DOCSLIB.ORG

FINE ARTS 343 – BAROQUE ART COURSE SYLLABUS – FALL SEMESTER 2017 MEETING: Tuesday, 9:30 Am – 12:30 PM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FINE ARTS 343 – BAROQUE ART COURSE SYLLABUS – FALL SEMESTER 2017 MEETING: Tuesday, 9:30 Am – 12:30 PM FINE ARTS 343 – BAROQUE ART COURSE SYLLABUS – FALL SEMESTER 2017 MEETING: Tuesday, 9:30 am – 12:30 PM. Instructor: John Nicholson Course Description The course is a study of the visual arts from the late sixteenth to the mid-eighteenth centuries, the period labeled Baroque in art history. Art historians agree that this style originated in Rome “The cradle of the Baroque was Italy and the artistic capital of Italy was Rome.” The Baroque has a been seen as the expression of a new spirit in the Catholic Church and Papacy following the Counter Reformation which affirmed the pictorial arts have an essential role as a stimulus to devotion and a means of religious instruction. Under the stimulus of ecclesiastical patronage, many artists contributed to this movement: Caravaggio, Annibale Carracci, Franceso Borromini, Pietro da Cortona, and especially Gian Lorenze Bernini who has been called the “artistic dictator” of Rome during the period. From Rome, the Baroque spread to other parts of Europe; the course will also study some aspect of the international Baroque. This study will be implemented through classroom lectures and discussion, but especially through on-site visits for a direct contact with the masterS of the Roman Baroque and their works. Course Objectives - An introduction to the basic problems of art historical study: historical context, the roles of artist and patron, techniques, iconography, and style. - An understanding of the distinctive features of the arts in the Baroque period within the context of Rome’s Christian heritage, the role of the Papacy, and the renewal in the Church following the Counter Reformation. - A direct acquaintance with painting, sculpture, and architecture through on-site visits and lectures. - An enhanced appreciation of the role of art in a crucial period of European history. - An enriched knowledge and experience of Rome, its artistic, religious and cultural traditions and enduring contribution to Europe and the world. On-Site Classes - Information on the meeting place and transportation will be posted. - Because of heavy traffic and crowded buses, you must leave the Rome Center more than one hour before the beginning of class. - Proper dress is required for visiting churches. - Please do not eat, smoke, use cell phones, text or take photographs during on-site lectures. Required Texts Giorgio Bonsanti. Caravaggio. Scala _____________. Bernini. Viking Penguin. On-Site Notes/Supplementary Reading 2 Course Requirements Examinations There will be three examinations on dates to be assigned. - Changes in examination dates are not open to negotiation. - Make-up examinations will not be given for travel-related absences. - Cheating or dishonesty of any kind on an examination will be penalized by an F (0 points). Grading. Course Grade. First exam, 20%. Second exam, 30%. Final exam, 30%. Participation/Attendance, 20%. Grading Scale. 93-100 = A. 89-92 = A- 86-88 = B+. 81-85= B. 78-80 = B- 75-77 = C+. 71-74 = C. 68-70 = C- 65-67 = D+. 59-62 = D. 58 and below = F. Lectures. Visits. Reading 1. Classroom. Introduction to the Baroque Period. Forms and Structures OF Baroque Architecture. 2. On-Site. St. Peter’s in the Vatican. (On-Site Notes 1) 3. Classroom Caravaggio: Painting. Bernini: Early Sculpture. Hibbard, Caravaggio.1-88. Hibbard, Bernini.23-67 4. On-Site. S. Agostino. S. Luigi dei Francesi. Doria-Pamphili Gallery (Adm. Fee) On-Site Notes 2. 5. Classroom. First Examination. 6. On-Site. S. Maria della Vittoria. S. Susanna. S. Carlo alle Quattro Fontane. S. Andrea al Quirinale. Fonatana di Trevi. On-Site Notes 3. 7. Classroom. Caravaggio: Later Painting. Classicism in Baroque Painting. Hibbard, Caravaggio. pp. 164-267. Supplementary Readings. 8. On-Site. Pantheon. S. Ignazio. Il Gesu. S. Andrea della Valle. On-Site Notes 4. 9 Classroom. Second Examination. 10 On-Site. Piazza di Spagna. Via del Corso. Piazza del Popolo & S. Maria del Popolo. On-Site Notes 5. 11 Classroom. Painting in Flanders and Holland. Supplementary Readings). 2 3 12 On-Site. S. Ivo alla Sapienza. Piazza Navona. S. Maria della Pace. S. Maria in Vallicella. Ponte S. Angelo. On-Site Notes 6. 13 On-Site. S. Giovanni in Laterano. On-Site Notes 7. 3 .
