DOCSLIB.ORG

Renaissance Art (ARTS 4338-01): Spring 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Renaissance Art (ARTS 4338-01): Spring 2018 Renaissance Art (ARTS 4338-01): Spring 2018 Dr. Fischer, Assistant Professor of Art History Department of Art, College of Fine Arts and Communication, Lamar University Classroom: Dishman 101 Class Time: Tuesday/Thursday 9:35-10:55 Office: Dishman 202A Office Hours in Dishman 202A: Tuesday/Thursday 8:40-9:35 or by appointment Virtual Office Hours via Skype, Google Voice call and text, Blackboard IM: Mondays and Wednesdays 1:30-2:30 PM (Skype username [email protected]) or by appointment Email: [email protected] Office Phone: 409-880-7784 (the best way to contact me is via email and Google Voice) Google Voice (Call or text): 409-768-0387 (You can call or text me at this number; please call/text only from 8AM-5PM, write your name and what class you are in) COURSE DESCRIPTION AND STUDENT LEARNING OUTCOMES This course will introduce students to the history of painting, sculpture, and architecture in Italy during the Renaissance from the Trecento to the Cinquecento (1200-1600). Lectures will serve as an introduction to the major artists of the period as well as to the functions, themes, and patronage behind their most significant works. We will focus on the major urban centers (Florence, Rome, Siena, Venice) as well as some of the Italian courts (Mantua, Milan), each of which had its own distinctive artistic tradition and system of patronage. Among the artists and architects discussed will be Giotto, Masaccio, Ghiberti, Brunelleschi, Botticelli, Leonardo da Vinci, Andrea Mantegna, Bramante, Michelangelo, Raphael, and Titian, among many others. We will also discuss the relevant ancient and medieval background that Renaissance art and architecture grew from. Upon successful completion of this course, students will Renaissance Art - Spring 2018 1 Introduction to Conversational French ✴Recognize the visual characteristics of period and individual styles through a study of major monuments from Trecento to the Cinquecento. ✴Learn to situate works of art and architecture within their cultural context through interdisciplinary methodologies. ✴Analyze and evaluate Italian Renaissance artworks beyond considerations of style and authorship, understanding their creation in the context of the religious, political, and social concerns of the period. ✴Acquire proficiency in the principles of visual analysis. ✴Use critical thinking skills to interpret, analyze, and assess works of art based upon formal concerns, iconography, and historical context. ✴Improve visual literacy. TO SUCCEED IN THIS COURSE YOU WILL NEED TO 1. Become familiar with the syllabus, course requirements, and course policies. 2. Attend every class and take notes. 3. Turn in all assignments on time. 4. Follow ALL directions for the assignments. Be sure that you do what is asked so read these instructions carefully. 5. Write down all the due dates in your planner or set a reminder on your phone so you won’t forget to complete any course requirements. 6. Do not wait until the end of the semester to worry about your grade. 7. Do the extra credit assignment. Please read the following syllabus very closely. Before emailing me, please ensure that your answer cannot be easily found within the syllabus or on Blackboard/LU Learn. REQUIRED TEXTBOOK All readings must be completed before class. Your required reading is listed in the far right column of the Course Schedule. The following book is available at the university bookstore: • Laurie Schneider Adams, Italian Renaissance Art You also will be required to regularly read sections of Giorgio Vasari’s Lives of the Artists, which can be found online: http://www.fordham.edu/halsall/basis/vasari/vasari-lives.html. Additional readings will be posted on Blackboard from the following: Frederick Hartt, A History of Italian Renaissance Art, 7th edition George L. Hersey, High Renaissance Art in St. Peter’s and the Vatican: An Interpretive Guide Whitney Chadwick, Women, Art, and Society BLACKBOARD/LU LEARN This course has a Blackboard component which can be accessed through your https://my.wip.lamar.edu/ account. On Blackboard, there are links to essential materials such as the syllabus, handouts, powerpoints, and announcements. Any changes to the schedule will be announced in class or via email. You are responsible for checking your Lamar email account and Blackboard on a regular basis! Renaissance Art - Spring 2018 2 Introduction to Conversational French COURSE REQUIREMENTS Your grade will be based on FIVE weighted evaluations: 1.) Exams (2): 40% 2.) Short Papers (3): 30% 3.) Attendance and Participation: 5% 4.) Discussion Leader: 5% 5.) Virtual Exhibition Project and Presentation: 20% (15% for project, 5% for presentation) The grading scale I employ is a traditional 100% system: A = 90-100%, B = 80-89%, C = 70-79%, D = 60-69%, F = 59% and below. No public posting of