AH 331 RENAISSANCE ART AND PATRONAGE: COMPARING AND IES Abroad Siena

DESCRIPTION: This course offers an introduction to Renaissance Art in Tuscany by exploring in depth the historical, political and cultural evolution of Siena and Florence between the 15th and 16th centuries. This overview is not confined to works of art but will include social and patronage issues - i.e. the role of the guilds, the differences in private, civic and church patronage - that affected the style, form and content of the rich Italian artistic output, which reached a peak often nostalgically referred to by later generations as the “golden age.” Attention focuses on the way art evolved in the most important artistic centres of Tuscany and how the cities’ diversities during this period created a range of distinct styles and "schools." The course analyzes the historical and social background of the beginning of the early Renaissance during the 15th century (i.e. Brunelleschi’s, ’s and Masaccio’s achievements), and deals with the Medici’s and Piccolomini’s patronage during the second half of the 15th century (i.e. Leon Battista Alberti, Filippo Lippi, Verrocchio, Botticelli, Perugino, Ghirlandaio, and Francesco di Giorgio Martini). Lastly, it analyzes the ‘golden Age’ of High Renaissance during the 16th century, specifically focusing on Leonardo da Vinci, Michelangelo Buonarroti, Raphael Sanzio, Sodoma and Beccafumi.

CREDITS: 3 credits

CONTACT HOURS: 45 hours

LANGUAGE OF INSTRUCTION: English

PREREQUISITES: None

METHOD OF PRESENTATION: • Weekly in-class lectures • Field studies • Field trips

As the course progresses, a seminar-style presentation is included, whereby students are asked to present specific objects to the class as a whole in seminar sessions. Group work and group presentations will complete an insightful look at topics and allow the student to practice more interactively. Lectures in class: will include power point presentations, handouts, DVDs and videos. Each lecture is followed by a question and answer section. Field-studies and Field-trips: to palaces, museums and churches in Siena and Florence (see below for details). Lectures and on-site visits are led by the professor but as the course progresses, a seminar-style presentation is included, whereby students are asked to present specific objects to the class as a whole. N.B. During field-studies and field-trips students are kindly advised not to carry bulky backpacks or troublesome objects, since they are forbidden in museums.

REQUIRED WORK AND FORM OF ASSESSMENT: • Attendance, Active class Participation and class discussion (10%) • Presentation on reading assignment (10%) • Moodle Assignments (10%) • Term Paper: Part 1 (Written and Oral Visual Analysis) (10%) • Term Paper: Part 2 (Written and Oral Comparative Analysis) (10%) • Written Midterm Exam (20%) • Written Final Exam (30%)

Credit for the course will be given only if all requirements are completed. N.B. Extensions for the exams and assignments will not be granted, so please do not ask.

Attendance, Active class Participation and class discussion (10%) For attendance policy, please see below. Students are required to gain a first hand knowledge of the major monuments and artworks treated during the course. It is therefore essential that they participate in class, site-visits and on field-trips. Students are

required to fulfill reading assignments, looking assignments and written assignments and are encouraged to be active in class. Discussion is an important part of this course and students are expected to express their thoughts and perceptions and to develop a critical response to the material under consideration.

Presentation on reading assignment (10%) At the beginning of the course, students will be assigned ONE significant reading assignment by the instructor. This assigned reading will be orally presented by each student with power point presentation and discussed in class on the due date. The purpose of this assignment is to improve students’ level of reading awareness, consider the following steps: 1. identify main headings and subject areas covered, 2. highlight important facts, concepts, vocabulary, 3. write out the natural outline of the reading and fill in key words, ideas, and definitions, 4. Compare lectures notes with notes from your reading. Areas of overlap are especially likely to be covered on midterm and final exams.

Moodle Assignments (5+5 = 10%) After Florence two field-trips students will have up to 6 days to answer a quiz based on the masterpieces seen during the tour.

