-6.25%

-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 cours
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 December 9 - DO NOT LEAVE ROME before December 10!

Particular attendance requirements for AH272:
Attendance for the course is mandatory, including the Friday visit to the Borghese Gallery and the weekend Study Visit to Venice, November 4-6.
Because class lecture and discussion will include material not in the readings, more than two Tuesday and/or Thursday class absences can affect your grade. Please note that participation does not mean simply "attendance" - active and positive contribution to discussion is not only beneficial for your grade, but makes the class more exciting for everyone!

A few guidelines:
Computers are not allowed to be used in the classroom - apologies, but due to abuse in the past, this restriction is becoming necessary for ever more instructors at JCU and elsewhere.
Please arrive punctually, since notices, information and guidelines will be given at the outset of the lesson.
Do accomplish telephone calls, snacking, and calls of nature before class. Rising from class and returning is very distracting for the instructor, and especially for your fellow students. Water, coffee, sodas allowed, food not. If you do have to leave early (for permission documents, doctor appointments, other URGENT events) please inform me before class. Contact other students in the class for notes, guidelines if you do have a serious illness (etc: see above) and cannot attend for an important reason; I cannot give you a private tutorial for the lesson you missed, and do not always have guidelines from previous classes in an accessible place.

IMPORTANT: If you are puzzled concerning an aspect of the course, a lesson or assignment, do come and see me! I am very ready to help you. Drafts (in fairly complete form) are welcome for submission well in advance of the due-date of the assignment. Do note: At least one visit in my office is actually required for the Oral Research Presentation, two weeks in anticipation of the Presentation (in Venice) itself (see schedule below).
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

Schedule of Classes

 

The professor reserves the right to change the timing outlined below, with the consent of the students.

 

Please be aware that the Study Weekend in Venice (with on-site Oral Research Presentations) is scheduled for November 4-6, and plan accordingly!

 

Several of the later lessons (post-midterm) await a few details, especially readings. A re-edited schedule with more complete reading assignments for these sections will be given you in a few days. Also: waiting for a few ordered books to appear in the library!

 

Readings - Please note the following abbreviations:

“PFB” = Textbook, Patricia Fortini Brown, Art and Life in Renaissance Venice (1997)

“PH” = Texbook, Peter Humfrey, Painting in Renaissance Venice (1995/ 2001)

 

August 30 –

Introduction:

Basics of the Course: Syllabus, and Life and Art in Venice

– Topics and Approaches;  Assignments and Requirements, and discussion of the Journal and the Oral Research Presentation; Schedule of Lessons and Visits

 

Sept. 1 –

Introduction, continued:

1)Representative visual evidence of Venetian Life in Art; Some images to discuss

2)Cross-currents, Venice  East and North.

Discussion of Required Reading

Reading:

PFB, Chapter 1, “Venezianità: The Otherness of Venice”

PH, Introduction, pp 1-35 –  recommended

 

Sept. 6 –

“La Serenissima,” The Myth:

History and legend: The sacred entity of Venice, its constructed identity. How the Lagoon became a city and a culture, a fiction, history and myth. Discussion of Rosand’s first chapter.

Readings:

David Rosand, The Myth of Venice, Chapter I, “Miraculous Birth”

Paul Hills, Venetian Colour, Chapter 1: “Living on a Lagoon” -  recommended

PFB, Chapter 3, “The Art of Public Life,”, especially pp 80-89, “Symbols of State and “A City Joyous and Triumphant” - recommended

 

Sept. 8 –

Byzantium and Venice:

Belonging and separation in the formation of the city. S. Marco, icons, the Greek presence, real and invented. Byzantine origins celebrated in “The Third Rome” – art, architecture, devotion - objects and environment. Discussion of Hills, on color in Venice and the inspiration of its Byzantine formation.

Readings:

Paul Hills, Venetian Colour, Chapter 2, “S. Marco: Marbles and Mosaics”

Rosand, Myth, Chapter 2, “The Peace of St. Mark”- recommended

 

Sept. 13 –

FIRST JOURNAL ENTRY DUE –

Be sure to follow the instructions! This is the most frequent criticism given to first-time Journal writers, so take guidelines with you when you go on-site to write your entry, and recheck guidelines before submitting this first Journal entry. DO use a notebook – no loose sheets of paper!

From Late Gothic traditions to Renaissance forms and aspirations:

Glittering Gothic mosaics, panels and frames; The particular Venetian vision of the past, Greek and Roman: Renaissance humanism in the art of  Jacopo Bellini and Andrea Mantegna; the recovery of antiquity in Venetian culture.