grades will ever be made so please keep a written tally of your exams and papers. I will not respond to emails asking me what your current grade is. There will be TWO EXAMS during the course of the semester: a midterm and final. Your exam will consist of some or all of the following: short slide identifications, slide comparisons, identification of unknown artworks, an objective portion (with terms, artists, movements, important historic events and people), and essays. About a week prior to the exam you will get a study guide which will have a list of works and terms for which you are responsible. There will be no make-up exams unless an extremely unusual circumstance prevents you from taking the test (i.e. medical emergency or death in the family)—and even then only if you have contacted me before the test and can provide appropriate documentation. If you are granted and excused an absence for the exam (due to serious illness, for example, or a family emergency), it is your responsibility to request and make an appointment for a make-up exam. Students who miss an exam without being excused will receive a zero. There are also three Short Papers (30%). Each paper is a two-page précis paper of a selected journal article. You will summarize the main thesis/theses of the selected article and discuss the main arguments of the author. Instructions and dropboxes can be found on Blackboard and will be discussed in class. On days that the short papers are due, we will have a discussion in class, led by selected student discussion leaders (5%). Each student will be in a discussion leading group ONCE during the semester. This group should communicate with each other to come up with questions and comments to discuss regarding the selected article, prior to coming to class that day. Virtual Exhibition Project and Presentation (20%): This course will culminate in a semester project involving the curation of a virtual exhibition. After first developing a question or subject for their exhibition, students will select five Italian Renaissance artworks to include in their exhibition. Exhibitions may be thematic (ie. mythology, marriage chests, the study of human anatomy, regional variations on a particular theme, such as the Madonna and Child, etc.) or retrospectives of a single artist’s work. In each case students will be expected to draft short narratives for 1) the theme of their exhibition and 2) for each object in their exhibition, explaining the general history of the object and how it relates to the broader topic/theme. At the end of the semester, students will then present their exhibition to the class in a formal presentation. Further details for this project will be discussed in class and posted on Blackboard. LATE WORK POLICY: Students are expected to submit all work at the specified times. If a student knows that he/she will be absent on the day that an assignment is due, it is the student’s Renaissance Art - Spring 2018 3 Introduction to Conversational French responsibility to turn in the assignment prior to their absence. For every day that an assignment is late, 10% of the assignment grade will be subtracted. For example, a paper that would have received a 100 would receive a 90, and so on. I do not accept work via email unless specified in the assignment. A late paper must be turned in via the Dropbox on Blackboard. Finally, Attendance and Participation are worth 5% of your overall final grade. Throughout the semester, you are expected to participate in class discussions and comparisons. In addition, attendance is crucial to your success in the course. Being late is not acceptable. After the first week of class, the auditorium doors will be locked immediately at 9:35 and if you are not in class at that time, you will be absent. DEPARTMENT OF ART ATTENDANCE POLICY Please be advised of the following Department of Art policies apply to missed classes: three absences will automatically result in a lowered letter grade. After that, the course letter grade will be lowered half a letter grade for each additional absence. A student absent on the day of scheduled presentation/exam or other in-class work, or who fails to present on the day of scheduled presentation/exam or other in-class work while in attendance without prior instructor approval for rescheduling his/her presentation/exam or other in-class work WILL NOT be granted the privilege of rescheduling. IMPORTANT DATES Midterm Exam: 3/1 Final Exam: 5/8 Short Papers: 2/1, 4/3, and 4/17 Discussion Leaders: 2/1, 4/3, and 4/17 Virtual Exhibition Project: 4/24 Virtual Exhibition Presentations: 4/24 and 4/26 Last day to drop or withdraw from the course WITHOUT academic penalty: 2/19 Last day to drop or withdraw from the course WITH academic penalty: 4/14 CLASS ETIQUETTE AND DECORUM You are expected to arrive on time and not disturb those around you with private chatter, doing work for other classes, answering cell phone calls, texting, or playing games.
