Stony Brook University Department of Art College of Arts and Sciences

ARH 204 Arts in the Age of Exploration

This course satisfies the DEC category D This course satisfies the SBC category ARTS

Course Instructor: Dr. Karen Lloyd Course Teaching Assistant: TBD Section: 01

Class hours and location: T/Th 10:00-11:20pm:, Staller Ctr 3220

Office Hours and location Dr. Lloyd: Tuesday 1:00-3:30 and by appointment; Staller Center, Rm. 4276

Contact Information: [email protected]

For all course information see the class website: https://you.stonybrook.edu/arh204/ Password: MichaelinaW

COURSE DESCRIPTION: An introduction to the history of art with a focus on the transition from Medieval times through the Renaissance and Baroque in Europe. Works of art are studied both as individual monuments with intrinsic aesthetic appeal and as expressions of the needs, ideals, and aspirations of the particular society within which they were created. Artists, patrons and artistic movements are understood within the context of the expanding horizons of the age of exploration and cross- cultural encounters. Not for credit in addition to ARH 102.

Prerequisite: -

COURSE LEARNING OBJECTIVES: This course satisfies the SBC category ARTS. It shall, therefore, "devote significant time to the consideration of art and its principles, through historical, theoretical, technical and/or critical writings about art, [and] through the examination of works of art..."

1. Develop an understanding of the media and technical processes of production of art and architecture in Europe and in select cross-cultural encounters, c. 1300-1700.

1 2. Develop an understanding of the fundamental forms and typologies of works of art and architecture in Europe and in select cross-cultural encounters, c. 1300-1700. 3. Develop an understanding of the notion of style and stylistic change, c. 1300-1700. 4. Develop an understanding of the creation of the persona of the artist, ca. 1300-1700. 5. Develop an understanding of the notion and importance of patronage, ca. 1300-1700. 6. Develop an understanding of the historical (political, geographical, religious, social) events that shaped early modern history. 7. Develop an understanding of the moments and impact of cross-cultural encounters, c. 1300-1700. 8. Develop the foundational skills of art historical writing, to articulate valid arguments on issues related to early modern art and architecture.

Learning outcomes will be reached through reading assignments, class discussions, and writing assignments.

COURSE REQUIREMENTS: Students are required to be familiar with Stony Brook University's Minimal Instructional and Student Responsibilities. You can read them here: http://sb.cc.stonybrook.edu/bulletin/current/policiesandregulations/policies_expectations/min _instructional_student_resp.php

Attendance and Make Up Policy Attendance is mandatory. You are permitted two unexcused absences without impacting your grade. Each absence thereafter will have an incremental impact on your final grade (1 class=3% off your final grade, 2 classes = 6%, etc.), and six will result in a final grade of F. Attendance is taken every class meeting; arriving to class more than 10 minutes late counts as an absence.

Excused absences and make up exams may be granted only in the following cases:

• documented illness. You must obtain a doctor's note.

• participation in a university sponsored event (such as research conferences, dramatic or musical performances, intercollegiate athletic competitions, or leadership meetings). Students are responsible for presenting a printed copy of semester obligations to all their professors at the beginning of the semester to alert them to activities that may present conflicts. Requests for accommodations made less than two weeks before the event/exam may not be honoured.

• religious reasons. Students are responsible for indicating any conflict with scheduled exams for religious reasons within the first two weeks of class.

Description and schedule of Required Readings and Assignments

Required Readings For the weekly schedule of required readings see below. Readings are to be done prior to each class meeting. You should take notes ahead of time so that you are already familiar with terms and works.

The required textbook is Fred S. Kleiner, Gardner's Art Through the Ages, 15th edition, Book D: Renaissance and Baroque (Backpack edition), ISBN-10: 1285838017 | ISBN-13: 9781285838014. Additional readings will be posted on the class website.

As part of this course, you are required to travel to New York City to visit the Metropolitan Museum of Art. You are responsible for your own transportation and transportation costs.

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Assignments Writing assignments (with the exception of the final paper) are to be submitted in hard copy and digitally. Digital copies will be submitted on Blackboard and analyzed by SafeAssign; hard copies will be submitted in class. Assignments are due by the beginning of the respective class period. Late assignments will be penalized 5% per after the deadline; late assignments can be submitted only until grades for the assignment have been returned.

All writing assignments must be double spaced and include your name, a title identifying the assignment (eg. Assignment #2), and a word count.

Where necessary, bibliographies and citations will follow the Chicago Manual of Style (http://www.chicagomanualofstyle.org/home.html).

