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1 1 AREZZO Basilica di San Francesco • Annunciation of the Virgin by Matteo Lappoli [2] Casa di Giorgio Vasari • Room of Apollo and the Muses (Sala delle Muse) [9] * • Expulsion of Envy and Fortune by Virtue (ceiling fresco), 1548 [31] * ASSISI Basilica of Saint Francis of Assisi Upper Church • Legend of Saint Francis (28 Scenes) attributed to Giotto [48] * • Legend of Saint Francis (28 Scenes) attributed to Giotto, General Views [12] BOLOGNA Palazzo Comunale (Palazzo d’Accursio) Cappella Farnese – Life of the Virgin frescoes attributed to Prospero Fontana • Life of the Virgin – General Views [3] • Annunciation of the Virgin [7] • Visitation of the Virgin [3] • Birth of the Virgin [6] • Circumcision of Christ [4] • Presentation of the Virgin in the Temple [4] • Assumption of the Virgin [4] 2 2 Pinocoteca • Birth of Venus by Pelagio Palagi [1] • Madonna Adoring Christ Child with Saints by unknown (Bolognese) [2] • San Ludovico and Donor by unknown (Bolognese) [1] • Theseus and Pirithous Abducting Helen by Pelagio Palagi [1] • Theseus is recognized by his father Aegeas by Pelagio Palagi [1] (Studies for Theseus frescoes for Palazzo Torlonia in Rome, destroyed in 1901) • Vigilanza e Silenzio (Vigilance and Silence) by Orazio Samacchini [2] • Madonna del Terremoto (Madonna of the Earthquake) by Francesco Francia, ca. 1505 [8] * • Three Children in the Furnace of Babylon by Bartolomeo Cesi [4] Pinacoteca Nazionale di Bologna • Assumption with Choir of the Angels by Lorenzo Costa [1] • Christ Child Adored by the Virgin and Saints by Francesco Francia [3] • Death of the Virgin (Morte della Madonna) by Michele Coltellini [4] • Eternal Father by Ludovico Mazzolino [4] * • Mary Magdalene Weeping (fresco fragment) by Ercole de’ Roberti [1] • Madonna and Child Enthroned with Saints by Francesco Francia [3] • Madonna and Child Enthroned by ‘Maestro della Pala dei Muratori’ [3] • Madonna in Adoration of the Christ Child by Giovanni Francesco da Rimini [1] • Madonna in Glory with Saints by Perugino [7] • Heaven and Hell (Paradiso e Inferno) by ‘Maestro dell'Avicenna’ (ca. 1410-1445) [4] 3 3 • Polyptych by Giotto [11] * • Saint Sebastian by Antonio Maineri [4] * • Saint George and the Dragon by Vitale da Bologna [2] • Ecstasy of St. Cecilia with Saints Paul, John the Evangelist, Augustine and Mary Magdalene by Raphael [8] • Story of Christ and the Saints by Maestro di San Nicolò degli Albari (Master of the Church of St. Nicholas of Albari)[3] • Two Male Faces (Due volti maschili) by Francesco Francia [2] • Samson Victorious by Guido Reni [3] • Vision of St. Augustine by Francesco Francia [3] Pseudo Jacopino di Francesco • Death of the Virgin [1] • Martydom of Saint Christina [1] • Saint Gregory in his Study [1] • Altarpiece with the Dormition of the Virgin and the Coronation of the Virgin [1] • Vision of St. Romuald [1] FLORENCE Church of Badìa Fiorentina • Virgin Appearing to St Bernard by Filippino Lippi [9] Casa Buonarroti – works by Michelangelo • Crucifixion (sculpture) [1] • Dio Fluviale (River God) [3] • Deposition [4] 4 • Due Lottatori (Two Wrestlers) [7] • Erythraean Sibyl [3] • Female Nudes [5] • Madonna della Scala (Madonna of the Stairs) [4] • Virile Nude [9] • Virile Torso [3] Cenacolo (Refectory) of Santo Spirito and Fondazione