Readings:

PH, Chapter 1, “Early Renaissance,” to p. 81  

PFB, Chapter 4, “A Pious People”

PFB, Venice and Antiquity, Chapter 6, “Distant Times, Nearby Places” - recommended         

Sept. 15 –  

A new art of painting in Venice:

 Giovanni Bellini and Antonello da Messina, and intersections with art from Northern Europe. The development of devotional art: perspective, technique, light and color, sentiment, and relationship with the viewer. Flemish art, German art, Durer - and Venice.

Reading:

PFB, Chapter 5, “Private Worlds”

Exhibition Catalogue, ed. B. Aikema and B.L. Brown, Venice and the North, (Il Rinascimento a Venezia e la pittura del Nord ai tempi di Bellini, Durer, Tiziano) Palazzo Grassi, Venice, 1999 - Study reproductions in the catalogue, concentrating on a selected variety Northern and Venetian, especially from the later 15C and early 16C.

 

Sept. 20 –

ORAL RESEARCH PRESENTATION TOPIC DUE  -

Submit one paragraph (typed, well-written and organized) which declares and defines the topic of the presentation. You will select a work or group of related works that will be seen in Venice, for an on-site presentation. A list of possible topics will be given you in a handout.

Do include a beginning Bilbiography with at least three relevant sources (books, book chapters, articles – no wikipedia or other non-scholarly on-line sources!) – this will be an early introduction to your subsequent research, to be developed in the next assignment for the Presentation.

Giovanni Bellini, continued:

The mature and late production - devotional works, portraits, allegories and new subjects in his later work; Contemporaries, especially Cima da Conegliano. Techniques and colors in Venetian oil painting of the later Quattrocento. Discussion of Reading, especially Hills.

Readings:

PH, Chapter 1, 81-111

PFB, Chapter 2, “The Making of a Venetian World”

Paul Hills, “Bellini’s Colour,” Chapter 9 in The Cambridge Companion to Giovanni Bellini, ed. PH - recommended

 

 

 

 

Sept. 22 –

The Narrative Chronicle, Actuality and Myth, in the great canvases for the “Scuole:”

A particular Venetian genre: Gentile Bellini, Carpaccio and others, creators of storied cycles for the Scoule (Confraternities of Guilds and Peoples) . Visions of Venice and Worlds Abroad. Discussion of PFB’s Chapters.

Readings:

Fortini Brown, Narrative Painting in the Age of Carpaccio selections (choose two) from Chapters 2, 3, 8 and 10

 

 

Sept. 23: NO FRIDAY MAKE-UP DAY – substituted by VISIT TO BORGHESE, next Friday, Sept. 30

 

Sept. 27 –

Venice and Islam:

The Venetian attraction to Islamic culture, as evidenced in painting, sculpture, architecture and decorative arts. Mercantile trade and aesthetic interconnections between Venice and the East

Readings:

Exhibition Catalogue, Venice and the Islamic World, Palazzo Ducale, Venice, 2007 - Study reproductions in the catalogue, concentrating on a selected variety;

Essay in catalogue TBA (awaiting book order)

Deborah Howard, Venice and the East, Chapter 1 - recommended

 

 

Sept. 29 –

Venice painting as piety, poetry and commodity:

The art of Giovanni Bellini, Giorgione and Titian from the first years of the 16C. New formats, subjects and innovations; from artisanship to individual style.

Readings:

PH, Chapter 2, “High Renaissance,” to p. 149

Rosand, Venice in the Cinquecento, Introduction – recommended

 

 

Sept. 30 – FRIDAY VISIT TO THE BORGHESE GALLERY

 

Oct. 4  -

Giorgione: A new kind of Venetian art:

A poetic art for the discerning collector. The pastoral ideal, painting and poetry, the creative re-thinking of antique example in art and literature; problems of interpretation; new systems of patronage.

Readings:

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) – Jstor  -  recommended

Vasari, “Life of Giorgione”in The Lives of the Artists - recommended

Stephen Campbell, “Giorgione’s ‘Tempest,’ ‘Studiolo’ Culture, and the Renaissance Lucretius, Renaissance Quarterly, vol. 56 (2003) Jstor - recommended

 

 

 

Oct. 6 –

REVIEW FOR MIDTERM EXAMINATION

A discussion of study and readings so far. Be prepared to discuss, among others, the following topics and 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. The interconnections with other cultures, Northern and Eastern. The nature of patronage and how it changes over time; the status of the artist in society. What makes Venetian art Venetian?