Writing Assignment #1: Formal Analysis and Bibliography

• Due Tuesday 09.25 • 15% of the final grade • component(s): formal analysis, bibliography, selfie • minimum 500 words - maximum 550 words (more than 25 words over or under will receive a 2% penalty; word count does not include bibliography)

Step 1: Go to The Metropolitan Museum of Art in New York or The Frick Collection. Note: the Met is pay-what-you-want entry with a New York state ID. The Frick is $12 for a student ticket, but see their website for information on free Fridays and free Wednesday evening entries.

Step 2: Select a work of art at either the Met or the Frick. It must be dated between 1400 and 1700, and have been produced in Europe or the colonial Spanish Americas. It cannot be a work discussed in the course textbook.

Proviso 1: Either because the rooms at the Met are arranged chronologically and you go into the late Medieval/early Renaissance rooms first and you don't want to go further, or because we will have already discussed that style, you will be tempted to choose a work produced at the earlier end of the date range (1400-1450). Resist the urge!! Go through ALL of the European paintings rooms, up to 1700 - make sure that you see Caravaggio, Vermeer, Rembrandt, and Velázquez, and go through the sculpture rooms on the ground floor. Don't choose the first thing you see, or the thing that looks the most like what we've already talked about in class. Take some time. The point of the assignment is to write about something we have not discussed yet, so choose something that truly interests you.

Proviso 2: The work you select for this assignment will be what you work on for the rest of the semester (Writing Assignments #2 and #3), so choose thoughtfully!

Step 3: While at the museum -

o look carefully at the work of art, for at least 15 minutes (time yourself) o take handwritten notes about: subject, materials, composition, colour, line, light, shadow, etc. o be sure to note all the factual information (artist's name, title of the work, dimensions, media)

3 o (respectfully) take a selfie with the work (this is required, and must be submitted via email along with the assignment)

Step 4: Based on your notes, write a formal analysis of the work. See Sylvan Barnet, 'Formal Analysis' from Short Guide to Writing About Art (2015) and 'Tips for Writing a Formal Analysis'.

Step 5: Compile a starting bibliography on your artist or theme. The bibliography must include at least five scholarly sources and must follow Chicago Manual of Style format. One of the sources must be a print monograph (meaning a book entirely about your chosen artist).

Step 6: Before you submit your formal analysis, check the Formal Analysis Checklist to ensure that you have covered the basics of formatting and writing conventions.

Step 7: Submit the paper digitally via Blackboard and in hard copy in class.

This is not a research paper. You should do what reading you feel is necessary in order to identify and understand the subject of the work (eg. if you are looking at a Deposition, then you should know what that story is, who is usually represented there, and where it takes place) but otherwise the paper is to be based entirely on your own observations and insights. If for some reason you do use information from a source you must provide a citation. Failure to provide citations will earn an automatic 0 on the assignment.

A strong assignment will: follow the basic requirements, be free of errors in grammar and spelling, have a clear and compelling organizational structure, address a variety of aspects about the chosen work (eg. subject, style, composition, meaning), accurately use appropriate terminology, and make observations that go beyond the obvious.

Writing Assignment #2: Annotated Bibliography

• Due Thursday 10.11 • Worth 15% of the final grade • component(s): bibliography with annotations, research questions • minimum 375 - maximum 525 words, not including bibliography references, ie. counting the paragraph texts only (more than 25 words over or under will receive a 2.5%/2 point penalty, etc.)

Step 1: identify three scholarly sources related to the work that you wrote about in Assignment #1. See 'What is a scholarly source?' and 'How to find scholarly sources.'

Provisos:

o At least one source must be a print monograph on the artist (or exhibition catalogue if there is no monograph on the artist). o One source may be thematic or related to the subject or type of work.

Step 2: Make a bibliography of your sources, following Chicago Manual of Style. (http://www.chicagomanualofstyle.org/home.html)

Step 3: Below each bibliographic entry, write a short text known as an annotation (minimum 125 - maximum 175 words) on the significance of the source and what you have learned from it about your chosen work of art and artist. Annotations can discuss the type of source

4 (monograph, state of the field paper, publication of primary source), main argument, evidence, problems in argumentation, etc.

Step 4: Finally, list three questions that you have about the work or the artist. These questions should help to shape your research for your final paper. They should demonstrate your understanding of your sources and your careful thought on the topic.

Note: this assignment is not an essay. The submitted assignment should not be a bibliography with a single essay form text. Instead you need to write a short, separate text for each bibliographic entry that shows that you have read the source and that you have thought about its significance and usefulness for your project.

This assignment will be assessed based on the quality and relevance of the selected works, the ability to follow the correct bibliographic conventions, the concision and depth of the annotations, and the thoughtfulness of the questions.

