BAROQUE ART Grading: ART HISTORY 344 Grading Will Be Determined by the Following: Mondays and Wednesdays 1

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BAROQUE ART Grading: ART HISTORY 344 Grading Will Be Determined by the Following: Mondays and Wednesdays 1 BAROQUE ART Grading: ART HISTORY 344 Grading will be determined by the following: Mondays and Wednesdays 1. Class participation (10%) Please come to class having read the 12-1:50 PM assigned readings. Although I will not take attendance, 10% of your grade is based VKC 261 upon participation, so your presence and active participation in class is expected. Instructor 2. A research paper on a 17th-century Dr. Hector Reyes painting in a Los Angeles museum, 8- [email protected] 12 pages. (30%) 213.821.5354 Guidelines for this paper will be posted on Blackboard on September 5th. This paper VKC 373A will be due on DECEMBER 12, 2014 at 11 Office Hours: Wed. 1:30-3:30 AM. Course Description 3. In class Midterm (15%) The seventeenth century ushered in an The midterm will consist of slide era of heightened artistic experiment, a identifications and short answer phenomenon which art historians have questions. A Powerpoint with the 60 broadly labeled "the Baroque." This course images to be memorized will be posted on will examine Baroque art (including Blackboard on September 5th. painting, architecture, sculpture and prints) of Italy, France, Spain, Flanders and the Dutch Republic. Dramatic changes 4. A take home midterm (15%) in economic, political and intellectual You will have a week to write TWO essays life, coupled with religious upheavals of based on the readings and material the late sixteenth century, provided the covered in class (One primary source essay context in which artists had more ability and one secondary source essay.) The to define the role and foundations of their essay prompts will be handed out on art during the seventeenth century. We October 13 in class. Your two essays are will examine the changing conditions in due at the beginning of class on the day Europe that allowed for new modes of of the in-class midterm (October 22 at artistic self-fashioning and ideas about 12 PM.) artistic production. We will be particularly attentive to the roles that the Counter- Reformation, art academies, collecting 5. A written final exam (30%) practices and scientific inquiry played in The final will consist of two promoting new avenues of artistic compare/contrast essays. The final is research and in creating new networks of cumulative, but I will post the questions intellectual exchange. on Blackboard on the last day of class, so 1 you will be able to outline your responses Final 30% in advance. Make-ups for exams will be granted The following formula will determine only in case of documented medical or your course grade: family emergency. Participation 10% Research Paper 30% Textbooks and Materials In Class Midterm 15% There will be no textbooks for this course. Take Home Midterm 15% Readings will be posted on Blackboard. Lectures and Readings Week One- Context Aug. 25 Introduction- What is the Baroque? Aug. 27 Humanism and Counter Reformation Reading: ● Canon and Decrees of the Council of Trent, in Elizabeth Holt, ed., A Documentary History of Art Volume 2 (Garden City, NY, 1958), 63-65. ● Anthony Blunt, "The Council of Trent and Religious Art," in Artistic Theory in Italy 1450-1600 (Oxford, 1962), 103-136. Week Two- Papal Authority Sept. 1 LABOR DAY Sept. 3 Making a New Rome Reading: ● Rudolf Wittkower, Art and Architecture in Italy, 1600-1750, Vol. 2. (New Haven, 1999), 5-38. ● Frank Ferhenbach, "Bernini's Light," Art History 28 (2005), 1-42. Week Three- Tradition and Innovation Sept. 8 Art Academies Sept. 10 Caravaggio Reading: ● Giovanni Pietro Bellori, "Life of Caravaggio," in Alice Wohl, Hellmut Wohl and Tomaso Montanari, eds., The Lives of the Modern Painters, Sculptors and Architects (New York, 2005), 179-189. 2 ● Charles Dempsey, "The Carracci Reform of Painting," in The Age of Correggio and Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries (Cambridge, 1986), 237-254. ● Lorenzo Pericolo, "Visualizing Appearance and Disappearance: On Caravaggio's London Supper at Emmaus," The Art Bulletin 89 (2007), 519-539. Week Four- The Politics of Style Sept. 15 Invention and Artistic Self-Fashioning after the Carracci Sept. 17 French Classicism and Absolutism Reading: ● Paul Fréart de Chantelou, "Bernini in France," in John Rupert Martin, Baroque (New York, 1977), 274-279. ● Nicholas Poussin, "Letter to Chantelou," in Anthony Blunt, Nicolas Poussin, (London, 1967), 378-70 ● Elizabeth Cropper, The Domenichino Affair: novelty, imitation, and theft in seventeenth-century Rome (New Haven, 2005), 66-98. ● Todd Olson, Poussin and France (New Haven, 2002), 1-24. Week Five- The Legacy of Poussin Sept. 22 Ancients