ARH 4312 Renaissance Posted Syllabus
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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'. -
What the Renaissance Knew II
Art of the Rinascimento Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know 1 What the Rinascimento knew • Prodromes of the Rinascimento (Firenze) – Giotto: Naturalism + Classicism – Santa Maria Novella 1278-1360 – Santa Croce 1295-1442 (Arnolfo di Cambio) – Palazzo Vecchio 1299-1314 (Arnolfo di Cambio) – Duomo, except dome 1296-1366 (Arnolfo di Cambio) – Campanile 1334 (Giotto) – Doors of the Baptistery of Firenze (Lorenzo Ghiberti) – Donatello 2 What the Rinascimento knew • Art of the Rinascimento – Medieval mindset • The human race fell from grace and is living in hell, waiting for the end of the world that is coming soon • Contemplative life – The new mindset in Italian city-states • The world is full of opportunities, and paradise is here if you can make it happen • Active life 3 What the Rinascimento knew • Art of the Rinascimento – Medieval aesthetic • Originality is not a value • Imitation is prescribed, almost mandatory • Plagiarism is the way to broadcast ideas • Cooperation among "artists", not competition • The artist is just one of many craftsmen cooperating on building the city • The artist is a servant • Little imagination and little realism • Most paintings are for church walls or wooden panels 4 What the Rinascimento knew • Art of the Rinascimento – The new aesthetic in Italian city-states • Originality • The artist is a creator • Lots of imagination and lots of realism • Rediscovery of Greek and Roman art • Easel painting become more common 5 What the Rinascimento knew • Art of the Rinascimento – Patronage of the -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. -
7 X 11 Long.P65
Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information t INDEX Achilles, shield by Hephaistos, 61, 223n23 two versions, Italian and Latin, 223n15 Achilles Tatius on verisimilitude, 94, 98 on grouping of paintings, 172, 242n53 De re aedificatoria on painting depicting the myth of Philomela, on fabulae, 38 188. See also Europa on historiae, 38 translated by Dolce, 172 on paintings in villas, 38 Acrisius, legendary King of Argos, 151 humanistic painting program of, 38, 59 ad fontes, 101 Aldrovandi, Ulisse, Adhemar,´ Jean, 19, 227n90 All the Ancient Statues ...,12 Adonis on antique statues of Adonis and Venus, 114 Death of Adonis by Piombo, 215n4. See also description of Danae,¨ 127, 128 Venus and Adonis description of Europa, 91 Adriani, Giovanni Battista, 152–153, 169, 170, description of Marsyas, 135–136 174 description of Proserpina, 106 Adrian VI (pope from 9 January 1522 to 14 description of statues compared with Lucius’s, September 1523), 44 114 dispenses with antiquities from Rome, 44 on gardens, 153 tutor of Charles V, 246n6 identification of mythological subjects by, 12 Aesop, 197, 200 Alexander the Great, 42 Agostini, Niccolodegli,` 65 armor of, 138 Alamanni, Luigi, Favola di Narcisso and Favola di and Roxana. See Sodoma (Giovanni Antonio Fetonte, 211, 248n48 Bazzi) Alberti, Leon Battista alla franceze. See Warburg, Aby De pictura, 4 all’antica on art practices, 56 accumulated interest in antiquity required for, on brevitas, 190 2, 131 on historia, 58–59 -
MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI
MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion. -
Profiling Women in Sixteenth-Century Italian
BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and -
Cas Summer Abroad
CAS SUMMER ABROAD Spotlight on Florence Italy, and Florence in particular, has long been a tourist My visit in June coincided with two of the program’s destination, attracting millions to its Renaissance towns included excursions: a day trip to explore the Val D’Orcia, throughout the year. The College’s Summer in Florence pro- with its picturesque Tuscan hillsides, and an overnight jour- gram transcends this one-dimensional definition and exposes ney to Verona and Mantua to experience Giuseppe Verdi’s students to a more authentic experience through language, Nabucco and the regional specialties of the Veneto and history, culture, music, and Lombardy. In 2017, students also ventured south to appreci- art. Centered at NYU’s Villa La ate the monuments and museums of