Salvatore Romano • Adoring Angel by Tino di Camaino [3] • Architectural Fragment from Bonomi House Verona [1] (12th century) • Caryatid (or Virtue) by Tino di Camaino [2] * • Crucifixion and Last Supper by Andrea Orcagna [16] • Madonna of Mercy by unknown [9] Convent of San Marco Works by Fra Angelico Dormitory • Man of Sorrows (cell 39) [20] • Agony in the Garden [5] • Annunciation [8] * • Baptism of Christ [6] • Crucifixion with Dominican Saints [2] • Crucifixion with Virgin and Saints Cosmas and John the Evangelist [1] • Institution of the Eucharist [5] • Kiss of Judas [7] • Lamentation over the Dead Christ [5] • Sacra Conversazione [6] • Saint Dominic Adoring Crucifixion [2] 5 Pilgrim Room • Tabernacle of the Linen-Drapers (Tabernacle of the Linaioli) [35] * • Bosco ai Frati Alarpiece [4] • Deposition from the Cross [8] * Library • San Domenico Missal [3] Work by Benozzo Gozzoli: Dormitory • Adoration of the Magi (cell 39) [20] Works by Lorenzo Monaco: Pilgrim Room • Nativity Scene [1] • Saint Nicholas Saving the Sailors [1] Work by Giovanni Antonio Sogliani: Large Refectory • St. Dominic and His Friars Served by Angels (1536) [10] Work by Francesco Botticini: Lavabo Room • Saint Antoninus of Florence in Adoration of the Crucifixion [2] Works by Fra Bartolommeo: Lavabo Room • Christ Carrying the Cross [2] • Portrait of Savonarola [1] Work by Fra Paolino: Lavabo Room • Pieta with Saints [1] Work by Zanobi Strozzi: Library • School of Saint Thomas Aquinas, ca. 1450 [8] Marino Marini Museum • Cavaliere 1 (1947) [5] • Cavaliere 2 (1953) [3] * • Cavaliere 3 (1953) [8] • Guerriero (1959) [3] • Pomona (bronze 1945) [10] 6 La Specola Anatomical Collection • Study Figures [5] Museum of the Ospedale degli Innocenti • Madonna del Carmine (tabernacle) by unknown [1] • Madonna dei Coralli (tabernacle) by unknown [1] • Infant in Swaddling Clothes (in situ) by Andrea della Robbia [11] • Infant in Swaddling Clothes (restored) by Andrea della Robbia [23] • Madonna and Child with an Angel by Mariotto Albertinelli, workshop of [6] • Penitent St. Mary Magdalen by Agnolo di Polo [5] Opera dell Duomo (Florence) Works by Donatello • Prophet Habakkuk (west side) [8] • Sacrifice of Isaac [2] • Thoughtful Prophet (east side) [3] Work by Nino Pisano • Prophet [3] Piazza della Signoria • Perseus Beheading Medusa by Benvenuto Cellini [51] San Lorenzo • Glory of Florentine Saints by Vincenzo Meucci [11] • Martyrdom of Saint Lawrence by Agnolo Bronzino [17] * Santa Croce • Madonna with Child and Saints by Andrea della Robbia (altarpiece in Cappella Medici) [9] Santa Felicita Cappella Capponi (or Barbadori) by Jacopo Pontormo • Annunciation [14] • Deposition [22] • Roundels [5] 7 Santa Maria Novella Works in the church • Annunciation by Neri di Bicci (1455) [3] • Annunciation by Pietro di Miniato (1366) [8] • Chapel of Filippo Strozzi by Filippino Lippi, Ghirlandaio and others o Back wall [17] o Left wall [8] o Ceiling [2] o Stained Glass by Alessandro Agolanti (to a design by Ghirlandaio) [2] • Holy Trinity by Masaccio [14] • Pulpit by Benedetto da Maiano [9] • Spanish Chapel (Chapter House) by Andrea da Firenze o Allegory of the Active and Triumphant Church and the Dominican Order [46] o Vault (5 Scenes) [20] Works in the museum • Vestments of St. Dominic - Humeral Veil (recreated ca. 1800-1830) [1] • Reliquary