Term Paper: Part 1 (Written and Oral Visual Analysis) (10%) At the beginning of the course, students will be assigned ONE significant art object as specific analysis topic by the instructor. The Visual Analysis consists of a series of critical descriptions, notes, observations on the assigned art object: during on-site visits students will summarize the overall appearance, the ‘formal’ qualities and the details of the object. The purpose of this assignment is to improve students’ level of visual learning, consider the following steps: 1. compare lectures notes with the art object, 2. identify the main subject, 3. highlight important concepts, 4. fill in key ideas, 5. define the art object following the Notebook structure given by the instructor. Written Analysis: approx. 8-10 typed pages, 2500 words, font: Times New Roman, 12-point font size; margins: 1” on left, right, top, and bottom; spacing: double-space everything, to be printed and submitted via Moodle on the due date. Plagiarism will result automatically in the grade of “F”. Please remember that a delay in turning in the writing assignment will result in a lowering of your grade by a half grade the day after the due date, and 2% for each following day. If you are absent on the date the paper is due, the paper must reach me nonetheless. Oral presentation: 30 minute length, with power point presentation. On the due date, each student will orally present his/her assigned art object in class.

Term Paper: Part 2 (Written and Oral Comparative Analysis) (10%) Students are asked to compare and/or contrast their assigned work of art (Term Paper 1 topic) with some other ones seen during the course. They can choose among works either by the same author or made with a similar technique; either commissioned by the same patronage, or showing a similar iconography. The purpose of this assignment is to improve students’ level of critical analysis, consider the following steps: 1. compare similar artworks with the assigned art object, 2. identify the main elements of comparison and contrast following the Notebook structure given by the instructor. Written Analysis: approx. 8-10 typed pages, 2500 words, font: Times New Roman, 12-point font size; margins: 1” on left, right, top, and bottom; spacing: double-space everything, to be printed and submitted via Moodle on the due date. Plagiarism will result automatically in the grade of “F”. Please remember that a delay in turning in the writing assignment will result in a lowering of your grade by a half grade the day after the due date, and 2% for each following day. If you are absent on the date the paper is due, the paper must reach me nonetheless. Oral presentation: 30 minute length, with power point presentation. On the due date, each student will orally present his/her assigned art object in class.

Written Mid-term Exam (20%) It is comprised of three sections (approximately 6-8 handwritten pages): 1.Slides comparison (you will be shown a series of images to compare and contrast; the images for identification will be chosen from among those shown during lecture or seen on site 2.Quizzes / short questions with open answers on topics covered until that point in class 3.Short essay writing on topics covered until that point in class Students will write a brief description of the work in complete sentences, explaining the work’s importance as identified in class and/or in your readings.

Written Final Exam (30%) It is comprised of three sections (approximately 6-8 handwritten pages): 1. Slides comparison (you will be shown a series of images to compare and contrast; the images for identification will be chosen from among those shown during lecture or seen on site 2. Quizzes / short questions with open answers on topics covered in class 3. Short essay writing on topics covered in class to critically evaluate one of the class topics. The final exam is comprehensive, although greater weight is given to material covered in the second half of the course. Credit for the course will be given only if all requirements are completed. N.B. Extensions for the exams and assignments will not be granted, so please do not ask.

LEARNING OUTCOMES: By the end of the course students will be able to: • gain thorough knowledge of the Italian Renaissance Age • develop practical perception • understand the relationship between both historical and artistic events • valuing the importance of patronage

As the Renaissance works are often still in their original physical settings, during field studies to museums and churches in Florence and Siena, students have a unique opportunity to experience the works as their original viewers did and as their creators intended.

GLOBAL LEARNING OUTCOMES: Perspective Taking: the ability to engage and learn from perspectives and experiences different from one’s own and to understand how one’s place in the world both informs and limits one’s knowledge. The goal is to develop the capacity to understand the interrelationships between multiple perspectives, such as personal, social, cultural, disciplinary, environmental, local, and global. Cultural Diversity: the ability to recognize the origins and influences of one’s own cultural heritage along with its limitations in providing all that one needs to know in the world. This includes the curiosity to learn respectfully about the cultural diversity of other people and on an individual level to traverse cultural boundaries to bridge differences and collaboratively reach common goals. On a systems level, the important skill of comparatively analyzing how cultures can be marked and assigned a place within power structures that determine hierarchies, inequalities, and opportunities and which can vary over time and place. This can include, but is not limited to, understanding race, ethnicity, gender, nationhood, religion, and class.

