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THE ARTS of MEDIEVAL SPAIN (249A) Monday & Wednesday 2:00-3:15 | SFAC 9

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THE ARTS of MEDIEVAL SPAIN (249A) Monday & Wednesday 2:00-3:15 | SFAC 9 Spring 2019 Wake Forest University THE ARTS OF MEDIEVAL SPAIN (249A) Monday & Wednesday 2:00-3:15 | SFAC 9 Contact me: Dr. Laura Veneskey e: [email protected] t: 336-758-5081 office: SFAC 107 hours: Weds., 3:30-5:00pm To read: Required: ✦ Jerrilynn D. Dodds, María Rosa Menocal, and Abigail Krasner Balbale, The Arts of Intimacy: Christians, Jews, This course explores the visual culture of medieval Iberia from Late and Muslims in the Making Roman and Visigothic Spain, to the Islamic conquest, and through of Castilian Culture (New Haven, 2008), ISBN-10: the period of the Reconquista. We will examine architecture and 0300106092 the minor arts, including illuminated manuscripts, ecclesiastical furnishings, and courtly objects, while remaining mindful of the ✦ Course reader complex interactions among their Christian, Muslim, and Jewish Recommended: makers. We will address a range of themes, such as aniconism, the ✦ Jesse Day, Line, Color, Form: material culture of pilgrimage, the notion of “convivencia,” and the The Language of Art and Design (Allworth Press, interreligious appropriation of objects and images. 2013), ISBN-10: 1621532445 In this class, you wil: Texts can be purchased in the ✦ learn about the major monuments of medieval Spain & the bookstore or online. Day is social, religious, and political issues surrounding them available as an eBook through ✦ enhance your visual literacy and gain a basic understanding ZSR; excerpts will be posted to of the methods and aims of art historical study Sakai. While you should endeavor to read all assigned ✦ sharpen your skills of observation, analysis, and expression texts closely, please pay special attention to those marked with an *, as we will deal with these readings in greater depth. You should be prepared to discuss them on the day they are assigned (with your course reader in hand). The Arts of Medieval Spain !1 Spring 2019 Wake Forest University Helpful Links: ✦ Smarthistory (Khan Academy) ✦ Heilbrunn Timeline of Art History (MMA) ✦ The Oxford Dictionary of the Middle Ages (2010) ✦ Medieval Iberia: Encyclopedia (2013) ✦ The Internet Medieval Sourcebook ✦ Dictionary of Islamic Architecture Assignments & Dates ✦ Al-Andalus: The Art of Islamic Spain (MMA Catalogue) ✦ 15% - attendance & participation, The Art of Medieval Spain: A.D. 500-1200 (MMA Catalogue) including image annotations 10% - visual analysis (2/18) What I expect fom you: 20% - midterm exam (3/4) The success of this course depends on your consistent attendance and active participation. Please arrive on time and be prepared to 5% - abstract & annotated remain until the end of class. During class, phones, tablets, and bibliography (4/1) laptops should be switched off and put away. (Read why here.) 5% - research presentation (4/22, Absences for illness, family emergency, religious observance, or 4/24, or 4/29) representing the university in an official capacity are considered 25% - final project (5/3) excused with appropriate documentation. If you know in advance 20% - final exam (5/9) of an absence, please let me know as soon as possible and plan accordingly. It will be your responsibility to obtain missed notes Written should be submitted in from a classmate. hard copy & in your Sakai dropbox. Late work will be You are allowed two unexcused absences without penalty; any penalized 10 pts per day (5 per additional unexcused absences will lower your final course grade half) - but all work must be substantially; more than five may result in your failing the class. completed to pass the course! Repeated or excessive tardiness will count as an unexcused absence. Grade Scale What you can expect fom me: 93-100% = A I am available during office hours (and by appointment) to discuss 90-92% = A- ⬅ Magnífico any questions you may have about the course. While I do not read 87-89% = B+ paper drafts, I encourage you to speak with me about written 83-86% = B assignments. I do my best to respond to student emails within 24 hours, Monday-Friday. 80-82% = B- ⬅ Bueno 77–79% = C+ Fine Print 73-76% = C Accommodations: I am happy to work with students entitled to accommodations. Please contact the Learning Assistance Center (758-5929) for documentation as early as possible in 70-72% = C- ⬅ Suficiente the semester. Retroactive accommodations will not be provided. Academic Integrity: Cheating and plagiarism will not be tolerated. If you engage in 67-69% = D+ academic dishonesty of any kind, in any measure, you will fail the assignment and risk failing the class. 63-66% = D Emergency Plan: In case of an extended university closure, you are to complete the reading assignments for the remaining weeks of the semester and write a 5-7-page essay 60-62% = D- comparing two artworks of your choice (to be submitted to Sakai drop box). 