Load more

Recommended publications
  • Falda's Map As a Work Of
    The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676.
    [Show full text]
  • Pietro Da Cortona in Nineteenth-Century Children's
    The Painter and the Scullery Boy: Pietro da Cortona in Nineteenth-Century Children’s Literature* Lindsey Schneider Pietro Berrettini (1597-1669), called Pietro da Cortona, was one of the most influential artists in seventeenth-century Italy and was celebrated as the premier decorative painter of his generation, most notably for his ceiling in the Barberini Palace in Rome (1633-39). His reputation began to suffer soon after his death, however, due in large part to changing standards of taste that no longer tolerated the extravagances of the High Baroque style that he helped to develop and with which he is indelibly linked.1 In 1692 the director of the French Academy in Rome, Matthieu de La Teulière, reported back to Paris that, ‘Pietro da Cortona and his school have spread such great debauchery here, operating under the guise of virtuosity, *<+ giving everything over to the whims of their imaginations,’2 and made similar statements the following year, in which he charged Cortona, Bernini and Borromini with ruining the fine arts with their excess.3 This view endured over the ensuing centuries and the trope of the Baroque as a diseased and cancerous style – with Cortona as one of its prime vectors of transmission – became commonplace in art-theoretical literature. Nearly a century after La Teulière, Francesco Milizia vilified the same trio of artists, saying that Cortona, along with Borromini and Bernini, ‘represent a diseased taste – one that has infected a great number of artists’.4 In London around the same time, James Barry singled Cortona
    [Show full text]
  • Visual Exemplars, Family Politics, and Gender Ideology in Baroque Rome
    HEROINES AND TRIUMPHS: VISUAL EXEMPLARS, FAMILY POLITICS, AND GENDER IDEOLOGY IN BAROQUE ROME Katherine M. Poole-Jones A 1639 inventory of the Palazzo Sacchetti in Rome reveals the display of four large paintings in the apartment of the family matriarch: Pietro da Cortona’s The Sacrifice of Polyxena, The Rape of the Sabines, and The Triumph of Bacchus, and a copy after Nicolas Poussin’s The Triumph of Flora. The imagery and placement of these artworks raises crucial and as yet unexplored issues of reception and ideological function. One must consider how a Baroque female viewer, differently from her male counterparts, might have understood these paintings, which I will situate within the tradition of didactic domestic imagery produced in early modern Italy. DOI: 10.18277/makf.2015.10 room-by-room inventory of the Palazzo Sacchetti in Rome, dating from 1639, reveals the presence of four large easel paintings in the sala (entry room) of the apartment of the family matriarch, generally accepted to be Cassandra Ricasoli-Ruccellai.1 The Sacchetti was a family with prominent Florentine roots, but during the Asecond half of the sixteenth century, Giovanni Battista Sacchetti (1540–1620) resettled his clan in Rome, and it was the second youngest of his sons, Matteo (1593–1659), who married Cassandra in 1637.2 The four paintings, three by Pietro da Cortona, The Rape of the Sabines (fig. 1), The Sacrifice of Polyxena (fig. 2), and The Triumph of Bacchus (fig. 3), and a copy after Nicolas Poussin’s The Triumph of Flora (fig. 4), are widely acknowledged to have been commis- sioned or acquired by the eldest of Giovanni Battista’s sons, Marcello (1586–1629), an avid collector and key figure in the intellectual circle of Pope Urban VIII.3 Fig.