OTHER ACADEMIC INFORMATION: Please contact me immediately if you have any question or are confused about any given assignment, feedback or aspect of the course. I’m available by email only from Monday afternoon to Friday morning. Emails received on Fridays will be answered on the following Monday afternoon. Because we will be venturing outside for site-visits, students must dress appropriately for weather conditions since class will be held outside no matter what the climate is. Do not bring backpacks or troublesome objects on lessons outside of classroom, but make sure to bring your notebook and pen to take notes. Since many of our classes will be conducted in religious environments, students must wear appropriate attire to class. In churches, students are kindly advised not to wear shorts, sleeveless shirts, mini-skirts, baseball caps or flip-flops. Ladies must have their shoulders and stomachs covered. Both ladies and men must be covered below the knees and all caps must be removed upon entering a holy site.

ATTENDANCE POLICY: Attendance is mandatory. Successful progress of the program depends on the full cooperation of both students and faculty members: regular attendance and active participation in class are essential parts of the learning process. Attendance at and participation in all class meetings and field-studies are required. More than TWO absences will result in a lowering of your grade by two percentage points for every absence. N.B. In case of absence, regardless of the reason, the student is responsible for completing missed assignments, getting notes and making up missed work in a timely manner based upon a schedule that is mutually agreed upon between the faculty member and the student.

CONTENT: *(please be aware that the sequence and therefore the objects of the content, particularly regarding field-studies, may vary and be modified depending on the season and availability of the different locations to be visited)

Week Content

Week 1 Introduction to the Course.

Unit 1: (Mon. Lecture in class: Introduction to the Course. Focus on the role of Antiquity, Renaissance and Renaissances, Artistic 23.01.17, h Techniques. Readings: H/W: pp. 17-38 (artistic techniques). Meeting: in class. 11am-1pm):

Unit 2: (Wed. Field study: Focus on the Romanesque Age in Italy. Visit to Castelvecchio and the so-called Crypt under Siena’s 25.01.17, h 2- Cathedral (Duomo). Readings: H/W: pp. 41-52 (Coppo, Cimabue). Meeting: in class. 4pm):

Week 2 Dark and Middle Ages.

Unit 3: (Mon. Field study: Focus on the Romanesque and Gothic Architecture in Siena. Visit to Siena’s Cathedral (Duomo - I). 30.01.17, h Readings: H/W: pp. 57-64 (Nicola Pisano, Giovanni Pisano). Meeting: in class. 11am-1pm):

Unit 4: (Wed. Lecture in class: Focus on the Gothic Architecture, and Painting in Siena (I). Readings: H/W: pp. 64-71 01.02.17, h 2- (Gothic Architecture), 110-118 (Simone Martini), 122-127 (Ambrogio Lorenzetti). Meeting: in class. 4pm):

Week 3 Gothic Age.

Unit 0: (Mon. No class. 06.02.17, h 11am-1pm):

Unit 5: (Wed. Field study: Focus on the Gothic Architecture, Sculpture and Painting in Siena (II). Visit to the “Opera del Duomo” 08.02.17, h 2- Museum. Readings: H/W: pp. 102-109 (Duccio), 118-122 (Pietro Lorenzetti). Meeting: in class. 4pm):

Week 4 The International Gothic and Early Renaissance Ages.

Unit 6: (Mon. Field study: Focus on Late Medieval Age and Early Renaissance Age in Siena. Visit to Santa Caterina’s House and 13.02.17, h to the Baptistery. Focus on Donatello. Paper Topic assigned by instructor. Readings: H/W: pp. 192-197 (Donatello 11am-1pm): in Siena), 196-201 (). Meeting: in class.