0-59% = F ⬅ Mala The Arts of Medieval Spain !2 Spring 2019 Wake Forest University Course Schedule & Readings Week 1 1/14 – Introduction & Logistics 1/16 – Culture, Identity, and Historiography of Medieval Spain • Bernard F. Reilly, “Medieval Spain, A.D. 500-1200,” in The Art of Medieval Spain (1993), pp. 3-11. • The Arts of Intimacy, pp. 1-7 (“Palos”) Week 2 1/21 – ***no class - MLK Holiday*** 1/23 – Roman Hispania & the Inheritance of Antiquity • Primary Source: “In Praise of Spain,” prologue to Isidore of Seville’s History of the Goths, Vandals, and Suevi (624 CE)* Week 3 1/28 – Visigothic Victory & Artistic Identity • Gisela Ripoll López, “The Formation of Visigothic Spain,” in The Art of Medieval Spain (1993), pp. 41-44 and 53-59 (Guarrazar Treasure entries). • Rose Walker, Art in Spain and Portugal from the Romans to the Early Middle Ages: Routes and Myths (Amsterdam, 2016), pp. 105-116 (up to “The Material Record: Architecture and Sculpture”).* • The Arts of Intimacy, pp. 9-13 (“Frontiers”) 1/30 – Visigothic Architecture • Rose Walker, Art in Spain and Portugal from the Romans to the Early Middle Ages: Routes and Myths (Amsterdam, 2016), pp. 131-137 (“Visigothic Standing Churches”) Week 4 2/4 – The Early Islamic Conquests • Jesse Day, Line, Color, Form, chapter 5 [Sakai] • Primary Source: “Two Accounts of the Muslim Conquest (711),” in Constable, Medieval Iberia: Readings from Christian, Muslim, and Jewish Sources (1997), pp. 29-36.* 2/6 – Caliphal Spain: Damascus in Cordoba • Jerrilynn Dodds, “The Great Mosque at Cordoba,” in Al-Andalus, pp. 11-25. • The Arts of Intimacy, pp. 13-28 (“Frontiers”) Week 5 2/11 – The Golden Age of Caliphal Spain • Antonio Vallejo Triano, “Madinat al-Zahra: The Triumph of the Islamic State,” in Al-Andalus, pp. 27-39. 2/13 – ***no class - Professor Veneskey at College Art Association Conference in New York*** Week 6 2/18 – Luxury Arts of Caliphal Spain • Renata Holod, “Luxury Arts of the Caliphal Period,” in Al-Andalus, pp. 41-47. The Arts of Medieval Spain !3 Spring 2019 Wake Forest University • Glaire D. Anderson and Mariam Rosser-Owen, “Great Ladies and Noble Daughters: Ivories and Women in the Umayyad Court ad Córdoba,” in Pearls on a String: Art in the Age of Great Islamic Empires, ed. Amy Landau (University of Washington Press, 2015), pp. 28-51.* 2/20 – Catch-up & Midterm Prep Week 7 2/25 – Objects of and Desire & Conversion • Avinoam Shalem, “From Royal Caskets to Relic Containers: Two Ivory Caskets from Burgos and Madrid,” Muqarnas 12 (1995): 24-38.* • ***Visual Analysis paper due*** 2/27 – After the Fall: The Taifa Kingdoms • Cynthia Robinson, “Arts of the Taifa Kingdoms,” in Dodds, ed., Al-Andalus (1992): 49-61. • The Arts of Intimacy, pp. 45-59 & 67-75 (“Dowry”) Week 8 3/4 – Research methods for medieval art with Kaeley McMahan in ZSR 204 3/6 – ***Midterm Examination*** Week 9 3/11 – ***No Class – Spring Break*** 3/13 – ***No Class – Spring Break*** Week 10 3/18 – Almoravids & Almohads • Manuel Casamar Perez, “The Almoravids and Almohads: An Introduction,” in Al-Andalus (1992), pp. 75-83. • The Arts of Intimacy, pp. 122-131 (“Union”) 3/20 – Jewish Art & Mudejar Style • Jerrilynn Dodds, “Mudejar Tradition and the Synagogues of Medieval Spain: Cultural Identity and Cultural Hegemony,” in Convivencia: Jews, Muslims, and Christians in Muslim Spain (New York, 1992, pp. 113-130.* • The Arts of Intimacy, box on p. 179 (“Babel”), and pp. 241-246 (“Brothers”) Week 11 3/25 – Convivencia, Dhimma & Mozarabic Art • Thomas Glick, “Convivencia: An Introductory Note,” in Convivencia: Jews, Muslims, and Christians in Muslim Spain (New York, 1992), pp. 1-9.* • Jerrilynn Dodds, “Islam, Christianity, and the Problem of Religious Art,” in The Art of Medieval Spain (1993), pp. 27-37.* • The Arts of Intimacy, pp. 77-94 (“Others”) & pp. 113-122 & 131-143 (“Union”) 3/27 – The Kingdom of Asturias: Appropriation & Resistance • Achim Arbeiter and Sabine Noack-Haley, “The Kingdom of Asturias,” in The Art of Medieval Spain (1993), pp. 113-119. Week 12 4/1 – Frontier Monasticism & the Beatus Apocalypse Tradition The Arts of Medieval Spain !4 Spring 2019 Wake Forest University • O.K. Werckmeister, “Art of the Frontier: Mozarabic Monasticism,” in The Art of Medieval Spain (1993), pp. 121-132. • O.K. Werckmeister, “The Islamic Rider in the Beatus of Girona,” Gesta 36/2 (1997), 101-106.* • ***Abstract & Annotated Bibliography due in class*** 4/3 – Romanesque Rising: The Kingdom of León • John Williams, “León and the Beginnings of the Spanish Romanesque,” in The Art of Medieval Spain (1993), 167-173. • Arts of Intimacy, pp. 94-103 (“Others”) Week 13 4/8 – Romanesque Pilgrimage & Santiago de Compostela • K. R. Mathews, “Reading Romanesque Sculpture: the Iconography and Reception of the South Portal Sculpture at Santiago de Compostela,” Gesta 39/1 (2000): 3-12.* • Primary Source: Excerpt from the Codex Calixtinus in William Melczer, ed., The Pilgrim’s Guide to Santiago de Compostela (1993), pp. 65-74.* 4/10 – Romanesque Painting in Catalonia • Peter Klein, “The Romanesque in Catalonia,” in The Art of Medieval Spain (1993), pp.
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