ATH 344.001 WI–Writing Intensive: M anneri sm and Baroque A rt SUNY Cortland Art and Art History Department Dr . Bar bar a Wisch Spring 2011 Dowd 206: TR 2:50–4:05 pm Office Hours: TR 10:45 am–11:15 am, 1:10–2:10 pm, and 4:10–4:40 pm W 5–5:30 pm, & by appointment Dowd Fine Arts Center 220, 753–4100 Email: [email protected]

S yl l abus

This course examines painting, the graphic arts, sculpture, and architecture of Southern and Northern Europe (Italy, France, Flanders, England, Spain, and the Dutch Republic) in the sixteenth and the seventeenth centuries. This historical period encompassed dramat ic changes in religion, society, and the arts—from the Protestant Reformation (1517) that called for iconoclasm (the destruction of religious art) to the establishment of absolutist courts with seemingly limitless wealth to expend upon the arts. Some of the most famous names in the history of western art produced stunning works in these centuries: Michelangelo, Raphael, Titian, Caravaggio, Bernini, Poussin, Rubens, V elázquez, V an Dyck, V ermeer, and Rembrandt . N ot only did t he art s undergo great stylistic change, but new themes and new kinds of works—l an d scap e, d o m est i c scen es, st i l l -life, and genre sub j ect s—appropriate for new religious beliefs and new kinds of patrons evolved. An international, open art market also developed as artists were reformulating their social identity and methods of production—desiring t o be “ academics” —t hr ough new ar t academies. We will use car ef ul f or mal analysis and a close study of iconography—the visual conventions and symbols used to portray ideas in works of art—t o emphasize t hese wor ks as an int egr al par t of their historical, social, and cultural contexts. Special readings, to be discussed in depth, offer diverse interpretations of individual works and afford insight into critical methods of art historical analysis. In these ways, the rich visual culture of t he periods generally called M anner ism and Bar oque may be elucidat ed. T ext book A nn Sutherland Harris, Seventeenth-Century Art & Architecture, 2nd edition (Upper Saddle River, NJ: Pearson Prentice Hall, 2008) Readi ng assi gnment s • You are expect ed t o keep up-to-dat e wit h the reading assignments. • Other assigned readings include scholarly interpretations of specific works of art . Some have been placed on Closed Reserve in M emorial Library. A number of the assigned articles may be found in Jstor, the dat abase of f ull-t ext art icles ( or in the non-circulating Periodicals Collection in Memorial Library on the third floor), and on E–Reserve. Cl ass di scussi on Cl ass t i m e i s al l o t t ed f o r l ect u r es an d f o r d i scussi o n . Participation in class discussion i s expect ed and will be 20% of t he f i nal cour se gr ade. Regul ar cl ass at t endance i s r equi r ed, as specified in the College Handbook. If you miss more than two classes, whether or not you have an official university excuse in writing from the Office of the A ssociate Dean, your final grade will be decreased increment ally per absence. If you miss a cl ass i n which specific assigned readings are due, you will be penalized as well. You are expect ed to read all assignments—textbook and special readings—bef or e coming t o class. E xams Take-home mi dt er m (due date to be announced) = 25% You will have the opportunity to respond to my comments and rewrite one section of the midterm exam in order to improve your writing skills and your grade.

Take-home final = 25% Du e at the latest Monday, May 11, noon, in my of f ice or my mailbox (Ar t Off i ce, DFA 222).

No l at e exams accepted! Failure to turn in the exams on time without an official university excuse in writing from the Office of the A ssociate Dean will result in a grade of “ zero” averaged into t he final grade. A cademi c I nt egr i t y Every student should be aware of the policies set out in Chapter 340 of the SUNY Cortland College Handbook (http:/ / www.cortland.edu/ president/ handbook.pdf). Those rules will be enforced in this class. “ Students are expected to submit and present work that is their own with proper documentation and acknowledgement when the work of others” (Chapter 340.02). A s stated in the guidelines, plagiarism (intentional as well as inadvertent), cheating on examinations, or other forms of academic dishonesty will be punished. A ny student thought to be cheating will be confronted, and college policies on academic dishonesty will be pursued. My policy is that the student will receive a grade of “ zero” on the exam or paper, and most likely a failing grade in this course. D isabilities If you are a student with a disability and wish to request accommodations, please cont act t he O ffice of Student Disabilit y Services locat ed in B–40 Van Hoesen Hall or call (607) 753– 2066 for an appointment. Information regarding your disability will be t reat ed in a confident ial manner . Because many accommodat ions r equir e ear ly planning, requests for accommodations should be made as early as possible.

