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Art History 636: Titian Syllabus Fall 2017 Prof Art History 636: Titian Syllabus Fall 2017 Prof. Benjamin Paul Office: Art History Dept., 60 College Ave, Room 101 A Office Hours: Wednesday, 2:45-3:45 pm and by appointment Tel.: 732-9320122, ext. 21 Email: [email protected] Course description: Titian is the central figure in sixteenth-century Venetian art. In his long career he redefined virtually every aspect of Venetian painting including history painting, portraiture, the altarpiece, and ducal votive paintings. Together with Giorgione, he also invented the pastoral and introduced a new, much more open brushwork. This seminar will consider all these aspects within their historical context, discuss Titian’s style in relation to contemporary art theory, and investigate his self-fashioning as the Republic’s “Prince of Painters.” Requirements will include the weakly preparation of three questions concerning the readings, an oral report on specified readings and the object of the student’s research, as well as a written research paper (12 pages in double space). Textbook (not mandatory): Peter Humfrey, Titian , London, 2007. Sept. 6 Introduction David Rosand, Titian , New York, 1978 (introductory essay) Sept. 13 Venetian tonalism Marcia Hall, Color and Meaning. Practice and Theory in Renaissance Painting , Cambridge, 1992, pp. 199-236; Paul Hills, “Titian’s Colour,” in Tiziano (ex. cat. Prado 2003), ed. by Miguel Falomir, pp. 308-313; Paul Joannides, Titian to 1518. The Assumption of a Genius , New Haven, 2001, pp. 7-17. Sept. 20 The Pastoral David Rosand, “Giorgione, Venice and the Pastoral Vision,” in: Places of Delight: The Pastoral Landscape , New York, 1998, pp. 21-81; Una Roman D’Elia, The Poetics of Titian’s Religious Paintings , ch. 1 “Christian Pastoral,” Cambridge, 2005, pp. 9-26. Sept. 27 Titian’s Women Erwin Panofsky, “Reflections on Love and Beauty,” in Problems in Titian. Mostly Iconographic , London, 1969, pp. 109-138; Charles Hope, “Problems of Interpretation in Titian’s Erotic Paintings,” in Tiziano e Venezia, Convegno 1 Internazionale di Studi , ed. by Massimo Gemin and Giannantonio Paladini, Vicenza 1980, pp. 111-124. David Rosand, “So-and-so reclining on her couch,” in Titian’s Venus of Urbino , ed. by Rona Goffen, Cambridge, 1997, pp. 37-63; Rona Goffen, “Sex, Space, and Social History in Titian’s Venus of Urbino,” in Titian’s Venus of Urbino, ed. by Goffen, pp. 63-91. Oct. 4 Portraits and Petrarchism John Shearman, Only Connect...Art and the Spectator in Renaissance Italy , Washington 1992, pp. 108-148; Elizabeth Cropper, “On beautiful Women, Parmigianino, Petrarchismo, and the Vernacular Style,” in Art Bulletin , vol. 58 (1976), pp. 374-394; Harry Berger, Fictions of the Pose. Rembrandt against the Italian Renaissance , Stanford, 2000, pp. 197-228. Oct. 11 Disegno-Colorito David Rosand, “Titian and the critical tradition,” in: Titian: His World and his Legacy , ed. David Rosand, New York, 1982, pp. 1-39; Philipp Sohm, Pittoresco. Marco Boschini, his Critics, and their Critiques of Painterly Brushwork in Seventeenth- and Eighteenth-Century Italy, Cambridge, 1991, pp. 25-62; Marry Garrard, “’Art more Powerful than Nature’? Titian’s Motto Reconsidered,” in The Cambridge Companion to Titian , ed. Patricia Meilman, Cambridge, 2004, pp. 241-263. Oct. 13 Field Trip to the Met Short presentations on individual works Oct. 18 Mythologies Humfrey, Titian , pp. 36-39, 71-82, 168-192; David Rosand, “Inventing Mythologies: The Painter’s Poetry,” in: The Cambridge Companion to Titian , ed. Patricia Meilman, Cambridge, 2004, pp. 35-57; Rona Goffen, Titian’s Women , New Haven, 1997, pp. 103-126. Oct. 25 Altarpiece I: Sacra Conversazione David Rosand, “Titian and the Challenge of the Altarpiece,” in: Painting in Sixteenth-Century Venice , Cambridge, 1997, pp. 35-61; Humfrey, Titian , pp. 86; Shearman, Only Connect , pp. 94-101. Nov. 1 Altarpiece II: Narrative Altarpiece Humfrey, Titian , pp. 84-87; Patricia Meilman, Titian and the Altarpiece in Renaissance Venice , Cambridge, 2000, pp. 27-31, 111-23, 144-49; Peter Humfrey, The Altarpiece in Renaissance Venice , New Haven, 1993, pp. 308-317; Una Roman d’Elia, The Poetics of Titian’s Religious Paintings , ch. 3 “Christian Tragedy,” Cambridge, 2005, pp. 56-83. Nov. 8 Altarpiece III: Visionary Experience Victor Stoichita, Visionary Experience in the Golden Age of Spanish Art, London, 1995, pp. 11-44; 78-102; Dagobert Frey, “Das religiöse Erlebnis bei Tizian. Zur Darstellung des Übersinnlichen in der Malerei des 16. 2 Jahrhunderts,” in Jahrbuch der Berliner Museen , I (1959), pp. 242-248; Dagobert Frey, „Die Darstellung des Transzendenten in der Malerei des 16. Jahrhundert,“ in Umanesimo e Simbolismo , Padova, 1958, pp. 193-198 (Italian Translation included-Princeton Marquand: N 7640.C 75.1958). Nov. 15 No class in compensation for field trip Nov. 22 Thanksgiving break Nov. 29 Anachronism and Tradition David Rosand, “Titian’s Presentation of the Virgin in the Temple and the Scuola della Carità,” in: Art Bulletin , 58 (1976), pp. 55-84; Augusto Gentili, “Titian’s prudent dissent: painting religion in the disciplinary years,” in Late Titian and the sensuality of Painting , ed. by Sylvia Ferino-Pagden, Venice, 2008, pp. 239-45. Panofsky, Problems in Titian. Mostly Iconographic , London, 1969 on medieval aspects, Crucifixion scenes Dec. 5 Titian’s Signatures Rona Goffen, Louisa Matthews, Erwin Panofsky Dec. 13 Late Style Philip Sohm, The Artist Grows Old. The Aging of Art and Artists in Italy, 1500- 1800 , New Haven, 2007 (ch. 4 “Titian Performs Old Age), pp. 83-103; Daniela Bohde, “Corporeality and Materiality: Light, colour and the body in Titian’s S. Salvatore Annunciation and Naples Danae ,” in: Titian: Materiality, Likeness, Istoria , ed. Jaonna Woods-Marsden, Turnhout, 2007, pp. 19-28; Joanna Woods- Marsden, Renaissance Self-Portraiture. The Visual Construction of Identity and the Social Status of the Artist , New Haven, 1998, pp. 1-9, 159-67; Papers due on Dec. 18 3.
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