Unit 7: (Wed. Lecture in class: Focus on International Gothic and Early Renaissance Sculpture in Italy: Filippo Brunelleschi, 15.02.17, h 2- Lorenzo Ghiberti, Donatello, Leon Battista Alberti, and Andrea del Verrocchio. Readings: H/W: pp. 159-169 4pm): (Filippo Brunelleschi), 181-193 (Filippo Brunelleschi, Lorenzo Ghiberti, Donatello’s early activity), 238-249 (Leon Battista Alberti), 249-251 (Ghiberti’s maturity), 254-259 (Donatello’s maturity), 326-330 (Andrea del Verrocchio). Meeting: in class.

Week 5 Early Renaissance.

Unit 8: (Mon. Lecture in class: Focus on International Gothic and Early Renaissance Painting in Italy: Gentile da Fabriano, 20.02.17, h Masolino, Masaccio, Fra’ Filippo Lippi. Readings: H/W: pp. 203-206 (Gentile da Fabriano), 206-220 (Masolino and 11am-1pm): Masaccio), 232-237 (Fra’ Filippo Lippi), 295-298 (Medici). Meeting: in class.

Unit 9: (Wed. Course-related trip to Florence 1. : Focus on Early Renaissance Age in Florence: visit to Palazzo Vecchio, Santa 22.02.17, h Maria Novella, Florence’s Cathedral (Duomo) and Giotto’s Bell-Tower . Moodle Assignment: Quiz 1. Readings: 11am-1pm): H/W: pp. 73-91 (Giotto), 92-93, 100-101 (Andrea Pisano), 260-261 (Bernardo Rossellino, Mino da Fiesole), 263- 266 (Paolo Uccello), 271-278 (Andrea del Castagno), 295-298 (Medici dynasty), 298-303 (Donatello’s late activity), 350-356 (Domenico Ghirlandaio), 676-681 (). Meeting: TBA.

Week 6 The Renaissance (I)

Unit 10: Field study: Focus on the Renaissance Painting and Sculpture in Italy: visit to Siena’s Cathedral (Duomo - II). Focus (Mon. on Bernardino Pinturicchio and Michelangelo Buonarroti. Readings: H/W: pp. 374-377 (Bernardino Pinturicchio), 27.02.17, h 469-480 (Buonarroti’s youth), 487-489 (Rome and the Laöcoon), 496-515 (Buonarroti’s maturity). Meeting: in 11am-1pm): class.

Unit 11: Field study: Focus on the Renaissance Architecture in Italy: visit to the Loggia della Mercanzia and to the (Wed. Renaissance Palaces in Siena. Readings: review readings. Meeting: in class. 01.03.17, h 2- 4pm):

Week 7 Renaissance Age (II)

Unit 0: (Mon. No class. 06.03.17, h 11am-1pm):

Unit 12: Field study: Focus on the Renaissance Painting in Siena (I): visit to National Pinacoteca (I). Focus on Domenico di (Wed. Bartolo, , Lorenzo di Pietro called Vecchietta, Francesco di Giorgio Martini and Neroccio di 08.03.17, h 2- Bartolomeo Landi. Readings: H/W: pp. 362-363 (Domenico di Bartolo), 364-365 (Matteo di Giovanni, Vecchietta), 4pm): 364-367 (Francesco di Giorgio Martini), 366-369 (Neroccio di Bartolomeo Landi). Meeting: in class.

Week 8 Midterm exam

Unit 13: In class: Seminar Session 1: Oral Presentation of the reading assignments by students (with power point (Mon. presentation). GLOBAL LEARNING OUTCOMES 2: class activity and discussion. Midterm review. Readings: review 13.03.17, h readings. Meeting: in class. 11am-1pm):

Unit 14: Lecture in class: Written Midterm exam. Readings: review readings. Meeting: in class. (Wed. 15.03.17, h 2- 4pm):

Week 9 Easter Monday

Unit 0: (Mon. SPRING BREAK. No class. 20.03.17, h 11am-1pm):

Unit 0: (Wed. SPRING BREAK. No class. 22.03.17, h 2- 4pm):

Week 10

Unit 15: Focus on the Renaissance Painting in Siena (II): visit to the Biccherne Museum. Readings: review readings. (Mon. Meeting: in class. 27.03.17, h 11am-1pm):

Unit 16: Field study: Focus on the High Renaissance Painting in Siena (I): Visit to San Domenico Church. Readings: review (Wed. readings. Meeting: in class. 29.03.17, h 2- 4pm):

Week 11 Early and High Renaissance Age in Florence.