    [Show full text]
  • And Anja Grebe. of Particular Importance Is the Study of The
    BR.DEC.pg.proof.corrs:Layout 1 16/11/2011 15:14 Page 827 BOOKS and Anja Grebe. Of particular importance is the study of the impact of Bolognese art Raw Painting: ‘The Butcher’s Shop’ in France, where the birth of classicism is by Annibale Carracci. By C.D. Dickerson closely connected to such key figures as III. 93 pp. incl. 59 col. + 2 b. & w. ills. Sebastiano Serlio and Francesco Primaticcio, (Kimbell Art Museum, Fort Worth, and well documented in essays by Sabine From- Yale University Press, New Haven mel, Dominique Cordellier and Sara Benzi. and London, 2010), $16.95. Sabine Frommel highlights Serlio’s extraor- ISBN 978–0–300–16640–8. dinary ability to invent a new artistic mode, an amalgam of the grand style of the artist’s Reviewed by XAVIER F. SALOMON home town and his thorough knowledge of classical culture, probably learned in the OVER THE PAST five years, the Kimbell Art humanistic and antiquary circles of Bologna. Museum in Fort Worth, has published a In Serlio’s sixth book he demonstrates series of illuminating and beautifully pro- his ability to use both French and Italian duced small books focusing on masterpieces 58. The butcher’s shop, by Annibale Carracci. c.1582. architectural languages, as did Primaticcio, from the Museum’s permanent collection. Canvas, 59.7 by 71 cm. (Kimbell Art Museum, Fort whose pictorial and architectural styles The volumes so far have ranged in topics Worth). were inspired by the decorations in Giulio from a fifteenth-century German silver Romano’s Palazzo Te at Mantua, as is sculpture of the Virgin and Child, to a panel familiar context.
    [Show full text]
  • Roman Baroque COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
    702132/702835 European Architecture B Roman Baroque COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice some factors in the Baroque the cycle of taste: freedom from classical rigidity, and the enlarged vocabulary of Mannerism a return of public confidence and a boost in church activity and patronage the Counter-Reformation and the improvement of Rome The Ecstasy of St Teresa, by Gianlorenzo Bernini, 1645-52 William Fleming, Arts & Ideas (Fort Worth [Texas] 1991), p 353 He held a long javelin of gold, with an iron tip which had a flame coming out of it. Suddenly, he pierced me to the inmost fibre of my being with it and it seemed to me that, as he drew it out, he dragged me with it; but I felt entirely consumed by the love of God. The pain was so great that it drew moans from me, even though the ecstasy that went with it was so great that I would not have had the pain withdrawn ... THETHE TRANSITION:TRANSITION: 15701570--16301630 Il Gesú, Rome, begun by G B da Vignola, c 1568, and completed to cornice level by the time of his death in 1573 Scala 9122 Il Gesú, plan Nikolaus Pevsner, An Outline of European Architecture (Harmondsworth [Middlesex] 1968 [1943]), p 233 Il Gesú: Vignola's façade design, c 1573; Giacomo della Porta's façade, completed 1584 engraving by Mario Cartaro, in Giacomo de Rossi, Insignium Romae Templorum, 1684; Scala 9111 Il Gesú: Giacomo della Porta's façade, completed 1584 Rolf Toman [ed], Baroque Architecture Sculpture Painting (Cologne 2007 [2004]), p 14 some Baroque characteristics 1.
    [Show full text]
  • Domenichino's Scenes from the Life
    DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................
    [Show full text]
  • Lecture on Totalitarian Pleasures: Ideology and the Urban
    Lecture "Totalitarian Pleasures: Ideology and the Urban Streetscape under Mussolini, Hitler, and Stalin." Sponsored by Friday, January 16, 2009 12:00 p.m. –1:30 p.m. Department of History Seminar Room—DM 370 The Miami--Florida European Union Center of Excellence Dr. John Beldon Scott & The European Studies Professor, Art History Program Elizabeth M. Stanley Professor of the Arts School of Art & Art History & University of Iowa The Department of John Beldon Scott received the B.A. from Indiana University (1968) and History M.A. and Ph.D. degrees from Rutgers University (1975, 1982). His field of Brown Bag Series teaching and research is the art and architecture of early modern Italy. He is the author of Images of Nepotism: The Painted Ceilings of Palazzo Bar- & berini (Princeton, 1991) and Architecture for the Shroud: Relic and Ritual in DOHGSA Turin (Chicago, 2003). His other publications include studies of Borromini, Department of History Graduate Guarini, Pietro da Cortona, Annibale Carracci, Bernini, the patronage of the Student Association Barberini family, and urbanism in early modern Turin. His teaching and re- search interests also embrace the social history of art and interactions be- tween architecture and ritual. He has been a fellow at the American Acad- & emy in Rome, the National Humanities Center, the Institute for Advanced The Wolfsonian Study, and the Stanford Humanities Center. He has served on the Board of Directors of the Society of Architectural Historians (1997-2000). He is cur- rently preparing a study of urbanism and ritual in totalitarian regimes. In January 2009, he will be a fellow at the Wolfsonian-FIU.