A few sample questions will give you an idea of what to expect on the examination. Guidelines and Monument Lists will be provided in advance, though you should also have your own notes!

 

 

Oct. 11 –

MIDTERM EXAMINATION

The examination will be held in class – one hour.

The Midterm will consist of questions with slides: Identifications, Comparisons, “Unknown”

 

 

Oct. 13 –

Titian’s career takes off:

You have been introduced to Titian already at  the Borghese Gallery; now we will explore his early works and those of some contemporaries, especially Sebastiano del Piombo, in the context of new artistic and societal demands in Venice. Topics will include: The early work of Titian in the shadow of Giorgione; his altarpieces in the Frari; painted poetry as a challenge to the ancients in the “poesie” for the Camerino of Alfonso d’Este

Readings:

PH, Chapter 2, 149-183

PFB, Chapter 6, “Caste, Class, and Gender”

Texts for Alfonso’s “poesie”: Ovid, Philostratus, et al. - handout

Rosand, “Titian and the Challenge of the Altarpiece,” in Painting in Cinquecento Venice - recommended

 

 

 

SCHEDULED INDIVIDUAL MEETINGS FOR PRESENTATION DISCUSSION –

Oct. 19 , 26, Wednesdays

Be sure to make your appointment to meet with me this week after class. This is a required part of the Presentation assignment – and should be very helpful!

Students absolutely not able to meet Wednesdays may schedule another time.

 

 

Oct. 18 –

BIBLIOGRAPHY AND TWO CRITIQUES DUE –

Submit the complete Bibliography of your research for the oral presentation.

Include the two summary/critiques (ca. two pages each) of two of the most essential sources for your topic – specialized articles or book chapters.

Images of women – real and ideal:

The “feminine” aspect of Venetian art, and political identity of Venice as Virgin/Venus. “Le Belle Donne,” and various interpretations. Representations of women in the work of Titian, Palma Vecchio 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)

Elise Goodman-Soellner, “Poetic Interpretations of the ‘Lady at her Toilette’ Theme,” Sixteenth Century Journal, XIV (1983) – Jstor – recommended

Goffen, ed., Titian’s Venus of Urbino, 1997: various essays - recommended   

 

Oct. 20 – 

Venice, Doge Gritti, Titian, and Sansovino:

Titian’s maturity in the 1530’s. An influx of a more monumental style from Central Italy and Mantua (Giulio Romano) and a new rival, Giovanni Antonio da Pordenone. Venice as Rome in the politics and culture of Doge Andrea Gritti.  The architectural projects for the  “civic center:” the Library and the Mint,  of Jacopo Sansovino.

Readings:

PH, 188-218

TBA - recommended

 

Oct. 25 –

Titian “Prince of Painters” and the Hapsburgs:

Imperial culture in Europe and Venice; From Titian’s portrait after Siesenegger (1532) of Charles V, through his portraits and other works for the Emperor and his son. Intersections and cross-currents between Venetian and German art and architecture.

Readings:

Fernando Checo, “Beyond Venice: Titian and the Spanish Court,” pp. 54-61, in Exhibition Catalogue, ed. S. Ferino-Pagden, Late Titian and the Sensuality of Painting, Venice and Vienna, 2007-2008

Venice and the North, exhibition catalogue, study relevant pictures and essays TBA

 

 

Oct. 27 –

OUTLINE OF PRESENTATION DUE

Submit the finished outline of your oral presentation, indicating the works of art you will discuss, ideas and interpretations discovered through your research, scholarly debates and your own visual analysis and conclusions. Do include: comparative examples, handouts, and final bibliography.

Titian, papal Rome, and work for the Farnese:

Very reluctantly, Titian leaves Venice and goes to Rome – what he sees, what he learns, and what he paints (also already from Venice) for the leading Roman family of Pope Paul III will be examined. Central Italian and Venetian art and theory at mid-century: Michelangelo vs. Titian – and Pietro Aretino.

Readings:

PH, Chapter 3, “Late Renaissance,” to p. 218

Other readings: TBA - recommended

 

Oct. 28: NO FRIDAY MAKE-UP DAY – substituted with weekend classes in Venice

 

Nov. 1 – HOLIDAY, NO CLASS

 

Nov. 3 – NO CLASS – substituted with weekend classes in Venice

 

NOV. 4, 5 and 6 (Friday 4:00 – Sunday 12:30) VENICE STUDY VISIT

and ORAL RESEARCH PRESENTATIONS (ON-SITE)

Among sites to be visited!!!