Load more

Recommended publications
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • Program: History of Art and Italian Studies in Florence
    Boston University Study Abroad Padua CAS AH 349 - BETWEEN THE LILY AND THE LION: ART IN RENAISSANCE PADUA www.bu.du/padua/ Course schedule: from Monday to Thursday, 3,15-5,00 pm Office hours: after class or by appointment Instructor: Prof. Piergiacomo Petrioli E-mail: [email protected] Course Value: 4 credits Description of the course Padua can be considered the perfect case study to analyze Italian Renaissance Art and Culture. Art in Padua was strongly influenced by the two most important schools of Renaissance Art: Florence (whose symbol is the Lily) and Venice (whose symbol is the Lion). The best artists from those two cities such as Giotto, Donatello and Filippo Lippi from Florence, as well as Titian from Venice, came to work in Padua and instilled Renaissance ideals and style into the very fertile context of local culture and art. Because of its Roman origins, Padua was also a very important center for “antiquarian” Renaissance culture, attested by the activity of Mantegna. In addition to this, the contribution of scholars of the historical and renowned university of Padua made of the city a focal point for Italian Renaissance. The course proposes the students a journey through the rich pageant of Renaissance art and culture, providing them with the critical tools with which to analyze, understand and fully appreciate more the works of art produced in Padua and in the Veneto region from the 14th through the 16th centuries. Students will look closely at the way in which the evolution of styles in art reflects the historical and cultural attitude of the time.
    [Show full text]
  • The Trecento Lute
    UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain.
    [Show full text]
  • The Architecture of the Italian Renaissance
    •••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'.
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXX, 1, Winter 2019
    ITALIAN ART SOCIETY NEWSLETTER XXX, 1, Winter 2019 An Affiliated Society of: College Art Association International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts benefactors. These chiefly support our dissertation, research and publication grants, our travel grants for modern topics, February 15, 2019 programs like Emerging Scholars workshops, and the cost of networking and social events including receptions. The costs Dear Members of the Italian Art Society: of events, especially, have risen dramatically in recent years, especially as these have largely been organized at CAA and I have generally used these messages to RSA, usually in expensive cities and often at even more promote upcoming programing and events, to call expensive conference hotels. The cost of even one reception attention to recent awards, and to summarize all the in New York, for example, can quickly balloon to activities we regularly support. There are certainly no overshadow our financial support of scholarship. It will be a shortage of such announcements in the near future and significant task for my successor and our entire executive I’m certain that my successor Mark Rosen will have committee to strategize for how we might respond to rising quite a bit to report soon, including our speaker for the costs and how we can best use our limited resources to best 2019 IAS/Kress lecture in Milan. With the final of my fulfill our mission to promote the study of Italian art and messages as president, however, I wanted to address a architecture.
    [Show full text]
  • Tema 7. La Pintura Italiana De Los Siglos Xiii Y Xiv: El Trecento Y Sus Principales Escuelas
    TEMA 7. LA PINTURA ITALIANA DE LOS SIGLOS XIII Y XIV: EL TRECENTO Y SUS PRINCIPALES ESCUELAS 1. La pintura italiana del Duecento: la influencia bizantina Con el siglo XIII, tiene lugar la aparición de un nuevo espíritu religioso que supone un cambio trascendental en el pensamiento europeo y se produce de la mano de las órdenes religiosas mendicantes: franciscanos y dominicos. Su labor marca la renovación del pensamiento gótico dando lugar a una religiosidad basada en el acercamiento al hombre como camino hacia Dios. Ambas órdenes se instalan en las ciudades para predicar a un mayor número de fieles y luchar contra la herejía, poniendo en práctica las virtudes de la pobreza y la penitencia. Se generarán toda una serie de obras arquitectónicas, escultóricas y pictóricas con una nueva y rica iconografía que tendrá una importante repercusión en toda Europa a lo largo del siglo XIV. La Maiestas Domini, va a ser sustituidas progresivamente por la Maiestas Sanctorum, es decir, por la narración de las vidas de los santos, que ocupan la decoración de las capillas privadas en los templos. Del mismo modo, la Virgen deja de ser trono de Dios para convertirse en Madre y por tanto en la intermediaria entre Dios y los hombres. En esta tendencia a humanizar a los personajes sagrados aparece la imagen del Cristo doloroso, en la que el sufrimiento de Jesús alcanza un expresionismo impensable en el románico. No podemos dejar de referirnos al nacimiento de la Escolástica, que surge de forma paralela pero muy relacionada con estas órdenes mendicantes, con la creación de las universidades y la traducción de obras aristotélicas realizadas a partir del siglo XII.