Unit 17: Field study: Focus on the High Renaissance Painting in Siena (II): visit to National Pinacoteca (II). Focus on Giovanni (Mon. Antonio Bazzi called Sodoma and Domenico Beccafumi. Readings: H/W: pp. 566-571 (Domenico Beccafumi). 03.04.17, h Meeting: in class. 11am-1pm):

Unit 18: In class: Seminar Session 2: Term Paper 1 due (Written and Oral Visual Analysis: written part: approx. 8-10 typed (Wed. pages, 2500 words, font: Times New Roman, 12-point font size; margins: 1” on left, right, top, and bottom; 05.04.17, h 2- spacing: double-space everything, to be printed and submitted via Moodle; oral presentation: 30 minute length, 4pm): with power point presentation). GLOBAL LEARNING OUTCOMES 1: class activity and discussion. Readings: review readings. Meeting: in class.

Week 12 High Renaissance Age in Florence.

Unit 0: (Mon. No class. 10.04.17, h 11am-1pm):

Unit 19: Course-related trip to Florence 2.: Focus on the High Renaissance Architecture, Sculpture and Painting in (Wed. Florence: visit to Bargello Museum and Uffizi Gallery. Focus on Andrea del Verrocchio, Piero della Francesca, 12.04.17, h Leonardo da Vinci, Sandro Botticelli, Raphael Sanzio, Michelangelo Buonarroti, Tiziano Vecellio. Moodle 12.30-19.30): Assignment: Quiz 2. Readings: H/W: pp. 278-293 (Piero della Francesca), 319-325 (Antonio and Piero del Pollaiuolo), 332-345 (Sandro Botticelli), 368-373 (Pietro Perugino), 443-469 (Leonardo da Vinci), 480-485 (Raphael Sanzio’s youth), 487-489 (Rome and the Laöcoon), 496-515 (Buonarroti’s maturity), 514-541 (Raphael Sanzio’s maturity), 543-554 (Late Michelangelo), 596-613 (Tiziano Vecellio), 660-661 (Medici Court), 662-665 (Benvenuto Cellini), 664-667 (Bartolomeo Ammannati), 666-669 (Jean de Boulogne called Giambologna), 688-691 (Michelangelo Merisi called Caravaggio). Meeting: TBA.

Week 13 Term Paper 2

Unit 0: (Mon. Easter Monday. No class. 17.04.17, h 11am-1pm):

Unit 20: In class: Seminar Session 3: Term Paper 2 due (Written and Oral Comparative Analysis: written part: approx. 8-10 (Wed. typed pages, 2500 words, font: Times New Roman, 12-point font size; margins: 1” on left, right, top, and bottom; 19.04.17, h 2- spacing: double-space everything, to be printed and submitted via Moodle; oral presentation: 30 minute length, 4pm): with power point presentation). GLOBAL LEARNING OUTCOMES 4: class activity and discussion. Readings: review readings. Meeting: in class.

Week 14 Final Review.

Unit 0: (Mon. No class. 24.04.17, h 11am-1pm):

Unit 21: Lecture in class: Final Review. Readings: review readings. Meeting: in class. (Wed. 26.04.17, h 2- 4pm):

Week 15 Written Final Exam.

Unit 0: (Mon. National Holiday. No class. 01.05.17, h 11am-1pm):

Unit 22: In class: Final Exam. Readings: review readings. Meeting: in class. (Wed. 03.05.17, h 2- 4pm):

COURSE-RELATED TRIPS AND FIELD STUDIES: Field studies take students to see master works by the artists in the original context of Florence and Siena. • Siena: Castelvecchio, Crypt, Duomo, Opera del Duomo Museum, St. Catherine’s House, Baptistery, Loggia della Mercanzia, Pinacoteca, Biccherne Museum, San Domenico Church. • Florence: Palazzo Vecchio, Signoria Square, Loggia dei Lanzi, Duomo, Giotto’s Bell-Tower, Strozzi Palace, Santa Croce Church, Santa Trinita Church, Bargello Museum, Uffizi Gallery.