Ducal Palace, Piazza di S. Marco, S. Marco, Accademia, Museo Correr, Churches of S. Zaccaria, the Frari, and the Scuole di S. Rocco and di S. Giorgio degli Schiavoni

Ample guidelines will be given in advance for both the visit and the Oral Research Presentation.

 

Nov. 8 –

Other Artists of Venice and the Terraferma:

Palma Veccio, Savoldo, Paris Bordone, and especially Lorenzo Lotto. Lotto: a Venetian artist in Bergamo, the Marches, and Venice; His “eccentric vision,” Dominican devotion and patronage, and connections North and East. Those Islamic carpets, and Germanic “lack of grace.”

Readings:

PH, “Titian’s Contemporaries” and following, pp. 164-183

TBA: (essays to be selected) - catalogues Venice and the North, Venice and the Islamic World, and monograph by PH, Lorenzo Lotto

 

Nov. 10 –

Titian’s later mythologies for Philip II: TBA

 

Nov. 15 –

COMPLETED JOURNAL DUE – ALL FOUR ENTRIES

Submit in addition to your first entry, three more carefully considered and on-site entries on works of Venetian art seen in Rome, Venice (or travels). Be sure to include all of your entries for the semester in a notebook.

Late Titian - Wisdom and Workshop:

By now, Titian is revered in Venice, but is also working especially for foreign princes and personages. Age has transformed his style and technique, and scholars discuss this new manner – does Titian’s late production represent the powerful vision of a senior of the art world? Is he too dependent on knowing shortcuts, or are these part of his mastery? Do these works demonstrate reliance on shopwork from assistants, or even constitute a collection of unfinished paintings, sometimes souped up by younger cohorts? We will continue discussion of the late Pietà in the Accademia, and investigate also other problematic late works, especially the Flaying of Marsyas.

Readings:

Texts on Titian’s method by his contemporaries: Aretino, Boschini, Vasari – handouts

Exhibition Catalogue, Late Titian, Venice and Vienna, 2007-2008 – reproductions,  essay TBA

S.J. Freedberg, Chapter 8, “Venice 1540-1600,” pp. 504-18, in  Painting in Italy 1500-1600 (Pelican History of Art) (1971/1993) – recommended

 

Nov. 17 –

Jacopo Tintoretto:

The later 16C in Venice: Jacopo Tintoretto and contemporaries. A new painterly swagger informed by “disegno” in Tintoretto’s great canvases, devotional, narrative, allegorical. The Turkish threat, the Venetian body politic, and the Battle of Lepanto.

Readings:

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

Cinquecento Venice

Nichols, Tintoretto, Chapters 4 and 5 – recommended

Nov. 22 and Nov. 22 – THANKSGIVING HOLIDAY

Substituted with weekend classes in Venice

(I will be away for the entire week.)

 

 

Nov. 29 –

Paolo Veronese and Andrea Palladio:

The later 16C in Venice and Northern Italy: Veronese, Palladio and the architecture and decoration of the villas of the Venetian landed gentry. The city turns to the country – the culture of the “terra ferma,”  leisure and luxury in an age of the decline of “La Serenissima.”

Readings:

PH, Chapter 3, from p. 238 to end

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

 

 

Dec. 1 –

REVIEW for the Final Examination:

This review will be similar in structure to the Midterm review. Do keep in mind that the Final examination is CUMULATIVE, except for Part I, “Identifications,” and that there will be the addition of an hour essay on a theme of the course (you will have a choice of three to five essays).

 

 

FINAL EXAMINATION:

TBA, December 3-9 (except December 8, a Holiday)

DO NOT PLAN TO LEAVE ROME BEFORE DECEMBER !!!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SUMMARY OF ASSIGNMENT DUE DATES:

 

            SEPT. 13 – First Journal submission, one entry – In a notebook, not loose pages

 

SEPT. 20 – Presentation Topic Due – A neatly typed paragraph, well-edited, with starting bibliography

 

            OCT. 11 – Midterm Examination

 

            OCT: 18 – Bibliography and two Critiques

 

            OCT. 19, 26 (Wednesdays) – Scheduled Individual Meetings on Presentation

 

            OCT. 25 – Presentation Outline

 

            NOVEMBER 4-6 – TRIP TO VENICE and On-site Research Presentations

 

NOV. 15 – Completed Journal, all four Entries – include first entry

 

            TBA, DECEMBER 3-9 (except DEC. 8 HOLIDAY) – Final Examination