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • A History of Italian Literature Should Follow and Should Precede Other and Parallel Histories
    I. i III 2.3 CORNELL UNIVERSITY LIBRARY C U rar,y Ubrary PQ4038 G°2l"l 8t8a iterature 1lwBiiMiiiiiiiifiiliiii ! 3 1924 oim 030 978 245 Date Due M#£ (£i* The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030978245 Short Histories of the Literatures of the World: IV. Edited by Edmund Gosse Short Histories of the Literatures of the World Edited by EDMUND GOSSE Large Crown 8vOj cloth, 6s. each Volume ANCIENT GREEK LITERATURE By Prof. Gilbert Murray, M.A. FRENCH LITERATURE By Prof. Edward Dowden, D.C.L., LL.D. MODERN ENGLISH LITERATURE By the Editor ITALIAN LITERATURE By Richard Garnett, C.B., LL.D. SPANISH LITERATURE By J. Fitzmaurice-Kelly [Shortly JAPANESE LITERATURE By William George Aston, C.M.G. [Shortly MODERN SCANDINAVIAN LITERATURE By George Brandes SANSKRIT LITERATURE By Prof. A. A. Macdonell. HUNGARIAN LITERATURE By Dr. Zoltan Beothy AMERICAN LITERATURE By Professor Moses Coit Tyler GERMAN LITERATURE By Dr. C. H. Herford LATIN LITERATURE By Dr. A. W. Verrall Other volumes will follow LONDON: WILLIAM HEINEMANN \AU rights reserved] A .History of ITALIAN LITERATURE RICHARD GARNETT, C.B., LL.D. Xon&on WILLIAM HEINEMANN MDCCCXCVIII v y. 1 1- fc V- < V ml' 1 , x.?*a»/? Printed by Ballantyne, Hanson &* Co. At the Ballantyne Press *. # / ' ri PREFACE "I think," says Jowett, writing to John Addington Symonds (August 4, 1890), "that you are happy in having unlocked so much of Italian literature, certainly the greatest in the world after Greek, Latin, English.
    [Show full text]
  • IAS-2017-3-Fall-Newsletter.Pdf
    ITALIAN ART SOCIETY NEWSLETTER XXVIII, 3, Fall 2017 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Coordination will be transferred into the most capable hands of Sarah Wilkins, a long-time member of the IAS and already September 15, 2017 a vital member of this committee. This summer also saw the highly successful eighth Dear Members of the Italian Art Society: annual IAS/Kress lecture, “Il ‘fenomeno bolognese’ rivisto: donne artiste a Bologna tra quattrocento e settecento” With the start of the Fall semester once again delivered by Professor Babette Bohn (Texas Christian upon many of us, I welcome another opportunity to thank University) in Bologna’s historic former monastery of Santa each of you for your support of the IAS, catch you up on Cristina, now home of the University’s Aula Magna. This some of the recent successful programming we have stimulating lecture charted some two hundred years of sponsored, and to ask you to mark your calendars for a women’s participation in the city’s visual and literary arts, host of events planned for the coming academic year. probing both the evidence for such apparent exceptionality Since the publication of our Spring Newsletter, and exploring the social historical and historiographic the IAS has been active at a host of conferences and events conditions that might have made it possible. Along with in both North America and across the Atlantic.