Bust of two of the 11,000 Virgins of Cologne (late 14th century) [3] • Painted Silk Taffeta Altar Cloth (antependium) 'paliotto fiorito' attr. to G. Garzoni [4] • Madonna and Child with Saints by Agnolo Gaddi (school of) [2] • Story of Moses fresco by Alessandro Allori [16] Old Testament Scenes (Life of Noah) in the Green Cloister by Paolo Uccello 1 - Creation of the Animals - Garden of Eden [10] 2 - Expulsion from Garden of Eden [6] * 3 - Lamech Kills His Father [3] 4 - Flood and Sacrifice of Noah [9] * 8 Santa Trinita Sassetti Chapel by Domenico Ghirlandaio • Adoration of the Shepherds [15] Uffizi Gallery • Adoration of the Christ Child by Lorenzo di Credi (workshop) [4] • Portinari Altarpiece by Hugo van der Goes [15] • Adoration of the Magi by Botticelli [23] * • Allegory of Fecundity and Abundance by Luca Signorelli [1] • Baptism of Christ by Verrocchio with Leonardo di Vinci [14] • Battle of San Romano by Paolo Uccello [17] • Coronation of the Virgin by Fra Angelico [4] • Hercules and the Hydra; Hercules and Antaeus by Antonio del Pollaiolo [3] • Holy Family by Luca Signorelli [4] • Madonna and Child with male figures in the background and two Prophets in roundels by Luca Signorelli [6] • Madonna with Child, Saint Justus, Saint Zenobius, and the Archangels Michael and Raphael by Domenico Ghirlandaio [7] • Madonna della Loggia by Botticelli • Moses Defending the Daughters of Jethro by Rosso Fiorentino [4] • Musical Angel by Rosso Fiorentino [1] • Madonna and Child, the Trinity, St. Augustine and St. Athanasius of Alexandria by Luca Signorelli [7] * • View of Villa Medici by Paolo Anesi [3] • Relief with Dancing Maenads [4]) • Relief with Dionysiac Scene [2] • Relief with Nikai Leading a Bull to Altar [5] 9 GUBBIO Palazzo dei Consoli • Madonna and Child with Saints John the Baptist and Ubaldus [1] • Altarpiece from SS Trinita depicting Noli me tangere above and Saints Francis and Clare below by unknown [4] • Gonfalon (Banner) of Saint Ubald of Gubbio (1503) by Sinibaldo Ibi [5] • Pentecost (1563) by Benedetto Nucci [5] MANTUA Ducal Palace Camera degli Sposi by Mantegna • Court Scene [30] * • Meeting Scene [49] • Ceiling [16] * • Architecture [10] MILAN Pinacoteca di Brera • Annunciation by Giovanni Santi [5] NAPLES Museo Archeologico Nazionale Frescoes • Lararium [3] • Mars and Venus [3] • Perseus and Andromeda Seated in Amorous Abandon [1] • Scene from Cult of Harpocrates [3] • The Lararium (or Lares & Genius) [3] • Workshop of Efesto (Hephaestus) (from the House of Quadrighe) [1] 10 Temple of Isis • Portico Frescos [28] * • Sacrarium [4] • Sacrarium: Discovery of Boat with Coffin of Osiris (east wall) [5] • Sacrarium: Osiris-Serapis Enthroned between Cobras (west wall) [2] Mosaics • Agamemnon and Achilles Quarrel [3] • Birds Drinking from Bird Bath with Cat [2] • Choirmaster and Actors [4] • Circus Mosaic [1] • Cock-fight between personifications of Victory and Defeat [3] • Ducks and Fish [2] • Dwarf and Rooster
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  • Core Knowledge Art History Syllabus

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    Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation.
  • The History of Painting in Italy, Vol. V

    The History of Painting in Italy, Vol. V

    The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method.