and Moderns Sept. 24 Color vs. Line Reading: ● Charles Harrison, Paul Wood, and Jason Gaiger, eds., Art in Theory 1648-1815 : an Anthology of Changing Ideas (Oxford, 2001), 108-137. ● Alain Mérot, French painting in the seventeenth century (New Haven, 1995), 97-125. ● Elizabeth Cropper and Charles Dempsey, Nicolas Poussin: Friendship and the Love of Painting (Princeton, 1996), 23-63. Week Six- Academy vs. Amateurs Sept. 29 Charles Le Brun Oct. 1 Birth of the Rococo Reading: ● Charles Harrison, Paul Wood, and Jason Gaiger, eds., Art in Theory 1648-1815 : an Anthology of Changing Ideas (Oxford, 2001), 175-192. ● Hector Reyes, "Ekphrasis and the Autonomy of Painting: On Charles Le Brun Entrance of Alexander" Classical Receptions Journal 3 (2011), 77-108. ● Julie Anne Plax, "Belonging to the In Crowd: Watteau and the Bonds of Friendship," in Studies in the History of Art 72 (2007), 48-71. 3 Week Seven- Europe Divided Oct. 6 GETTY Oct. 8 The Order of the World Reading: ● Sebastian Schütze, "Carravaggism in Europe: A Planetary System and Its Gravitational Laws," in Caravaggio and His Followers in Rome (New Haven, 2011), 26-47. ● Thomas DaCosta Kaufmann, "From Master of the World to Mastery of Nature," in The Mastery of Nature (Princeton, 1993), 174-194. ● Lisa Rosenthal, "Manhood and Statehood: Rubens's Construction of Heroic Virtue," in Gender, Politics, and Allegory in the Art of Rubens (Cambridge, 2005), 63-112. Week Eight- The Art of Collecting Oct. 13 Art, Nature, and Imitation- Guest Lecture Oct. 15 Rubens Reading: ● Charles Harrison, Paul Wood, and Jason Gaiger, eds., Art in Theory 1648-1815: An Anthology of Changing Ideas (Oxford, 2001), 144-146. ● Lorraine Daston and Katherine Park, "Wonders of Art, Wonders of Nature," in Wonders and the Order of Nature, 1150-1750 (New York, 2001), 255-301. ● Jeffrey M. Muller, "Rubens's Theory and Practice of the Imitation of Art," Art Bulletin 64 (1982), 229-247. Week Nine- Rubens's Legacy Oct. 20 The Court Artist Oct. 22 Midterm (Take Home Midterm Due at the Beginning of Class) Reading: ● Michael Levey, Painting at court (New York, 1971),117-149 ● Geraldine Johnson, "Pictures Fit for a Queen: Peter Paul Rubens and the Marie de' Medici Cycle," Art History 16 (1993), 447-69. Week Ten- Painting and Piety in Spain Oct. 27 El Escorial and Toledo Oct. 29 Sevilla Reading: ● Robert Enggass and Jonathan Brown, Italy and Spain, 1600- 1750. Sources and Documents in the History of Art (Englewood Cliffs, NJ, 1970), 161-172 and 205-226. 4 ● Hugh-Trevor Roper, "Philip II and the Anti-Reformation" in Princes and Artists (New York, 1976), 47-83. ● Jonathan Brown, Francisco de Zurbarán (New York, 1991), 7-46. Week Eleven- Velazquez Nov. 3 Madrid Nov. 5 The Nobility of Painting Reading: ● Antonio Palomino, Lives of the Eminent Spanish Painters and Sculptors, ed. Nina Ayala Mallory (Cambridge, 1987), 139-183. ● Jonathan Brown, Velazquez: Painter and Courtier (New Haven, 1986), 1-35. ● Jonathan Brown, "On the Meaning of Las Meninas," Images and Ideas in Seventeenth- Century Spainish Painting (Princeton, 1978), 87-110 Week Twelve- After the Empire Nov. 10 Spain and the New World- Guest Lecture, Ellen Dooley Nov. 12 The Dutch Republic and Landscape Painting Reading: ● Ann Sutherland Harris, Seventeenth-century Art and Architecture (Upper Saddle River, NJ, 2005), 311-360. ● Edward Sullivan, "European Painting and the Art of the New World Colonies," in Converging Cultures: Art and Identity in Spanish America (New York, 1996), 28-41. ● Simon Schama, "Dutch Landscapes: Culture as Foreground," in Petter Sutton, ed., Masters of 17th-Century Dutch Landscape Painting (Philadelphia Museum of Art, 1984), 64-83. Week Thirteen- Thinking about Things Nov. 17 Merchants and Genre Painting Nov. 19 Science and Still-Life Painting Reading: ● Linda Stone-Ferrier, "Gabriel Metsu's Vegetable Market at Amsterdam," Art Bulletin 71 (1989), 428-452. ● Elizabeth A. Honig, "Making Sense of Things," Res 34 (1998), 167-183. ● Claudia Swan, Art, Science, and Witchcraft in Early Modern Holland (Cambridge 2005), 95-122. 5 Week Fourteen- Artistic Self-Fashioning Nov. 24 Rembrandt and Portraiture Nov. 26 THANKSGIVING BREAK Reading: ● Egbert Haverkamp-Begemann, "The Subject," in Rembrandt: The Nightwatch (Princeton, 1982), 73-114. Week Fifteen- Conclusion Dec. 1 Conclusion Ded. 3 Review Final Examination on DECEMBER 12, 11 AM-1 PM Statement for Students with Disabilities Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.–5:00 p.m., Monday through Friday. Website and contact information for DSP: http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.html, (213) 740-0776 (Phone), (213) 740- 6948 (TDD only), (213) 740-8216 (FAX) [email protected]. Statement on Academic Integrity USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own.
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