Fine arts 2232: monuments of italian renaissance art
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- MIDTERM EXAM (Thurs., July 7)
- FINAL EXAM (Thurs., Aug. 11, 9:30 AM)
| FINE ARTS 2232: MONUMENTS OF ITALIAN RENAISSANCE ART
Professor M. Zucker Please read this page and refer to it in the future as needed. You are responsible for observing all rules and requirements described below. Every effort will be made to adhere to the policies and the schedule printed here, but unforeseen changes may occur. If so, they will be announced in class, and you will be responsible for complying with them; absence from class will be no excuse. Purpose and Objectives: To trace the evolution of painting in Italy during the 15th and 16th centuries, with emphasis on developments in Florence, Rome, and Venice. Owing to the abbreviated nature of a summer-school program, neither sculpture nor architecture will be included. Attendance: In accordance with UNO policy, attendance in all classes and on the field trip and special lecture described below is mandatory. Only one unexcused absence is permitted. On the second unexcused absence, your grade in the course will be reduced one letter grade (e.g., if your course grade is an A, then your adjusted grade will be a B). For each subsequent absence, grades will be reduced an additional letter grade. Timely arrival to class is also required; repeated tardiness will have an effect on your grade. Sleeping is not permitted in class and will be treated as an absence. Repeated violations of class or UNO policy may result in ejection from the course. Exams and Grading: Grades will be based entirely on two exams: a midterm and a final. The final exam will not be cumulative, but will cover only the material studied since the midterm; thus, the two exams will be given equal weight toward the course grade. The precise nature of the exams will be discussed in class. Reading: The recommended (but not required) textbook is the 7th edition of History of Italian Renaissance Art by Frederick Hartt and David Wilkins. With minor exceptions, we shall be dealing only with those parts of the book that begin on p. 159, but you may also want to review the introductory chapter, pages 17-38. There will be no specific assignments in the book. Use it on your own as a study aid or in any other way you wish. It covers far more material than this course includes, but you are only responsible for material treated in class and will not be tested specifically on the contents of the textbook. Field Trip and Special Lecture: You are required to take one field trip in this course, to the Alte Pinakothek (Old Master Painting Gallery) in Munich. Buses will take us there in the afternoon on Wednesday, July 27, and I will lead a tour, lasting about two hours, of selected rooms in the museum. It is possible that material studied on this occasion may appear in one form or another on the final exam. In addition to the field trip, you will also be required to attend a special lecture on the art and architecture of Innsbruck that I will be delivering one afternoon during the first week of the program (Wednesday, July 6). More information about this and the Munich trip will be given in class. Access to Illustrations: Complete Power Point presentations viewed in class will available to you on CDs and/or on the UNO-Innsbruck web server, which you can access from any computer. SCHEDULE OF TOPICS 1. Introduction to the Course; Stages in the Development of Italian Painting 2. Early 15th-Century Painting: From Late Gothic to Early Renaissance
7. Later 15th-Century Painting: Antonio del Pollaiuolo and Sandro Botticelli 8. Late 15th-Century Painting: Filippino Lippi, Domenico del Ghirlandaio, and Pietro Perugino
14. Miscellaneous 16th-Century Painting: Florence, Parma, and Venice FINAL EXAM (Thurs., Aug. 11, 9:30 AM) NOTE: For the benefit of those who have purchased the textbook, note that all items on the syllabus are discussed and illustrated in it except for those enclosed within square brackets. 1. Stages in the Development of Italian Painting Pre-Renaissance: [(a) Segna di Bonaventura: Madonna and Child Enthroned with Saints and Donor, c. 1310-20] [(b) Andrea di Bonaiuto: Madonna and Child Enthroned with Saints (polyptych), 1360s]
Piero della Francesca: Madonna and Child Enthroned w. Saints (Montefeltro Altarpiece), 1470s High Renaissance: Titian: Madonna of the Pesaro Family (Pesaro Altarpiece), 1519-26 Mannerism: Parmigianino: Madonna of the Long Neck, 1534-40 2. Early 15th-Century Painting: From Late Gothic to Early Renaissance Lorenzo Monaco: [Annunciation with Saints, 1410-15] Nativity (predella panel of Coronation of the Virgin), 1414 Gentile da Fabriano: Strozzi Altarpiece (commissioned by Palla Strozzi), 1423: Adoration of the Magi (main panel); Nativity (predella panel) Masaccio: Pisa Polyptych (from the Carmelite church in Pisa), 1426: Adoration of the Magi (predella panel); Enthroned Madonna and Child (main panel) 3. Early 15th-Century Painting: Masaccio and Masolino Masaccio: The Trinity (fresco in Santa Maria Novella, Florence), c. 1426-27 Frescoes in Brancacci Chapel (Santa Maria del Carmine, Florence), 1420s:
