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Home , Donatello, Francesco Mochi, Pietro Torrigiano, Wax sculpture

Art History 497 MWF 10:10-11, Borland 110

Donatello, , Bernini: The of and Baroque

Professor Daniel Zolli Office Hours: 202 Borland, We 2-4pm and by appointment Email: [email protected]

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Course Overview: This course offers a focused introduction to Italian sculpture between roughly 1350 and 1650, years defined by sweeping innovation, and broad interest, in the theory and practice of the plastic arts. During this period, sculpture served the rituals of Christian cult, it commemorated the peninsula’s most oppressive tyrants, and, scaled down, it was collected, circulated, and studied. It was the chosen medium for some of the period’s most formidable undertakings, and the focus of its most bitter controversies, both at home and abroad. The course’s ambition, then, is to introduce you to this diverse —and comparatively understudied—field, as well as its unique interpretive and methodological challenges. Sessions will cover a broad geographic base and address many artists, from the canonical (e.g., Donatello, Michelangelo, Cellini, Bernini) to the less well known (e.g., Benintendi, Torrigiano, Properzia de’ Rossi). Non-Italian artists will be discussed comparatively (e.g., Duquesnoy, Juni, Cafà).

Reading and Participation: This course is heavily participatory and your active engagement in each class is expected. Your participation ought to reflect your careful reading and consideration of each assignment on the syllabus. Participation means taking part in discussion, but also careful listening, and respect for the opinions of other members of the class. All of the principal readings, and many of the “FYI” readings, are available as PDFs on Canvas. Do not be deterred by the volume of “FYI” readings; they are not required. Rather, I provide them for your general edification. NB: An asterisk (*) after a reading denotes that this is a primary source.

While there is no required textbook for this course, I encourage you to read the following when you feel that you want a more complete understanding of a given subject:

Ÿ Stephen J. Campbell and Michael W. Cole, Italian (New York, 2011). Ÿ John T. Paoletti and Gary M. Radke, Art, Power, and Patronage in Renaissance Italy (New York, [2005]). Ÿ John -Hennessy, Italian Sculpture, 3 volumes (New York, [1986]). Ÿ Charles Seymour, Sculpture in Italy, 1400-1500 (New Haven, 1966).

Please note that there are only occasional assigned readings from these books; rather, the expectation is that you will consult them as necessary. Almost all of the principal readings are available electronically on Canvas, as are many of the “FYI” readings.

Focus Material (aka What’s The Matter?): Over the course of the semester, each of you will become a specialist on a different sculptural material (e.g., bronze, marble, wood, wax, terracotta, etc.) My expectation is that you read widely about this material, think deeply about its historical uses and importance, scour the library and museums for pertinent examples, and —most importantly— that you are prepared to bring your expertise with you to every class, chiming in wherever relevant. Students should consult me individually for bibliographies, but the following are excellent points of departure:

Ÿ Nicholas Penny, The Materials of Sculpture (New Haven and London, 1996). Ÿ Vasari on technique, ed. G. Baldwin Brown (London, J.M. Dent, 1907), “Of sculpture,” 141-174.

Presentation: A formal talk (4/9-13) deriving from your focus material [details TBA]

Writing Assignments: There are three papers. The first two are 4-6 pages in length (due 2/16 and 3/23), while the third —more demanding in content and scope—will be 10-12 pages (due 4/27). Each prompt will be distributed at the end of class (always on a Monday, see syllabus), and will be due on a Friday at a later date. Assignments should be composed in 12-point Times New Roman font, double-spaced, and with 1-inch margins. Cite sources with consistent adherence to either MLA or Chicago guidelines.

Grading

30% Papers 1 & 2 (15% each) 30% Paper 3 15% Presentation (including both formal talk and responses to questions) 25% Attendance and participation

Letter Grade Range

100–92.5 = A 89.5–92.5 = A- 86.5–89.5 = B+ 82.5–86.5 = B 79.5–82.5 = B- 76.5–79.5 = C+ 70–76.5 = C 60–70 = D 0–60 = F

- 2 - Course Guidelines and Policies

Attendance and Participation: Regular attendance will be taken. Please notify me in advance if you need to miss class for a legitimate reason. If you miss class, it is your responsibility to obtain notes of the day’s material from a classmate. 3 unexcused absences = reduction of the final grade; more than 5 = failure.

Extensions: Late assignments will be accepted, and extensions granted, only in extenuating circumstances such as illness or emergency. Note that extensions will not be granted for time management difficulties (e.g., you may not have an extension because you have two other assignments due on the same day).