Writing Assignment #3: Research Paper

• due Monday, Dec. 10 ***on Blackboard only*** • Worth 20% of the final grade • component(s): essay, bibliography, images as necessary • minimum 1250 - maximum 1275 words (more than 25 words over or under will receive a 2.5% penalty etc.)

Write a research paper based on your work in Assignments #1 and #2. It must: o have an argument o incorporate revised portions of the formal analysis, as relevant o draw on at least two scholarly sources in addition to those used for Assignment #2 o include at least one comparison o include properly formatted footnotes or endnotes for all cited material

The paper should attempt to answer one of the questions you formulated for Assignment #2. It should take one work of art as its focus, connecting that work to some broader theme or context, demonstrate your grasp of course material and material related to your particular topic, and present the reader with a focused discussion of the work and its significance.

Exams

5% Quiz 1. Thursday Sept. 13. 5% Quiz 2. Thursday Oct. 4. 20% Midterm. Tuesday Oct. 23 20% Final Exam. Thursday Dec. 20, 8:00-10:45am

Make up exams are offered only in the cases of approved student participation in university sponsored activities, for religious reasons, or for severe documented illness.

Note: for participation in university sponsored activities, “[s]tudents are responsible for presenting a printed copy of semester obligations to all their professors at the beginning of the semester to alert them to activities that may present conflicts.” The beginning of the semester should be within the first two weeks. The same is true for religious holidays, notification should be provided within the first two weeks of class.

Quiz #1:

5 Format: 1 image discussion – worth 10 points. You will be shown one work of art. You will have 10 minutes to:

1) identify the work by providing the artist's name, title of the work, and a date (correct within 10 years in either direction). 2) write an explanation of why the work is important in the history of art.

A strong answer will address a variety of important aspects of a work of art, including the following as appropriate:

• artist. who is the artist, what defined their career, why are they important in the history of art? • subject. what is the subject or content of the work, and what is its significance? If the subject of the work is also the title, you need to do more than simply repeat the title – you need to briefly explain the significance of the subject. • composition. what is the significance of the visual or physical arrangement of the work? • style. where does the work fit in the development or history of art? • context. when and where was the work made, what were the historical circumstances surrounding its production, and why are they important? • terminology/vocabulary. Use specific, relevant terms and vocabulary as covered in class and in the readings. Define your terms.

Quiz #2: Format: 1 comparison - 20 points. You will be shown two works of art. You will have 15 minutes to:

1) identify the work by providing the artists' name, title of the work, and a date (correct within 10 years in either direction) 2) write a comparison of the two works, discussing their significance in the history of art, and meaningful differences and similarities between them.

Your answer must deal with the two works comparatively, meaning that you will move back and forth between the two (rather than telling me everything you know about one, followed by everything you know about the other).

A list of possible works for the image discussion will be provided before the quizzes and exams. The purpose of the quizzes is not to comprehensively test your knowledge of the material covered up to that point in class, but rather to give you a way to gauge your understanding of the material and of what will be expected on the midterm and final exams.

**I may provide prompts with terms that I expect you to use in your answer.**

Midterm and the Final Exam: Format: 5 image discussions/10 points each. These will follow the same format as Quiz #1. 1 comparison/20 points. This is the same format as Quiz #2.

The final exam will only test you on material covered since the midterm.

The dates of final exams are set by the university, I cannot change them. Travel plans are not an acceptable reason to miss or change an exam time and will not be accommodated.

Make-up exams are offered only in the cases of approved student participation in university sponsored activities or for religious reasons.

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GRADING: Your grade will be assessed using the following criteria: 5% Quiz 1 5% Quiz 2 20% Midterm 20% Final Exam 15% Writing Assignment#1 15% Writing Assignment #2 20% Writing Assignment #3

All grades will be posted to Blackboard.

As per SBU's Minimal Instructional and Student Responsibilities: Assigning additional work to individual students who wish to improve their grades, during or after the semester, is prohibited.

The grade scale is:

A 100-94 A- 93-90

B+ 89-88 B 87-84 B- 83-80

C+ 79-78 C 77-74 C- 73-70

D+ 69-68 D 67-64 D- 63-60

F 60-

Note: All courses offered to satisfy D.E.C. requirements must be taken for a letter grade. Courses taken under the Pass/No Credit option will not satisfy D.E.C. requirements.