Rome. Pietra, a 57-acre Tuscan estate comprising five refurbished Participants may also take part in NYU Florence’s The Season, villas donated by Sir Harold an annual celebration devoted to arts, literature, and culture. Acton in 1994, students have Open to the wider Florentine community as well, in 2017 ...opportunities access to state of the art facil- the schedule featured readings by internationally acclaimed that take ities and dedicated staff while writers, like Catherine Barnett and Alexander Chee, the engaging in summer study. debut of NYU Tisch professor Sam Pollard’s Sammy Davis Jr: students outside I’ve Gotta Be Me (subsequently shown at the Toronto Film the traditional Our courses offer learning Festival), and a series of theatrical performances by Tisch opportunities that take stu- students and other artists. With everything on offer during classroom to dents outside the traditional the summer months, Florence and Villa La Pietra inspire as engage with the classroom to engage with the the backdrop for your academic and cultural experience. -
The Renaissance Reception of the Alhambra: the Letters of Andrea Navagero and the Palace of Charles V Author(S): Cammy Brothers Source: Muqarnas, Vol
The Renaissance Reception of the Alhambra: The Letters of Andrea Navagero and the Palace of Charles V Author(s): Cammy Brothers Source: Muqarnas, Vol. 11 (1994), pp. 79-102 Published by: Brill Stable URL: http://www.jstor.org/stable/1523211 Accessed: 19-04-2016 01:52 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/1523211?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Brill is collaborating with JSTOR to digitize, preserve and extend access to Muqarnas This content downloaded from 128.143.23.241 on Tue, 19 Apr 2016 01:52:31 UTC All use subject to http://about.jstor.org/terms CAMMY BROTHERS THE RENAISSANCE RECEPTION OF THE ALHAMBRA: THE LETTERS OF ANDREA NAVAGERO AND THE PALACE OF CHARLES V For sixteenth-century European visitors to Granada, the the reflections of a discerning, well-educated humanist. Alhambra presented a splendid, intact monument of a When Ferdinand and Isabella provided for the preserva- culture that was otherwise foreign. When Andrea Navag- -
The Scultori and Ghisi Engraving Enterprise in Sixteenth-Century Mantua and Beyond
“OLD IN SUBSTANCE AND NEW IN MANNER”: THE SCULTORI AND GHISI ENGRAVING ENTERPRISE IN SIXTEENTH-CENTURY MANTUA AND BEYOND by Hilary Letwin A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland December, 2013 Part 1 Abstract: This dissertation seeks to reframe the way in which the prints of the incisori Mantovani, Giovanni Battista (1503-1575), Adamo (1530?-1587) and Diana Scultori (1547-1612), and Giorgio Ghisi (1520-1582), are examined. Previously, their contributions in the printmaking process, largely engraving prints that are after the designs of other artists, have been dismissed as reproductive. This dissertation examines the ways in which these printmakers worked to elevate their engravings from simply reproductive to creative works of art in their own right. Their engravings, which certainly took inspiration from the designs of Giulio Romano, among others, were not the product of a close collaboration between a master and the engravers. Instead, the engravers appear to have worked fairly autonomously, in Mantua and elsewhere, engaging with and manipulating their source material, experimenting technically and in the design of their prints, and finally questioning the role of engraving within the greater framework of artistic practice in the sixteenth century. Chapter one examines the work of Giovanni Battista, who used printmaking as a creative outlet, seeking a freedom not possible in his other sculptural projects that were carried out according to the specifications of patrons and artistic masters. His engravings can be seen as an attempt to “conquer” these outside influences. Chapter two considers the prints and career of Adamo Scultori, who used his prints to comment on the “enslavement” of reproductive printmakers to their sources. -
The Grotesque in the Fiction of Charles Dickens and Other 19Th- Century European Novelists