Email Etiquette: While convenient, email does not substitute for class attendance or office hours. I will occasionally communicate with the class via Canvas, but I request that you not abuse email to ask me routine information about the class. If you have a question about a reading or assignment please consult the syllabus or handouts first.

Electronics: No electronic devices or laptops during class. Please take personal notes by hand.

Academic Integrity: All work should be entirely your own and must use the appropriate citation practices to acknowledge the use of books, articles, websites, etc., that you have consulted to complete your assignments. Violations of academic integrity will be dealt with in accordance with the policies of the University.

Students with Disabilities: Penn State welcomes students with disabilities into the University’s educational programs. If you have a disability-related need for reasonable academic adjustments in this course, contact the Office for Disability Services (ODS), located in room 116 Boucke Building at 814-863-1807. For further information regarding ODS, please visit their web site at www.equity.psu.edu/ods/ Instructors should be notified as early in the semester as possible regarding the need for reasonable academic adjustments.

Counseling and Psychological Services: Many students at Penn State face personal challenges or have psychological needs that may interfere with their academic progress, social development, or emotional wellbeing. The university offers a variety of confidential services to help you through difficult times, including individual and group counseling, crisis intervention, consultations, online chats, and mental health screenings. These services are provided by staff who welcome all students and embrace a philosophy respectful of clients’ cultural and religious backgrounds, and sensitive to differences in race, ability, gender identity and sexual orientation: Counseling and Psychological Services at University Park (CAPS) (http://studentaffairs.psu.edu/counseling/); Counseling and Psychological Services (http://senate.psu.edu/faculty/counseling-services-at-commonwealth-campuses/); Penn State Crisis Line (24 hours/7 days/week: 877-229-6400); Crisis Text Line (24 hours/7 days/week; Text LIONS to 741741).

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COURSE SCHEDULE

WEEK 1 INTRODUCTION AND PRECEDENTS

Jan 8 What Might It Mean to Study Michelangelo’s in a Classroom? Course Themes, Issues and Technical matters, Handouts

Jan 10 Precedents I — Giovanni & Andrea Pisano, Claus Sluter

Jan 12 Precedents II — Tino da Camaino, Arnolfo di Cambio, Manno di Bandino

Readings: 1. Anita Moskowitz, Italian Gothic Sculpture, c. 1250-1400 (Cambridge, 2001), 21-93 2. , “Life of Arnolfo di Lapo” and “Lives of Nicola and Giovanni of .”*

FYI: 1. G.M. Helms, “The Materials and Techniques of Sculpture,” in Looking at Italian Renaissance Sculpture (Cambridge, 1998), 18-39. 2. M. Luke, “The Photographic Reproduction of Space: Wölfflin, Kracauer, Panofsky.” RES. Anthropology and Aesthetics 57/58 (Spring/Autumn 2010): 339-343. (on JSTOR) 4. Megan Luke and Sarah Hammill, Photography and Sculpture – The Art Object in Reproduction (Los Angeles, 2016). Introduction and Selected Essays. (on Google books)

WEEK 2 THRESHOLDS

Jan 15 NO CLASS — MLK Day

Jan 17 Doors — Brunelleschi, Ghiberti, the Competition for the Doors

☞ Sign up for “focus materials”

Jan 19 Points of View — , , and Santa Maria del Fiore

Readings: 1. Paoletti and Radke, 204-9. 2. Richard Krautheimer, (Princeton, [1982]), 31-67. 3. Samuel Y. Edgerton Jr., The Renaissance Rediscovery of Linear Perspective (New York, 1975), 124-52 (“The Discovery of the Vanishing Point”). 4. Adrian Randolph, “Republican , 1400-1434,” in Florence (Cambridge, 2011), 121-37 [though you may read the entire chapter if it interests you, by all means].

FYI: 1. Frederick Hartt, “Art and Freedom in Florence,” in Essays in Memory of Karl Lehmann ed. L. Sandler (Locust Valley, 1964), 114-31.

- 4 - 2. Mary Bergstein, The Sculpture of (Princeton, 2000), 1-24. 3. Friedrich Teja Bach, “ and the Fat Woodcarver: The Anthropological Experiment of Perspective and the Paradigm of the Picture as Inlay,” RES (2007): 157-74. 4. Santa Maria del Fiore: The Cathedral and Its Sculpture, ed. M. Haines (Florence, 2001). 5. Amy Bloch, “Lorenzo Ghiberti, the Arte di Calimala, and Fifteenth-Century Florentine Corporate Patronage,” in Florence and Beyond (Toronto, 2008), 135-151. 6. Antonio Manetti, The Life of Brunelleschi, ed. Saalman (University Park, 1970)* 7. Daniel Zolli, “Donatello’s Visions: The Sculptor at ,” in Sculpture in the Age of Donatello (New York, 2015), 45-73.