    [Show full text]
  • THE PANTHEON INSTITUTE ARCH 499B: Architectural/Urban Analysis the Urban Roots of Design - a Roman Perspective Romolo Martemucci & David Sabatello
    THE PANTHEON INSTITUTE ARCH 499B: Architectural/Urban Analysis The Urban Roots of Design - A Roman Perspective Romolo Martemucci & David Sabatello Instructors : Romolo Martemucci - <[email protected]> David Sabatello - [email protected] Credits: 3 Prerequisite: Architecture or Landscape architecture majors or permission of instructor Semester: Spring 2017 By architecture, I mean not only the visible image of the city and the sum of its different architectures, but architecture as construction, the construction of the city over time. Aldo Rossi The Architecture of the City (1966) As an architect, I try to be guided not by habit but by a conscious sense of the past---by precedent, thoughtfully considered. Robert Venturi Complexity and Contradiction in Architecture (1966) 1 Course Description The course is based on the theoretical assumption that in an age in which architecture is at the forefront of the contemporary cultural debate, the knowledge and awareness of the historical heritage of contemporary design, is an essential tool to avoid futile stylistic exercises. The architect more than any other intellectual should be sensitive to cultural tradition in order to propose solutions which may very well be radical, but never ignorant of the cultural framework in which he or she is operating. The course proposes an investigation of the historical roots of the "Modern Language of Architecture". The concept of "Modern Language of Architecture" stems from the idea that Modernity is an attitude and not merely a historical phase (i.e.: The Modern Movement). Therefore Modern are all those architectures which have challenged established values and have proposed new and more significant interpretations of their times.
    [Show full text]
  • “Pietro Da Cortona—The Barberini Ceiling; Gianlorenzo Bernini—The Chapel of St
    “Pietro da Cortona—The Barberini Ceiling; Gianlorenzo Bernini—The Chapel of St. Teresa,” Art of the Western World, PBS Channel 13, October 30, 1989, in Episode 5, Realms of Light: The Baroque (http://www.amazon.com/Realms-of-Light-The-Baroque/dp/B007NEZIUI) (click here for first page) 1 “Pietro da Cortona—The Barberini Ceiling; Gianlorenzo Bernini—The Chapel of St. Teresa,” Art of the Western World, PBS Channel 13, October 30, 1989, in Episode 5, Realms of Light: The Baroque (http://www.amazon.com/Realms-of-Light-The-Baroque/dp/B007NEZIUI) Art of the Western World PBS Channel 13 October 30, 1989 Pietro da CortonaThe Barberini Ceiling In many ways the age of the Baroque was the dawn of a new era and people were acutely aware that somehow the human spirit had received a great infusion of power. One work of art, perhaps more than any other in Italy, both displays the new spirit and at the same time celebrates its descent upon the world. This is the frescoed vault by the painter Pietro da Cortona in the main ceremonial hall of the Barberini palace, built in Rome during the second quarter of the seventeenth century for the family of the newly elected pope, Urban VIII, the man who perhaps more than any other embodied and promulgated the transformation (Fig. 1). We feel its bold aggressiveness at a glance: the space of the room fairly erupts with turbulent masses of exuberant, cloud-borne and free-floating figures who perform a breathtaking aerial drama against the background of a heavy architectural vault and open sky beyond.