    [Show full text]
  • Saint Bernard and Saint Catherine of Alexandria
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Agnolo Gaddi Florentine, c. 1350 - 1396 Saint Bernard and Saint Catherine of Alexandria with the Virgin of the Annunciation [right panel] shortly before 1387 tempera on poplar panel overall: 194.6 × 80 cm (76 5/8 × 31 1/2 in.) Inscription: across the bottom under the saints: S. BERNARDUS DOCTOR; S. K[A]TERINA VIRGO Andrew W. Mellon Collection 1937.1.4.c ENTRY This panel is part of a triptych that consists of two laterals with paired saints (this panel and Saint Andrew and Saint Benedict with the Archangel Gabriel [left panel]) and a central panel with the Madonna and Child (Madonna and Child Enthroned with Twelve Angels, and with the Blessing Christ [middle panel]). All three panels are topped with similar triangular gables with a painted medallion in the center. The reduction of a five-part Altarpiece into a simplified format with the external profile of a triptych may have been suggested to Florentine masters as a consequence of trends that appeared towards the end of the fourteenth century: a greater simplification in composition and a revival of elements of painting from the first half of the Trecento. [1] Agnolo Gaddi followed this trend in several of his works. He demonstrates this in the three panels being discussed here by his deliberate revival of motifs that had been abandoned by most Florentine painters since the mid-fourteenth century. To present the Madonna seated on a throne of Saint Bernard and Saint Catherine of Alexandria with the Virgin of the 1 Annunciation [right panel] National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Giottesque type, [2] instead of concealing the structure of the throne with a gold- embroidered cloth of honor as in most paintings realized by masters in the circle of Orcagna, was a sort of archaism at this time.
    [Show full text]
  • Art from the Ancient Mediterranean and Europe Before 1850
    Art from the Ancient Mediterranean and Europe before 1850 Gallery 15 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 a.m. - 5 p.m. Sun 1 p.m. - 5 p.m. 2nd Fridays 10 a.m. – 9 p.m. Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve Christmas Day, & New Year’s Day. 1 Domenichino Italian, 1581 – 1641 Landscape with Fishermen, Hunters, and Washerwomen, c. 1604 oil on canvas Ackland Fund, 66.18.1 About the Art • Italian art criticism of this period describes the concept of “variety,” in which paintings include multiple kinds of everything. Here we see people of all ages, nude and clothed, performing varied activities in numerous poses, all in a setting that includes different bodies of water, types of architecture, land forms, and animals. • Wealthy Roman patrons liked landscapes like this one, combining natural and human-made elements in an orderly structure. Rather than emphasizing the vast distance between foreground and horizon with a sweeping view, Domenichino placed boundaries between the foreground (the shoreline), middle ground (architecture), and distance. Viewers can then experience the scene’s depth in a more measured way. • For many years, scholars thought this was a copy of a painting by Domenichino, but recently it has been argued that it is an original. The argument is based on careful comparison of many of the picture’s stylistic characteristics, and on the presence of so many figures in complex poses.
    [Show full text]
  • Italian Art Nouveau Architecture
    MATEC Web of Conferences 5 3, 02004 (2016) DOI: 10.1051/matecconf/201653002 04 C Owned by the authors, published by EDP Sciences, 2016 The Liberty Style - Italian Art Nouveau Architecture Vasilii Goriunov1,a 1St. Petersburg State University of Architecture and Civil Engineering, 2-Krasnoarmejskaja, 4, Saint-Petersburg, 190005, Russia Abstract. This article refers the architecture of Italy of the end of the 19- the beginning of the 20 centuries. It shoes the origin of the term “Italian Liberty architecture”, its main centers, its peculiarities and the buildings of its leading representatives. The assessment of importance of such studies provide the right understanding of the processes in European architecture of this time. 1 Introduction All historians of architecture know very well that the term Art Nouveau has a lot of synonyms, accepted by researches of different countries. Most of these terms do not reflect the essence of the things and they are used conditionally. The exception is the term “ Liberty Stile” although its origin also seems accidental like the origin of the majority of its synonyms. This term came from the name of the founder of British trading company which specialized on artworks from Japan and China. This was the reason for the fact that many researchers are not quite accurately called this company one of the conductors of Japanese influence on European art. This was true as long as the company was engaged in the export of the works of art only. Soon, however the company began to cooperate with young British artists of applied art who created company s own style, which brought it European s fame.
    [Show full text]