WEEK 3 GOLDSMITHERY AND THE ARTS

Jan 22 Ghiberti and His Legacy — Filarete, , , Maso di Bartolomeo

Jan 24 – 26 NO CLASS — DZ @ UCLA

Readings: 1. G. Radke,The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece (New Haven and London, 2007), 16-41. [the intrepid might read 50-71 as well]

FYI: 1. Charles Seymour, “The young Luca della Robbia,” in Allen Memorial Art Museum Bulletin vol. 20 (1963), pp. 92-119. 2. Alina Payne, “Materiality, Crafting, and Scale in Renaissance Architecture.” In Oxford Art Journal 32/3 (2009): 365-86. 3. Robert Glass, “Filarete’s Hilaritas: Claiming Authorship and Status on the Doors of St. Peter’s.” In Art Bulletin 94/4 (2012): 548-71. 4. Harriet McNeal Caplow, Michelozzo: His Life, Sculpture and Workshops (Columbia University PhD dissertation, 1970), esp. 13-55 [browse], 56-91. 5. Irving Lavin, “‘Bozzetto Style’: The Renaissance Sculptor’s Handiwork,” in Visible Spirit: The Art of Gianlorenzo Bernini (London, 2007-9), vol. 2, 1174-233.

WEEK 4 DONATELLO AND THE IDOL

Jan 29 NO CLASS — DZ @ UCLA

Jan 31 Free-Standing Statuary — David (ca. 1440) and Judith (ca. 1460)

Feb 2 Equestrian Monuments — Gattamelata (ca. 1455), Verrocchio’s Colleoni Monument

Readings: 1. A. Randolph, “Homosocial Desire and Donatello’s David,” in Engaging symbols: gender, politics, and public art in fifteenth-century Florence (New Haven, 2002), 139-92 [the intrepid should read 242-86, but this is not mandatory]. 2. Michael Camille, “The Renaissance of the Pagan Idol,” in The Gothic Idol: Ideology and

Image-Making in Medieval Art (Cambridge, 1991), 338-45.

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FYI: 1. Vasari, “Life of Donatello,” excerpts.* 2. M. Cole and R. Zorach. The Idol in the Age of Art (London, 2009), esp. 1-10. (Google books) 3. Christopher Wood, “Ritual and the Virgin on the Column: The Cult of the Schöne Maria in Regensburg.” In Journal of Ritual Studies 6 (1992): 87-101. 4. Victor Stoichită, The Pygmalion Effect (Chicago, 2008), esp. 7-54. (Google Books)

WEEK 5 SCULPTURE AND DEATH

Feb 5 Sacred Tombs — , Germany

☞ Prompt for Paper 1 distributed at the end of class (on artistic competition)

Feb 7 Secular “Tombs” — Tempio Malatestiano, Aragon Arch

Feb 9 Portraiture — Francesco Laurana, , and the Rossellini

Readings: 1. Pliny’s story of Boutades, from the Natural History (Book XXXV) 2. Seymour on Tempio Malatestiano and Aragon Arch 3. Panofsky, Tomb Sculpture, excerpts 4. A. Randolph, “The Bust’s Gesture,” in Kopf-Bild: Die Büste in Mittelalter und Früher Neuzeit, eds. Kohl and Müller (2007): 185-303.

FYI: 1. Pope-Hennessy, Italian Renaissance Sculpture (London, 1986), 159-74. 2. The Renaissance Portrait: From Donatello to Bellini, exh. cat. (New Haven and London, 2011), 2-25. 3. A. Randolph, “Hands: Gestures in Renaissance Portraiture.” In Touching Objects: Intimate Experiences of Italian Renaissance Art (New Haven and London, 2015), 17-68. 4. Irving Lavin, “On the Sources and Meaning of the Renaissance Portrait Busts,” in Looking at Italian Renaissance Sculpture (New York, 1998), 60-78.

WEEK 6 SCULPTURE AND THE BOUNDS OF AGENCY

Feb 12 Polychromy — Painted Sculpture, the Paragone

Feb 14 Votive Imagery — The Benintendi

Feb 16 (Fr) Touch — Paxes, Patina, Medals

☞ Paper 1 Due: Please submit electronically via email to [email protected] as a Word attachment (not as PDFs – harder to comment on; if necessary, submit the illustrations as a separate PDF).

