School of the Arts McMaster
University
Renaissance Art
ART HIST 2I03, Term
I, 2013
Lectures: Monday
&Wednesday 8:30-9:20 am; Friday 10:30 - 11:20 am.
Location: TS B106
Course Instructor: Greg Davies
Office: TSH 429
Office hours: Monday, 11:30 am -12:30 pm., or by appointment
COURSE DESCRIPTION: This course will focus upon the art and architecture of
Italy and northern Europe from the late 13th through 16th
centuries. As we progress through this
survey we will attempt to refine our understanding of what constitutes the
‘Renaissance’. What does this term mean? What are its origins and how has the
word conditioned our understanding of the visual forms associated with it? In
the course of this enquiry we will also consider the social and cultural forces
that helped shape the art and architecture of the period. This will entail
discussion of the religious, political, economic and intellectual contexts in
which artists and the visual arts flourished.
COURSE TEXT:
Frederick Hartt & David Wilkins, History of Italian Renaissance Art, 7th
ed., (Pearson, 2011)
Craig Harbison, Mirror of the Artist, The: Art of Northern Renaissance,
Perspectives Series
(Pearson, 1996)
COURSE EVALUATION: The final grade for
this course will derive from three pieces of work. There will be one short
test, one essay and a final examination. The marking scheme for each is listed
below:
Short Test: 25% (OCT. 16) Essay 35% (DUE NOV. 7)* Final
exam: 40% (TBA)
The requirements for each will be discussed in class.
*Instructions and guidelines for the essay will be provided during the
week of Sept. 16.
Please note: In accordance with the “Senate Resolution on Course
Outlines” the instructor reserves the right to make changes in the course
warranted by developments that may occur as the course unfolds, with reasonable
notice to students enrolled.
MODIFICATIONS TO THE COURSE OUTLINE: The instructor and university reserve
the right to modify elements of the course during the term. The university may
change the dates and deadlines for any or all courses in extreme circumstances.
If either type of modification becomes necessary, reasonable notice and
communication with the students will be given with explanation and the
opportunity to comment on changes. It is the responsibility of the student to
check their McMaster email and course websites weekly during the term and to
note any changes.
EMAIL COMMUNICATION:
It is the policy of the Faculty of Humanities that all email
communication sent from students to instructors (including TAs), and from
students to staff, must originate from the student's own McMaster University email account. This policy protects
confidentiality and confirms the identity of the student. Instructors will
delete emails that do not originate from a McMaster email account.
EXTENSIONS OR ACCOMMODATONS:
Extensions or other accommodations will be determined by the instructor
and will only be considered if supported by appropriate documentation. Absences of less than 5 days may be
reported using the McMaster Student Absence Form (MSAF) atwww.mcmaster.ca/msaf/ . If you are unable to use the MSAF,
you should document the absence with your faculty office. In all cases, it is YOUR
responsibility to follow up with the instructor immediately to see if an
extension or other accommodation will be granted, and what form it will take.
There are NO automatic extensions or accommodations.
ON ACADEMIC INTEGRITY:
You are expected to exhibit honesty and use ethical behaviour in all
aspects of the learning process. Academic
credentials you earn are rooted in principles of honesty and academic
integrity.
Academic dishonesty is to knowingly act or fail to act in a way that
results or could result in unearned academic credit or advantage. This behaviour can result in serious
consequences, e.g. the grade of zero on an assignment, loss of credit with a
notation on the transcript (notation reads: “Grade of F assigned for academic
dishonesty”), and/or suspension or expulsion from the university.
It is your responsibility to understand what constitutes academic
dishonesty. For information
on the various types of academic dishonesty please refer to the Academic Integrity Policy,
located at http://www.mcmaster.ca/academicintegrity
The following illustrates only three forms of academic dishonesty:
1.Plagiarism, e.g. the submission of work that is not one’s own or for
which other credit has been obtained.
2.Improper collaboration in group work.
3.Copying or using unauthorized aids in tests and examinations.
AVENUE TO LEARN:
In this course we will be using Avenue
to Learn. Students
should be aware that, when they access the electronic components of this
course, private information such as first and last names, user names for the
McMaster e-mail accounts, and program affiliation may become apparent to all
other students in the same course. The
available information is dependent on the technology used. Continuation in this course will be
deemed consent to this disclosure. If
you have any questions or concerns about such disclosure please discuss this
with the course instructor.