CLASS PROTOCOL Classes are part lecture, part discussion. Lecture portions are intended to outline the significant themes and concepts of the class meeting and to indicate what factual information is required knowledge. Discussions are intended to give you the opportunity to apply those concepts, and to work through such fundamental art historical skills as formal analysis and comparative analysis. I expect that you will be engaged throughout the class period, meaning that you will listen when other people are speaking and that you will contribute to the discussion. I will call on people in the course of class; the aim is generally not to elicit a 'right' or 'wrong' answer, but rather to hear a variety of voices and to explore all possible aspects of theme.

Creating an engaged classroom is everyone's responsibility and obligation. Therefore:

Cell phones are not permitted in the classroom. They must be silenced and out of view at all times. If you violate this policy, I will ask you once to you put away your phone; twice in one class period and I will ask you to leave for the remainder of the class.

Laptops and tablets are NOT permitted unless specifically indicated for in-class activities.

Recent, peer-reviewed research indicates that students learn more effectively when they take notes by hand. For the research see: Pam A. Mueller and Daniel M. Oppenheimer, "The Pen is Mightier Than the Keyboard: Advantages of Longhand Over Laptop Note Taking," Psychological

7 Science 25 (6) 2014: 1159-1168 (available online). Mueller and Oppenheimer's conclusions were discussed in popular news outlets, including NPR (http://www.npr.org/2016/04/17/474525392/attention-students-put-your-laptops-away).

CLASS RESOURCES Library resources (course reserves) Online resources: Oxford Art Online, ArtStor, Chicago Manual of Style Blackboard Writing Center Career Center Others (see link) http://stonybrook.edu/aadvising/tut.html

The University Senate Undergraduate and Graduate Councils have authorized that the following required statements appear in all teaching syllabi (graduate and undergraduate courses) on the Stony Brook Campus. See also http://www.stonybrook.edu/provost/facultyinfo/Syllabus%20Statement.doc

STUDENT ACCESSIBILITY SUPPORT (SAS) STATEMENT If you have a physical, psychological, medical or learning disability that may impact your course work, please contact Student Accessibility Support Center, ECC (Educational Communications Center) Building, Room 128, (631) 632-6748. They will determine with you what accommodations, If any, are necessary and appropriate. All information and documentation is confidential.

Students who require assistance during emergency evacuation are encouraged to discuss their needs with their professors and Student Accessibility Support Center. For procedures and information go to the following website: http://www.stonybrook.edu/ehs/fire/disabilities.

ACADEMIC INTEGRITY STATEMENT Each student must pursue his or her academic goals honestly and be personally accountable for all submitted work. Representing another person's work as your own is always wrong. Faculty are required to report any suspected instances of academic dishonesty to the Academic Judiciary. Faculty in the Health Sciences Center (School of Health Technology & Management, Nursing, Social Welfare, Dental Medicine) and School of Medicine are required to follow their school-specific procedures. For more comprehensive information on academic integrity, including categories of academic dishonesty, please refer to the academic judiciary website at http://www.stonybrook.edu/uaa/academicjudiciary/

CRITICAL INCIDENT MANAGEMENT Stony Brook University expects students to respect the rights, privileges, and property of other people. Faculty are required to report to the Office of Judicial Affairs any disruptive behavior that interrupts their ability to teach, compromises the safety of the learning environment, or inhibits students' ability to learn. Faculty in the HSC Schools and the School of Medicine are required to follow their school-specific procedures.

8 Fall 2018 Weekly Schedule

Below are the topics and readings for each class meeting. Readings are to be done before the respective class meeting; the schedule and all readings are subject to change at my discretion.

The required textbook is Fred S. Kleiner, Gardner's Art Through the Ages, 15th edition, Book D: Renaissance and Baroque (Backpack edition), ISBN-10: 1285838017 | ISBN-13: 9781285838014. Additional materials (readings, videos) will be posted as links.

The Powerpoint for each lecture - without notes - will be posted to the course website.

For the Fall 2018 Academic Calendar - including information about add and drop dates, go to: https://www.stonybrook.edu/commcms/registrar/calendars/_undergrad-calendar-fall- 2018.php

Week 1

T 08.28 Introductions; Looking, Seeing, and Observing

We will go over the class organization and requirements, discuss why we study Renaissance and Baroque art, and actively learn the difficulty of art historical writing.

Suggested further reading: Janell Hobson, Venus in the Dark. Blackness and Beauty in Popular Culture. Routledge, 2013.

Th 08.30 Background and Late Medieval Italy I

Class assignment: 1) Gardner's 411-423 2) Video: Gold-Ground Panel Painting 3) Rosamond E. Mack, excerpt from Bazaar to Piazza, Islamic Trade and Italian Art, 1300-1600, 54-56 (the blue lines indicate where to start and where to end).