Fra Angelico: Descent from the Cross (Deposition) (commissioned by Palla Strozzi), 1434 Annunciation (altarpiece from the Dominican church, Cortona), c. 1432-33 Annunciation (fresco; Dominican Convent of San Marco, Florence), 1438-45 Fra Filippo: Madonna and Child (Tarquinia Madonna), 1437 Madonna and Child with the Birth of the Virgin and Meeting of Joachim and Anna (Bartolini Tondo), 1452 5. Mid-15th-Century Painting: Paolo Uccello, Domenico Veneziano, and Andrea del Castagno Uccello: The Deluge (fresco; “Green” Cloister of Santa Maria Novella, Florence), c. 1445-55 (?) Battle of San Romano (London panel), 1430s (?) Veneziano: Adoration of the Magi (tondo, possibly from the Medici Palace), c. 1439-41 St. Lucy Altarpiece, featuring the Madonna and Child with Saints, c. 1445-47 Castagno: Last Supper (fresco; refectory of the Convent of Sant’Apollonia, Florence), 1447 6. Mid-15th-Century Painting: Piero della Francesca and Andrea Mantegna Piero: Resurrection (fresco; Town Hall, Sansepolcro), c. 1458 Madonna and Child with Saints (Montefeltro Altarpiece), 1470s Mantegna: St. James Led to Execution (fresco; Ovetari Chapel, Padua), 1454-57 Dead Christ, 1460s Ceiling of the Camera Picta (Camera degli Sposi) (Ducal Palace, Mantua), 1465-74 MIDTERM EXAM (Thurs., July 7)7. Later 15th-Century Painting: Antonio del Pollaiuolo and Sandro Botticelli Pollaiuolo: Hercules and the Hydra, 1460s Hercules and Antaeus, 1460s Battle of the Nudes (engraving), c. 1470 Botticelli: La Primavera (Allegory of spring), c. 1482 Birth of Venus, c. 1484-86 8. Late 15th-Century Painting: Filippino Lippi, Domenico del Ghirlandaio, Pietro Perugino Filippino: Vision of St. Bernard, c. 1485-90 St. Philip Exorcising a Demon (fresco; Strozzi Chapel, S. M. Novella), 1487-1502 Ghirlandaio: Last Supper (fresco; refectory of the Convent of Ognissanti, Florence), 1480 Confirmation of the Franciscan Rule (fresco; Sassetti Chapel, S. Trinita), 1480s Perugino: Crucifixion with Saints, c. 1480 Christ Giving the Keys to St. Peter (fresco; Sistine Chapel, Rome), 1481 [Vision of St. Bernard, c. 1490-95. Note: seen in Munich] 9. Late 15th- / Early 16th-Century Painting: Andrea del Verrocchio and Leonardo da Vinci Verrocchio: Baptism of Christ (with Leonardo da Vinci), c. 1470 Leonardo: Last Supper (fresco; refectory of the Convent of Sta. Maria delle Grazie, Milan), 1495-98
• General Introduction and Discussion of Overall Scheme • Ignudi (pairs of nude youths) • Prophets and Sibyls, including Zechariah, Jonah, Isaiah, Jeremiah, and the Libyan Sibyl • Genesis Scenes: Fall of Adam and Eve and Expulsion; Creation of Adam
[Crucifixion, 1503] Marriage of the Virgin, 1504 Madonna of the Meadow (Madonna del Prato), 1505 Portraits of Angelo Doni and Maddalena Strozzi Doni, c. 1506 Frescoes in the Stanza della Segnatura (Vatican Palace), 1509-11, including The School of Athens
Giovanni Bellini: St. Francis in Ecstasy, 1470s Enthroned Madonna with Saints (San Zaccaria Altarpiece), 1505 Giorgione: The Tempest (Tempestuous Landscape with Soldier and Gypsy), 1505-10 Sleeping Venus, c. 1510 Pastoral Scene (Fête or Concert Champêtre), c. 1510 13. Venetian Painting: Titian (Tiziano Vecellio) Sacred and Profane Love, 1514 Assumption of the Virgin (high altarpiece of the Church of the Frari, Venice), 1516-18 Madonna of the Pesaro Family (altarpiece in the Frari, Venice), 1519-26 Venus of Urbino, 1538 [Nymph and Shepherd, 1570s] Crowning with Thorns, c. 1570 [compared with an earlier version, 1540s] Pietà (altarpiece intended for the Frari, Venice; finished by Palma Giovane), c. 1576 14. Miscellaneous 16th-Century Painting: Florence, Parma, and Venice Pontormo: Descent from the Cross (Capponi Chapel, Santa Felicita, Florence), 1525-28 Vertumnus and Pomona (fresco in the Villa Medici, Poggio a Caiano), 1520-21 Rosso Fiorentino: Descent from the Cross, 1521 Moses Defending the Daughters of Jethro, c. 1523 Correggio: Madonna and Child with Saints, known as the Madonna of St. George, c. 1530s Jupiter and Ganymede and Jupiter and Io, early 1530s Parmigianino: Self-Portrait in a Convex Mirror, 1524 Madonna of the Long Neck, 1534-40 Bronzino: Allegory with Venus and Cupid, mid-1540s Martyrdom of St. Lawrence (fresco in San Lorenzo, Florence), 1565-69 Tintoretto: Transport of the Body of St. Mark, 1562-66 Veronese: Feast in the House of Levi (actually a Last Supper), 1573
Tintoretto: Last Supper (San Giorgio Maggiore, Venice), 1592-94 FINAL EXAM (Thurs., Aug. 11, 9:30 AM)Download 27.36 Kb. Share with your friends:
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