- 6 - Readings: 1. Ovid, “Pygmalion and the ,” Metamorphoses Book X.* 2. and the Art of Sculpture (New Haven and London, 2010), 63-82.* 3. Francis Ames-Lewis, The Intellectual Life of the Early Renaissance Artist (New Haven and London, 2002), 141-61. 4. Megan Holmes, “Ex-votos: Materiality, Memory, and Cult,” in The Idol in the Age of Art (London, 2009), 159-82. 5. A. Randolph, “Paxes: Kissing Art.” In Touching Objects: Intimate Experiences of Italian Renaissance Art (New Haven and London, 2015), 205-37.

FYI: 1. Roberta Panzanelli, “Compelling Presence: Wax in Renaissance Florence,” in Ephemeral Bodies: Wax Sculpture and the Human Figure (Los Angeles, 2008), 13-40. 2. F. Jacobs, “Rethinking the Divide: Cult Images and the Cult of Images,” in Renaissance Theory ed. Elkins and Williams (New York, 2008), 95-114. 3. Timothy Verdon, The Art of Guido Mazzoni (New York, 1978). 4. Peter Stewart, “Touching ,” in Statues in Roman Society (Oxford, 2003), 261-99. 5. G. Johnson, “A taxonomy of touch: tactile encounters in Renaissance Italy,” in Sculpture and Touch (Burlington, 2014), 91-106.

WEEK 7 SCALE

Feb 19 Gender and Professional Training — Properzia de’ Rossi

Feb 21 Collecting — Antico, Bellano, Riccio, and Tullio Lombardo

Feb 23 A New Laöcoon — Collecting “Antiquities” from the New World

Readings: 1. Vasari, “Life of Madonna Properzia de’ Rosso.”* 2. F. Jacobs, Defining the Renaissance virtuosa: women artists and the language of art history and criticism (Cambridge, 1997), 64-84. 3. E. Luciano, Antico: The Golden Age of Renaissance Bronzes (London, 2011), 1-44. 4. Susan Stewart, “The Miniature,” in On Longing (Durham and London, 1993), 37-69.

FYI: 1. Linda Nochlin, “Why have there been no great women artists?” (1971), 1-37. 2. F. Jacobs, “The Construction of a Life: Madonna Properzia de’ Rossi ‘Schultrice’ Bolognese.” In Word & Image 9 (1993): 122-32. 3. Alexander Nagel, The Controversy of Renaissance Art (Chicago, 2012), 153-96. 4. Tullio Lombardo and Venetian High Renaissance Sculpture, exh. cat. (New Haven and London, 2009), excerpts.

WEEK 8 YOUNG MICHELANGELO

Feb 26 Donatello’s Legacy — Bertoldo and the Medici Garden

Feb 28 Antiquarianism and Archaeology — Battle of the Lapiths and Centaurs, Bacchus, Pietà

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Mar 2 The Politics of Sculpture — The David (1501-4) and The Tomb of Julius II

Readings: 1. James Draper, (Misouri, 1992), excerpts. 2. Ascanio Condivi, The Life of Michelangelo, ed. Wohl (University Park, 1999), 4-37.* 3. Joost Keizer, History, Origins, Recovery: Michelangelo and the Politics of Art (University of Leiden PhD Dissertation), 87-134.

FYI: 1. J. Paoletti, Michelangelo’s David: History and Identity (Cambridge, 2015), excerpts. 2. R. Preimesberger, Paragons and Paragone (Los Angeles, 2011), 53-82. 3. Charles Seymour, Michelangelo’s David: A Search for Identity (Pittsburgh, 1967).

WEEK 9 **SPRING BREAK**

WEEK 10 HEROES AND VILLAINS

Mar 12 Creating Memory — Michelangelo’s New Sacristy

☞ Prompt for Paper 2 distributed at the end of class (on public sculpture)

Mar 14 Artist in Exile — Pietro Torrigiano

Mar 16 The Art of Embarrassment — Baccio Bandinelli and Florentine Criticism

Readings: 1. Philip Lindley, “Collaboration and competition: Torrigiano and royal tomb commissions,” in Gothic to Renaissance: essays on sculpture in (Stamford, 1995), 47-72. 2. Vasari, “Life of Baccio Bandinelli.”* 3. Louis Waldman, “‘Miracol’ novo et raro’: two unpublished contemporary satires on Bandinelli’s ‘Hercules.’” In Mitteilungen des KHI Florenz, 38 (1994): 419-27. 4. L. Barkan, Unearthing the Past (New Haven and London, 1999), 271-308.