Works of art to focus on: Nicola Pisano, pulpit of the baptistery, Pisa (1259-1260); Berlinghieri, Saint Francis Altarpiece (1235); Cimabue, Madonna Enthroned with Angels and Prophets (ca. 1280-1290); Giotto, Madonna Enthroned (Ognissanti Madonna), (ca. 1310).

Week 2

T 09.04 Late Medieval Italy II

Class assignment: 1) Gardner's 411; 416-417, 419 (Materials and Techniques, Fresco Painting); 420-428. 2) Roxaan Prazniak, "Siena on the Silk Roads: Ambrogio Lorenzetti and the Mongol Global Century, 1250-1350," Journal of World History, 21 no. 2 (2010): 192-195.

Works of art to focus on: Giotto, Arena Chapel (1305-1306); Pietro Cavallini, Last Judgment (ca. 1290-1295); Duccio, the Maestà altarpiece (1308-1311); Simone Martini and Lippo Memmi, Annunciation (1333); Pietro Lorenzetti, Birth of the Virgin (1342); Palazzo Pubblico, Siena (1288-1309); Ambrogio Lorenzetti, Peaceful City and Peaceful Country (1338-1339).

9 Th 09.06 Late Medieval and Early Renaissance Northern Europe I

Class assignment: 1) Gardner's, 555-566, 574; 2) Look at the Ghent Altarpiece up close and through techniques such as x-ray on the Closer to Van Eyck project: http://closertovaneyck.kikirpa.be/#intro

Focus on: Claus Sluter, Well of , 1396-1406; Materials and Techniques - Tempera and Oil Painting; Campin, Mérode Altarpiece, ca. 1425-1428; Hubert and Jan van Eyck, Ghent Altarpiece, ca. 1423-1432; Witz, Miraculous Draft of Fish, 1444.

Week 3

T 09.11 Late Medieval and Early Renaissance Northern Europe I

Class assignment: 1) Gardner's, 555, 562-566, 569-570, 573 2) https://www.metmuseum.org/art/collection/search/193595

Focus on: Van der Weyden, Saint Luke Drawing the Virgin, ca. 1435-1440; van Eyck, Giovanni Arnolfini and his Wife, 1434; Materials and Techniques - Framed Paintings; van Eyck, Man in a Red Turban, 1433; Petrus Christus, A Goldsmith in His Shop, 1449; Hugo van der Goes, Portinari Altarpiece, ca. 1473-1478; Memling, Diptych of Martin van Nieuwenhove, 1487; Fouquet, Melun Diptych, ca. 1452

Th 09.13

Quiz #1

Formal analysis and bibliography workshop *bring a laptop with you to class

Class assignment: 1) Sylvan Barnet, ‘Formal Analysis’, A Short Guide to Writing about Art; 2) Kimberly Overdevest, ‘Tips for Writing a Formal Analysis’

Week 4

T 09.18 Late Medieval and Early Renaissance Northern Europe III

Class assignment: 1) Gardner's 570-572, 576-578 2) TBD: Schedel, World Map 3) Wendy Thompson, The Printed Image in the West: Woodcut, https://www.metmuseum.org/toah/hd/wdct/hd_wdct.htm

Focus on: Limbourg Brothers, Les Très Riches Heures du Duc de Berry, 1413-1416; Master of Mary of Burgundy, Mary of Burgundy at Prayer, ca. 1477; Problems and Solutions - How to Illustrate Printed Books; Wolgemut and workshop, Madeburga from the Nuremberg Chronicle, 1493; Materials and Techniques - Engraving and Etching; Schongauer, Saint Anthony Tormented by Demons, ca. 1480.

10 Th 09.20 The Renaissance in 15th-century Italy I: Sculpture

Class assignment: Gardner's 582-593.

Focus on: Brunelleschi, Sacrifice of Isaac, 1401-1402; Ghiberti, Sacrifice of Isaac, 1401-1402; Nanni di Banco, Four Crowned Saints, ca. 1410-1414, Donatello, Saint George and the Dragon, ca. 1417-1420; Problems and Solutions - Linear Perspective; Donatello, Feast of Herod, 1423- 1427, Ghiberti, Gates of Paradise, 1425-1452, Donatello, , ca. 1440-1460, Donatello, Gattamelata, ca. 1445-1453.

Week 5

T 09.25 The Renaissance in Quattrocento Italy II: Painting

Assignment #1 Due

Class assignment: Gardner's 593-603.