    [Show full text]
  • Joseph Connors, “Chi Era Ottonelli?,” in Pietro Da Cortona, Milan, 1998, Pp
    Joseph Connors, “Chi era Ottonelli?,” in Pietro da Cortona, Milan, 1998, pp. 21-27. Ottonelli, Jean Dominique, [né à Fanano, mourut à Florence en 1670, à l’âge de 86 ans.] reçu en 1602, enseigna pendant quelques années les belles lettres, et devint ensuite recteur de Recanati et de Fermo. Il passa la plus grande partie de sa vie à Florence, s’occupant du salut des âmes, et de la composition de ses ouvrages. Ceux qui traitent du théâtre sont fort curieux, l’auteur en avait fait une étude particulière. These few lines from de Baker and Sommervogel’s Bibliothèque des écrivains de la Compagnie de Jésus of 1872 were almost all we knew of Ottonelli’s biography. We have no dates for the time spent in the Jesuit colleges of Recanati and Fermo. Someone with the same last name, “Lelio Ottonelli Conte di Tregnano” published a devotional book in 1655 and this suggested to Sommervogel a noble origin for our Ottonelli (Gian Domenico). Baldinucci gives a report of sermon Ottonelli gave in Florence in 1640 (when Baldinucci was 15, therefore from hearsay) and says he did much good by his preaching, but even more by staying in his room and writing. Indeed his twenty books stack up to almost 7000 pages of dense confessional prose. Ottonelli wrote more than Vasari. But what was he like as a man, why did he write on art, and especially why did he write on theater? “ses ouvrages...qui traitent du théâtre sont fort curieux, l’auteur en avait fait une étude particulière.” In fact it is the books on theater, especially Della Christiana moderatione del teatro, that tell us much about Ottonelli.
    [Show full text]
  • A Rediscovered Altarpiece by Pietro Da Cortona and Insights Into the Collaboration Between the Master and His Pupils by GIOVAN BATTISTA FIDANZA
    A rediscovered altarpiece by Pietro da Cortona and insights into the collaboration between the master and his pupils by GIOVAN BATTISTA FIDANZA THIS ARTICLE ILLUMINATES the working methods of Pietro preaching and praised the work for its style and colour, especially da Cortona and his collaboration with his assistants and pupils for the contrapposto of the women in the foreground (see Appendix during the last fifteen years of his life, when the artist received a 2). 3 In contrast, he thought poorly of Cortona’s celebrated large number of commissions but also suffered from poor health. Martyrdom of St Lawrence in the church of SS. Michele e Gaetano Donatella Sparti has studied his studio practice in his workshop in Florence. While the Bolognese art historian Marcello Oretti, in via della Pedacchia, Rome, to which he moved in 1652. 1 writing in 1777, seemed unsure of the attribution, 4 the local It appears to have been a sort of ‘industrial production line’, scholar Lucio Bosi, writing in 1820, was confident that it was the whereby the master conceived the composition and made the work of Cortona. 5 The last person to record the work in Forlì abbozzi , while part of the overpainting (in some cases, all of it) was Giovanni Casali who, in his guide to Forlì of 1838, 6 and was entrusted to his pupil–collaborators who had proved their again in his revised edition of 1863, 7 listed an altarpiece by P ietro ability to assimilate his pictorial language. According to Sparti, da Cortona of St John Chrysostom evicting the adulteress this was a fluid entrepreneurial arrangement between master and from the temple in the presbytery of the Dominican church of assistants.
    [Show full text]
  • Seventeenth-Century Italian Painting
    Seventeenth-century Italian Painting ... The seventeenth century offers a surprising diversity of expression due to the specificity of the nations making up Europe, as well as the succession of political and cultural events that would drastically change ideas that had endured from generation to generation. The Italian works here testify to this proliferation, from the final hours of Mannerism (Cigoli) to the twofold dominant influence of Caravaggio’s realism (Preti, Ribera…) and Bolognese classicism (Domenichino, Cagnacci…). In the face of Italian models, French painting asserted its otherness with key artists such as Poussin or Vouet, as well as Bourdon, Stella, Blanchard or La Hyre who offered an infinite variety of trends (including classicism, Italianism and atticism). The Griffin Gallery Caravaggio, the Carracci ... and the Emergence of Baroque European Art In the seventeenth century only the Church States and the Serenissima “Most Serene” from the Fourteenth to Republic of Venice retained relative autonomy in an Italy controlled by foreign powers. Since Eighteenth Century the sack of Rome in 1527, Milan, the kingdoms of Naples and Sicily had been under Spanish domination. The grand duchy of Tuscany received Iberian garrisons and the Republic of Genoa accommodated the invincible Armada. Independent duchies such as Mantua-Montferrat, Parma- Plaisance and Modena-Reggio were under French supervision. Yet the Italian peninsula continued to pursue its cultural influence, and the richness of its various regional centres ... provided a real artistic proliferation. At the turn of the century, there were two dominant tendencies : in Bologna, followed by Rome, the Carracci formed a movement styled on classicism, while from Genoa to Naples Caravaggio introduced tenebrism and realism.
    [Show full text]