FYI: 1. D. Kim, The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style (New Haven and London, 2014), 1-10 [although the book is full of important insights].

WEEK 11 CELLINI AND HIS EXAMPLE

Mar 19 The Accademia del Disegno and its Discontents — The Vienna Salt Cellar

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Mar 21 Magic and the Forge — The Perseus

Mar 23 Cellini Abroad— Fontainebleau, Primaticcio, Adriaen de Vries

☞ Paper 2 Due: Please submit electronically via email to [email protected]

Readings: 1. Michael Cole, Cellini and the Principles of Sculpture (Cambridge, 2002), Chapter 1. 2. ’s autobiography, trans. Nova ([1984]), 168-85.* 3. Marco Collareta, “The Historian and the Technique: On the role of Goldsmithery in Vasari’s Lives, in Sixteenth-Century ed. Cole (Oxford, 2006): 291-300.

FYI: 1. Paoletti and Radke, 457-60. 2. M. Cole, “Cellini’s Blood.” In Art Bulletin 81/2 (1999): 215-35. 3. Ittai Weinryb, “The Bronze Object in the Middle Ages,” in Bronze, exh. cat. (London, 2012), 69-77.

WEEK 12 SPANISH MILAN

Mar 26 Parade Armor — Filippo Negroli

Mar 28 Imperial Mythologies — ’s Charles V Restraining Fury

Mar 30 Dynastic Effigies — Pompeo Leoni at the Escorial

Readings: 1. Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries, exh. cat. (New York, 1999), 25-60 [read] and 115-202 [browse]. 2. M. Cole, “Under the Sign of Vulcan,” in Bronze: The Power of Life and Death, eds. Curtis and Droth (Leeds, 2005), 36-52.

FYI: 1. Kelley Helmstutler di Dio, Leone Leoni and the status of the artist at the end of the Renaissance (London, 2011), 1-44.

WEEK 13 OLD MICHELANGELO

Apr 2 Sculpture and Failure — the Counter-Reformation, the Milan and Florence Pietàs

☞ Prompt for Paper 3 distributed at the end of class.

Apr 4 – 6 NO CLASS — DZ @ Association for Art History Meeting (London); work on presentations

Readings: 1. Vasari, “Life of Michelangelo,” 697-705, 715-19.* 2. Michelangelo, Poetry, trans. James Saslow (New Haven and London, 1993), excerpts.* 3. A. Nagel, Michelangelo and the Reform of Art, (Cambridge, 2000), 188-215.

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FYI: 1. David Summers, Michelangelo and the language of art (Princeton, 1981), 203-33. 2. L. Steinberg, “Michelangelo’s Florentine Pietà: The Missing Leg.” In Art Bulletin 50/4 (1968): 343-53.

WEEK 14 **PRESENTATIONS**

Apr 9 – 13 SESSIONS I, II, and III

WEEK 15 AFTER MICHELANGELO, PACE VASARI

Apr 16 I — Giovanni Angelo Montorsoli in Sicily; in Bologna

Apr 18 Fountains II — Giambologna in Pratolino; Ammanati in Florence and the End of Sculpture

Apr 20 Bernini’s Inheritance — , Francesco Mochi

Readings: 1. M. Cole, Ambitious Form: Giambologna, Ammanati, and Danti in Florence (Princeton, 2011), 1-20 [read], 22-50 [read for argument]. 2. Richard Tuttle, The Neptune in Bologna (Turnhout, 2015), excerpts.

WEEK 16 BERNINI AND BEYOND

Apr 23 Prodigy — Bernini’s Early for the Borghese, and François Duquesnoy

Apr 25 Fountains III — Berini’s Fountains of Triton, the Moor, and Four Rivers

Apr 27 Visions in Stone — Bernini’s Religious Statuary, Melchiorre Cafà, Pedro de Noguera

☞ Paper 3 Due: Please submit electronically via email to [email protected]

Readings: 1. , Bernini: The Sculptor of the Roman Baroque (New York, [1981]), excerpts. 2. M. Cole, “Bernini Struts,” in Projecting Identities: The Power of Material Culture, ed. Derevenski (London, 2007): 55-66. 3. F. Fehrenbach, “Bernini’s Light,” Art History (2005), 1-42.

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