Focus on: Gentile da Fabriano, Adoration of the Magi, 1423; Masaccio, Tribute Money and Expulsion of Adam and Eve from Eden, Brancacci chapel, ca. 1424-1427; Masaccio, Holy Trinity, 1424-1427; Fra Angelico, Annunciation, ca. 1438-1447; Andrea del Castagno, Last Supper, 1447; Paolo Uccello, Battle of San Romano, ca. 1435 or ca. 1455; Domenico Ghirlandaio, Birth of the Virgin, ca. 1485-1490.

Th 09.27 The Renaissance in Quattrocento Italy III: Architecture

Class assignment: Gardner's 603-610, 616-618.

Focus on: Brunelleschi, loggia of the Ospedale degli Innocenti, begun 1419; Brunelleschi, San Lorenzo, ca. 1421-1469; Michelozzo di Bartolommeo, Palazzo Medici, begun 1445; Alberti and Rossellini, Palazzo Rucellai, ca. 1452-1470; Palazzo Contarini (Ca d'Oro), 1421-1437; Alberti, Sant'Andrea, designed 1470.

Week 6

T 10.02 The Renaissance in Quattrocento Italy IV: The Princely Courts

Class assignment: 1) Gardner's 581, 601-602, 612-620. 2) Kaplan, Paul H.D. "Isabella d'Este and Black African Women," in Black Africans in Renaissance Europe, ed. T.F. Earle and K.J.P. Lowe (2005), 125, 127-131.

Focus on: Botticelli, Primavera, ca. 1482; Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter, 1481-1483; Signorelli, The Damned Cast into Hell, 1499-1502; Piero della Francesca, Battista Sforza and Federico da Montefeltro, ca. 1472-1474; Piero della Francesca, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca. 1472-1474; Andrea Mantegna, Camera Picta, 1464-1474.

Th 10.04

Quiz #2

11 Bibliography mini-workshop

Week 7

T 10.09 NO CLASS – Fall break

Th 10.11 Renaissance in 16th-century Italy I: Leonardo and Raphael

Writing Assignment #2 Due

Class assignment: 1) Gardner's 624-633, 636. 2) Ariana Grande, 'God is a Woman', VMA awards 2018; https://youtu.be/ivwciGSLC-M

Focus on: Written Sources - Giorgio Vasari's Lives; Leonardo da Vinci, Madonna of the Rocks, 1483-1490; Leonardo, cartoon for Madonna and Child with Saint Anne and the Infant St. John, ca. 1505-1507; Leonardo, Last Supper, ca. 1495-1498; Leonardo, Mona Lisa, ca. 1503-1505; Leonardo, The Fetus and Lining of the Uterus, ca. 1511-1513; Raphael, Marriage of the Virgin, 1504; Raphael, Madonna in the Meadow, 1505-1506; Raphael, Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi, ca. 1517; Raphael, Galatea, ca. 1513.

Week 8

T 10.16 Renaissance in 16th century Italy II: Michelangelo and Raphael

Class assignment:

1) Gardner's 630-643, 665. 2) For a 3D interactive view of the , go to: http://www.museivaticani.va/content/museivaticani/en/collezioni/musei/cappella- sistina.html You can look at each part of the chapel separately, or take the Virtual Tour.

Focus on: Raphael, Philosophy (School of Athens), 1509-1511; Michelangelo, Pietà, ca. 1498- 1500; Michelangelo, David, 1501-1504; Michelangelo, ceiling of the Sistine Chapel, 1508- 1512; Michelangelo, Last Judgment, 1536-1541; Correggio, Assumption of the Virgin, 1526- 1530.

Th 10.18 Renaissance in 16th-century Italy III: Architecture

Class assignment: Gardner's 643-650, 668-672.

Focus on: Bramante, Tempietto, 1502; Bramante, plan for Saint Peter's, 1505; Caradosso, reverse side of a medal showing Bramante's designs for Saint Peter's, 1506; Michelangelo, plan for Saint Peter's, 1546; Antonio da Sangallo the Younger, , 1517-1546; Palladio, Villa Rotonda, ca. 1550-1570; Palladio, San Giorgio Maggiore, 1566; Giacomo della Porta, west façade of Il Gesù, begun 1568.

Week 9

12 T 10.23 Midterm

Th 10.25 Renaissance in 16th-century Italy IV: Venetian Painting

Class assignment: Gardner's 650-658, 662-665.

Focus on: Bellini, Madonna and Child with Saints (San Zaccaria Altarpiece), 1505; Giorgione, The Tempest, ca. 1509-1510; Titian, Pastoral Symphony, ca. 1508-1511; Titian, Assumption of the Virgin, 1515-1518; Titian, Venus of Urbino, 1536-1538; Titian, Isabella d'Este, 1534-1536; Titian and Palma il Giovane, Pietà, ca. 1570-1576; Tintoretto, Last Supper, 1594; Veronese, Christ in the House of Levi, 1573.