The Grotesque in the Fiction of Charles Dickens and Other 19th- century European Novelists The Grotesque in the Fiction of Charles Dickens and Other 19th- century European Novelists Edited by Isabelle Hervouet-Farrar and Max Vega-Ritter The Grotesque in the Fiction of Charles Dickens and Other 19th-century European Novelists Edited by Isabelle Hervouet-Farrar and Max Vega-Ritter This book first published 2014 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Isabelle Hervouet-Farrar, Max Vega-Ritter and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-6756-X ISBN (13): 978-1-4438-6756-6 TABLE OF CONTENTS Acknowledgments .................................................................................... viii Introduction ................................................................................................. 1 The Grotesque in the Nineteenth Century Isabelle Hervouet-Farrar Part I: Influences and Early Forms Chapter One ............................................................................................... 12 L’Histoire du roi de Bohême and Oliver Twist under Cruikshank’s Patronage: The Dynamics of Text -
ARCH 2315 Exam I: Study Review Part I: Identification of Buildings and Sites
ARCH 2315 Exam I: Study Review Part I: Identification of buildings and sites. The Identifications on this review are correct; some identification on your daily study guide for lectures are incorrect. Follow THIS review, not the study guide for dates, locations, architects. Part II: Context Images: these images form the cultural context we have talked about (think SPEAR). Part III: Study questions for both the ID and Essay questions on the Exam. Exam Review: Monday, February 7, 5-6 pm, AG 214. Format of the Exam: Part I: 20 to 25 Identifications (ID), 1/2 point for each piece of information. Some Identification will be listing or giving information. Most Identification will be of buildings and sites. In dating these buildings and sites, you may round up or down to a year ending in “0” or in “5”. For example, Palazzo Medici dates to 1444. You may date it to 1440 or 1445, as long as the date you give is within five years of the true date. NOTE: Some identification will be identification of motifs, definitions of words/terms, etc. Part II: 3 Short Essays, 10 points each. Images for these questions will be taken from the IDs in Part I and from the Context Images. Part III: 2 Short Essays, 15 points each. Images for these questions will be taken from the IDs in Part I and from the Context Images. (note: point distribution may differ slightly on the final version of the exam) EXAM REVIEW: Monday, February 7, 5 p.m. AG 214 (our regular classroom) I will lead this review, but you must study before you come. -
Tropic Architecture John S
Roger Williams University DOCS@RWU School of Architecture, Art, and Historic School of Architecture, Art, and Historic Preservation Faculty Publications Preservation 2015 Tropic Architecture John S. Hendrix Roger Williams University, [email protected] Follow this and additional works at: http://docs.rwu.edu/saahp_fp Part of the Architecture Commons Recommended Citation Hendrix, John S., "Tropic Architecture" (2015). School of Architecture, Art, and Historic Preservation Faculty Publications. Paper 32. http://docs.rwu.edu/saahp_fp/32 This Conference Proceeding is brought to you for free and open access by the School of Architecture, Art, and Historic Preservation at DOCS@RWU. It has been accepted for inclusion in School of Architecture, Art, and Historic Preservation Faculty Publications by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. Tropic Architecture John Hendrix Mannerist architects in the Cinquecento created what can be called “tropic architecture.” They set out to break the rules of classical architecture, but the rule-breaking was done systematically, by applying rhetorical tropes, or fig- ures of speech, to architectural composition, the four most common being metaphor, metonymy, synecdoche, and irony. According to Kristeller, rheto- ric was an important basis of Renaissance humanism. Students learned tropes and other figures of speech from well-circulated classical texts such as the Rhetorica ad Herennium and Quintilian’s Institutio oratorio . Examples of tropic devices can be found in works such as Giulio Romano’s Palazzo del Te and Michelangelo’s Porta Pia. There are many examples of mannerist works of architecture in the twentieth century that used the same tropic de- vices.