REQUIRED READINGS: On Moodle (including selections from): Hartt F. and Wilkins D. G., History of Italian Renaissance Art. Painting, Sculpture, Architecture, Pearson Education Inc., Prentice Hall - New York, 2011 (7th ed.) [hereafter, “H/W”]

RECOMMENDED READINGS: • Ames-Lewis, Francis, The Intellectual Life of the Early Renaissance Artist, New Haven&London:Yale Un.Pr., 2002. • Avery, Charles, Florentine Renaissance Sculpture, London; John Murray 1996 • Baldassarri, Stefano U. - Saiber, Arielle, Images of Florence, New Haven&London:Yale Un.Pr.,2000. • Baxandall, Michael, Painting & Experience in Fifteenth-century Italy, Oxford: Oxford Univ. Press, 1988. • Campbell, Gordon, Renaissance Art and Architecture, Oxford: Oxford University Press, 2004. • Duby, Georges and Jean-Luc Daval, Sculpture. From the 15th to the 20th Century, Köln: Taschen, 2006. • Hale, John Rigby, Florence and the Medici, London: Phoenix Press, 2001. • Paoletti, John T. and Gary M. Radke, Art in Renaissance Italy, London: Laurence King, 2001. • Vasari, Giorgio, The Lives of the Artists, (P. Bondarella transl.), Oxford: Oxford University Press, 1998. • Welch, Evelyn, Art in Renaissance Italy, 1350-1500, Oxford: Oxford University Press, 2000. • Wittkower, Rudolf, Architectural Principles in the Age of Humanism, New York and London: Norton 1972

RECOMMENDED READINGS FOR THE VISUAL ANALYSIS AND COMPARATIVE ANALYSIS: • Angelini, A., Renaissance Art in Siena: Patrons, artists and workshops, in Syson L. et al., Renaissance Siena. Art for a City (exhibition London, National Gallery, 2007-2008), London National Gallery Company Limited 2007, pp. 31-41 • Battistini M., Symbols and Allegories in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2005 • Battistini M., Astrology, Magic and Alchemy in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2007 • Catoni, G. – Piccinni, G., An Illustrated History of Siena, Pisa Pacini ed., 2008 • Dennis F., At Home in Renaissance Italy, London Victoria and Albert Museum 2006, pp. 76-85 • De Pascale E., Death and Resurrection in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2009 • Giorgi R., The History of the Church in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2008 • Giorgi R., Saints in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2003 • Impelluso L., Nature and Its Symbols (A Guide to Imagery), The J. Paul Getty, Los Angeles 2004 • Impelluso L., Gods and Heroes in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2003 • Impelluso L., Gardens in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2007 • Malaguzzi S., Food and Feasting in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2008 • Matthews-Grieco, S. F., Marriage and sexuality, in Ajmar-Wollheim M. –Dennis F., At Home in Renaissance Italy, London Victoria and Albert Museum 2006, pp. 104-119 • Musacchio, J. M., Conception and birth, in Ajmar-Wollheim M. –Dennis F., At Home in Renaissance Italy, London Victoria and Albert Museum 2006, pp. 124-135 • Nevola, F., Civic Identity and private patrons in Renaissance Siena, in Syson L. et al., Renaissance Siena. Art for a City (exhibition London, National Gallery, 2007-2008), London National Gallery Company Limited 2007, pp. 16-29 • Syson, L., Representing domestic interiors, in Ajmar-Wollheim M. –Dennis F., At Home in Renaissance Italy, London Victoria and Albert Museum 2006, pp. 86-102 • Zuffi S., Love and the Erotic in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2010 • de Capoa C., Old Testament Figures in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2003 • Zuffi S., Gospels Figures in Art (A Guide to Imagery), The J. Paul Getty, Los Angeles 2003

SUPPLEMENTARY MATERIALS: Additional material to complement class work may be given by the instructor during the course on Moodle.