Week 10

T 10.30 Mannerism

Class assignment: Gardner's 658-661, 666-670, 641-642.

Focus on: Pontormo, Entombment of Christ, 1525-1528; Parmigianino, Self-Portrait in a Convex Mirror, 1524; Parmigianino, Madonna with the Long Neck, 1534-1540; Bronzino, Venus, Cupid, Folly, and Time, ca. 1546; Bronzino, Eleonora of Toledo and Giovanni de' Medici, ca. 1546; Giambologna, Abduction of the Sabine Women, 1579-1583, Giulio Romano, Palazzo del Té, 1525-1535, Michelangelo, Last Judgment, 1536-1541.

Th 11.01 High Renaissance in Northern Europe and Spain: Devotional Art

Class assignment:

1) Gardner's 675-698. 2) Jacob Wisse, The Reformation, https://www.metmuseum.org/toah/hd/refo/hd_refo.htm 3) Look at a reconstruction of the original installation of the Isenheim Altarpiece and watch the work open: https://vimeo.com/11117713 4) Explore Bosch's Garden of Earthly Delights: https://tuinderlusten- jheronimusbosch.ntr.nl/en

Focus on: Matthias Grünewald, Isenheim Altarpiece, ca. 1512-1515; Albrecht Dürer, Four Apostles, 1526; Lucas Cranach the Elder, Law and Gospel, ca. 1530; Religion and Mythology: Catholic vs. Protestant Views of Salvation; Luther and the Reformation, Art and the Reformation, Hieronymus Bosch, Garden of Earthly Delights, 1505-1510; Pieter Aertsen, Butcher's Stall, 1551; Joachim Patinir, Landscape with Saint Jerome, ca. 1520-1524; El Greco, Burial of Count Orgaz, 1586.

Week 11

T 11.06 High Renaissance in Northern Europe and Spain: Local Traditions and International Relations

Class assignment: 1) Gardner's 675-698.

13 2) Explore an annotated image of Bruegel's Netherlandish Proverbs: http://bruegel.analog.is

Focus on: Albrecht Dürer, Self-Portrait, 1500; Dürer, Melancholia I, 1514; Dürer, Fall of Man (Adam and Eve), 1504; Lucas Cranach the Elder, Judgment of Paris, 1530; Hans Holbein the Younger, The French Ambassadors, 1503; Jan Gossaert, Neptune and Amphitrite, 1516; Caterina van Hemessen, Self-Portrait, 1548; Pieter Bruegel the Elder, Netherlandish Proverbs, 1559; Bruegel the Elder, Hunters in the Snow, 1565.

T 11.08 The Baroque in Italy: Architecture and Sculpture

Class assignment: Gardner's 701-711.

Focus on: Bernini, Fountain of the Four Rivers, 1648-1651; Maderno, east façade of St. Peter's, 1606-1612; Bernini, piazza of St. Peter's, 1656-1667; Bernini, Baldacchino, 1624-1633; Bernini, David, 1623; Bernini, Cornaro Chapel, 1645-1652; Borromini, San Carlo alle Quattro Fontane, 1638-1641.

Week 12

T 11.13 The Baroque in Italy: Painting

Class assignment: 1) Gardner's 711-721. 2) Explore Carracci's Loves of the Gods here: http://www.farnese-rome.it/it/index.html *the Galleria Farnese is on the Piano Nobile, when you look at the plan of the palace it is the long narrow space at the top in the middle.

Focus on: Annibale Carracci, Loves of the Gods, 1597-1601; Caravaggio, Calling of St. Matthew, ca. 1597-1601; Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1614-1620; Artists on Art - The Letters of Artemisia Gentileschi; Pietro da Cortona, Triumph of the Barberini, 1633-1639; Gaulli, Triumph of the Name of Jesus, 1676-1679.

Th 11.15 Baroque Spain

Class assignment: Gardner's 721-727.

Focus on: Juan Sánchez Cotán, Still Life with Game Fowl, ca. 1600-1603; José de Ribera, Martyrdom of St. Philip, ca. 1639; Francisco de Zurbarán, Saint Serapion, 1628; Juan Martínez Montañés, Battle of Demons and Angels, ca. 1609-1613; Velázquez, Water Carrier of Seville, ca. 1619; Velázquez, Las Meninas (The Maids of Honor), 1656.

Week 13

T 11.20 Spain and New Spain

Class assignment: 1) Gardner's 727-728; 2) Gauvin Bailey, "Global Baroque" from Baroque and Rococo, PDF.