SUPPORT SERVICES:
The University provides a variety of support services to help students
manage their many demands. Reference librarians can provide invaluable research
assistance. The Student Accessibility Services Centre (SAS) provides assistance
with personal as well as academic matters. MUSC B107 and http://sas.mcmaster.ca/
GRADING SCALE: The McMaster grading scale may be consulted at: http://registrar.mcmaster.ca/calendar/2012-13/pg145.html
LECTURE SCHEDULE & READINGS:
Sept. 6, 9 Introduction
EARLY RENAISSANCE IN
ITALY: TRECENTO ART
(All Readings from
Hartt & Wilkins)
Sept. 11,13
Chapter 3 FLORENTINE ART OF THE EARLY TRECENTO 72
Giotto 73
Florentine Painters after Giotto 95
Sculpture 100
Sept. 16, 18
Chapter 4 SIENESE ART OF THE EARLY TRECENTO 102
Duccio 103
Simone Martini 110
Pietro Lorenzetti 119
Ambrogio Lorenzetti 122
Sept. 20, 23
Chapter 5 LATER GOTHIC ART IN TUSCANY AND NORTHERN ITALY 136
Mid-Trecento Art in Florence 138
Late Gothic Painting and the International Style 145
Painting and Sculpture in Northern Italy 149
THE QUATTROCENTO IN
FLORENCE
(All Readings from
Hartt & Wilkins)
Sept. 25,27
Chapter 6 THE RENAISSANCE BEGINS: ARCHITECTURE 158
The Role of the Medici Family 160
Filippo Brunelleschi and Linear Perspective 161
The Dome of Florence Cathedral 164
The Ospedale degli Innocenti 168
Brunelleschi’s Sacristy for San Lorenzo 170
San Lorenzo and Santo Spirito 170
The Pazzi Chapel 174
The Medici Palace and Michelozzi di Bartolommeo 174
Sept. 30, Oct. 2
Chapter 7 TRANSITIONS IN TUSCAN SCULPTURE 180
The Competition Panels 181
Ghiberti to 1425 183
Donatello to 1420 188
Nanni di Banco 193
Donatello (c. 1420 to c. 1435) 196
Chapter 8 TRANSITIONS IN FLORENTINE PAINTING 202
Gentile da Fabriano 203
Masolino and Masaccio 206
Chapter 9 THE HERITAGE OF MASACCIO: FRA ANGELICO AND FRA FILIPPO LIPPI
222
Fra Angelico 224
Fra Filippo Lippi 232
Oct. 4, 7
Chapter 10 FLORENTINE ARCHITECTURE AND SCULPTURE, c. 1430—1455 238
Alberti 239
Ghiberti after 1425 249
Luca della Robbia 251
Donatello (c. 1433 to c. 1455) 254
Chapter 11 FLORENTINE PAINTING AT MID-CENTURY 262
Paolo Uccello 263
Domenico Veneziano 267
Andrea del Castagno 271
Piero della Francesca 278
Oct. 9, 11
Chapter 12 ART IN FLORENCE UNDER THE MEDICI I 294
Donatello after 1453 298
Chapter 13 ART IN FLORENCE UNDER THE MEDICI II 318
Antonio del Pollaiuolo 320
Andrea del Verrocchio 327
Renaissance Cassoni 331
Alessandro Botticelli 332
Filippino Lippi 347
Domenico del Ghirlandaio 350
Oct. 14 NO
CLASS: THANKSGIVING
Oct. 16 TEST (IN
CLASS: 30 MINS.)
EARLY ART IN VENICE
AND NORTHERN ITALY
(All Readings from
Hartt & Wilkins)
Oct. 18, 21
Chapter 15 GOTHIC AND RENAISSANCE IN VENICE AND NORTHERN ITALY 388
Pisanello 389
Early Quattrocento Art and Architecture in Venice 393
Jacopo Bellini 395
Andrea Mantegna 397
Mantegna and Isabella d’Este 408
Oct. 23, 25
Chapter 15 GOTHIC AND RENAISSANCE IN VENICE AND NORTHERN
Gentile Bellini 411
Antonello da Messina 412
Giovanni Bellini 415
Vittore Carpaccio 421
Carlo Crivelli 425
Venetian Fabrics 426
Venetian Publishing 426
THE CINQUECENTO IN
ROME: HIGH RENAISSANCE
(All Readings from
Hartt & Wilkins)
Oct. 28, 30; Nov. 1
Chapter 16 THE ORIGINS OF THE HIGH RENAISSANCE 442
Leonardo da Vinci 443
Michelangelo to 1505 469
Raphael in Perugia and Florence 480
Chapter 17 THE HIGH RENAISSANCE IN ROME 486
Donato Bramante 489
Nov. 4, 6
Chapter 17 THE HIGH RENAISSANCE IN ROME
Michelangelo 1505 to 1516 496
Raphael in Rome 515
Chapter 18 NEW DEVELOPMENTS c. 1520—50 542
Michelangelo 1516 to 1533 544
LATER VENETIAN AND
NORTHERN DEVELOPMENTS
(All Readings from
Hartt & Wilkins)
Nov. 7, 11 (ESSAY
DUE: IN CLASS FRIDAY NOV. 7)
Chapter 19 HIGH AND LATE RENAISSANCE IN VENICE AND ON THE MAINLAND 590
Giorgione 592
Titian 596
Nov. 13, 15
Chapter 19 HIGH AND LATE RENAISSANCE IN VENICE AND ON THE MAINLAND
Painting in Northern Italy 617
RENAISSANCE IN
NORTHERN EUROPE
(All Readings from
Harbison)
Nov. 18, 20
Introduction: The Self-Conscious Pragmatic Artist.
Ch. 1. Realism.
Nov. 22, 25, 27
2. Physical Production and Original Location.
3. Religious Behavior and Ideals.
4. Artistic Specialties and Social Developments.
Nov. 29; Dec. 2
Conclusion: Italy and the North.
Dec. 4
Review
FINAL EXAM: Date and location TBA
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