14 3) Read the following object entries from the website of the Vistas project (look at the image and read the Discussion):

Christ Pantocrator, 16th c. Museo Nacional del Virreinato. https://www.smith.edu/vistas/vistas_web/gallery/detail/christ-pantocrator_det.htm

Feather-working scenes, Florentine Codex, ca. 1570-1585. Biblioteca Medicea Laurenziana. https://www.smith.edu/vistas/vistas_web/gallery/detail/florentine_det.htm

La Compañia, ca. 1651-1668. Cuzco, Peru. https://www.smith.edu/vistas/vistas_web/gallery/detail/la-compania-de-jesus_det.htm

Virgin of Guadalupe, late 17th c. Museo Franz Mayer. https://www.smith.edu/vistas/vistas_web/gallery/detail/virgin-guadalupe_det.htm

Read the first two pages (95-96) of this catalogue entry on the Miraculous Mass of St. Gregory, 1539. PDF

Th 11.22 NO CLASS - Thanksgiving Break

Week 14

T 11.27 The Baroque in Northern Europe: Devotion

Class assignment: 1) Gardner's 732-736, 743-745, 746-747. 2) Watch artist Alexander Massouras demonstrate how to make an etching: http://www.christies.com/features/Alexander-Massouras-demonstrates-how- Rembrandt-made-his-greatest-works-7517-3.aspx 3) Here watch an explanation of the difference between etching and drypoint: https://www.youtube.com/watch?v=RM0qlQ0lyBc

Focus on: Rubens, Elevation of the Cross, 1610;, Rembrandt, Return of the Prodigal Son, ca. 1665; Rembrandt, Christ with the Sick around Him, Receiving the Children (Hundred-Guilder Print), ca. 1649; Vermeer, Woman Holding a Balance, ca. 1664.

Th 11.29 The Baroque in Northern Europe: Portraiture, History Painting, and Genre Painting

Class assignment: 1) Gardner's 731, 735-745. 2) https://www.apollo-magazine.com/doing-justice-to-an-artist-no-one-knows-is- quite-an-undertaking/

Focus on: Vermeer, Allegory of the Art of Painting, 1670-1675; Rubens, Arrival of Marie de Medici at Marseilles, 1622-1625; Anthony Van Dyck, Charles I at the Hunt, ca. 1635; Hals, The Women Regents of the Old Men's Home at Haarlem, 1664; Hals, Archers of Saint Hadrian, ca. 1633; Problems and Solutions - Frans Hals's Group Portraits; Judith Leyster, Self-Portrait, ca. 1630; Rembrandt, Anatomy Lesson of Dr. Nicolaes Tulp, 1632; Rembrandt, The Company of Frans Banning Cocq ( Watch), 1642; Rembrandt, Self-Portrait, ca. 1659-1660.

Week 15

15 T 12.04 The Baroque in Northern Europe: Still Life and Landscape Painting

Class assignment: Gardner's 736, 738, 745-750.

Focus on: Clara Peeters, Still Life with Flowers, 1611; Art and Society - Middle-Class Patronage and the Art Market in the Dutch Republic; Aelbert Cuyp, Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures (The "Large Dort"), late 1640s; Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, ca. 1670; Art and Society - Dutch Vanitas Still-Life Paintings; Willem Kalf, Still Life with a Late Ming Ginger Jar, 1669; Rachel Ruysch, Flower Still Life, after 1700.

Th 12.06 Baroque France

Class assignment: 1) Gardner's 750-759. 2) Read a summary of Louis XIV's daily schedule: http://en.chateauversailles.fr/discover/history/day-life-louis-xiv 3) Watch a video showing the development over time of the château at Versailles: https://www.youtube.com/watch?v=X235vpOToVU

Focus on: Hyacinthe Rigaud, Louis XIV, 1705; Palace and gardens of Versailles, begun 1669; Art and Society - The Sun King's Palace at Versailles; Jules Hardouin-Mansart and Charles Le Brun, Galerie des Glaces (Hall of Mirrors), ca. 1680; François Girardon and Thomas Regnaudin, Attended by the Nymphs of Thetis, 1664-1670; Jules Hardouin-Mansart, Église du Dôme, 1676-1706; Poussin, Et in Arcadia Ego, ca. 1655; Claude Lorrain, Landscape with Cattle and Peasants, 1629; Louis Le Nain, Family of Country People, ca. 1640; Jacques Callot, Hanging Tree, 1629-1633.

Final Exam Period: December 12-20

Final exam for ARH 204: Thursday Dec. 20, 8:00-10:45am

For complete Final Exam Schedule go to: www.stonybrook.edu/registrar

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