T er m P aper = 3 0 % of grade. Du e at the latest in class on Tuesday, April 28. A ll borrowed books and materials must be ret urned by t his dat e.

No late papers accepted!! Failure to turn in the paper on time without an official university excuse in writing from the Office of the A ssociate Dean will result in a grade of “ zero” averaged into t he final grade.

The paper i s t o be seven-to-ei ght t yped pages (double-spaced, Times New Roman, 12 point font, 1¼ inch margins, all pages numbered in the upper right corner). The paper must also include black/ white illustrations ( det ailed capt ions ar e not necessar y since t he full identifying information will be in text) as well as proper endnot es and bibliography according to Art Bulletin form. Illustrations, endnotes, and bibliography are in addition t o t he seven-to-eight pages of t ext . You must t urn in a hard copy; an electronic copy is not acceptable. If you do not adhere to all of these basic specifications, your term paper grade will automatically be lowered one grade “ level” ( for example, from B+ t o B) . • You may choose any work of art, artist, or theme that falls within the seventeenth century as your focus, but your sel ect i on must be appr oved by t h e p r o f esso r . • All topics and basic bibliography must be approved by Thursday, February 26. No more than one online source may be used in addition to scholarly books and articles. A n article in Jstor is considered a scholarly source, not an “ online” source. Wikipedia is not a scholarly source and may not be used as a reference in your paper. • The Artstor dat abase of digit al images and t he Jstor dat abase of full-t ext articles from scholarly journals in the arts and sciences are available from Memorial Library’s homepage. Click on “ Find Articles,” then “ Databases by Title.” Interlibrary Loan is also an essen t i al tool, but you must order books and articles well in advance. See a Research/ Reference Librarian for help. • You are strongly encouraged to submit an outline and a rough draft in adequat e t ime prior to the due date of the paper. This is part of your “ writing intensive” assignment and will surely improve your grade. S uggest ed T opi cs

In addition to the artists named in the syllabus and themes (with bi bl i ogr aphy) der i ved f r om t he r eadi ngs, her e ar e some suggest ed t opics:

Saints as sinners: the penitent Magdalene; St. Peter in t ears Jesuit pat ronage Paint ing and t he plague Immaculat e Concept ion iconography Self-portraits and the professional identity of the artist The development of t he art academy: art ists as “ academics” Bernini’ s fountains Political and religious spectacles in print Dressing for success at court or in t he cit y Palace archit ect ure Pleasure gardens Landscape painting Honoring the dead: temporary catafalques; papal tombs; funerary chapels Cardsharps, fortunetellers, procuresses The art mar ket in sevent eent h-century Holland Seascapes and the Dutch global economy City views: in paint, in print Market scenes The Dutch domestic interior Celebrating with Jan Steen Rubens in Rome St i l l -life painting: food, flowers, objects The art of the church interior without art Rembrandt’s etchings Rembrandt and the Jewish community L ect ure and D i scussi on T opi cs Cr eat i ng t he Ca non i n Rome I. The “ divine” Mi chel angel o (1475–1564): The Sistine Chapel ceiling for Pope Julius II (1503–13) Frederick Hartt and David G. Wilkins, History of Italian Renaissance Art: Painting, Sculpture, Architecture, 6 t h ed. ( U pper Saddle River, N J: Pearson/ Prent ice Hall, 2007), 503–21. N6915.H37 2006; Closed Reserve #1133

I I . Raphael (1484–1520): prince of painters

Har t t–Wilkins, 521–47.

M anneri sm,“ M ani era, ” L at e Renai ssance III. Michelangelo: The Medici Tombs and Library at San Lorenzo for Pope Clement VII (1523–34); the Last Judgment for Pope Paul III (1534–49) Har t t–Wilkins, 549–61, 657–61.

I V. Florentine “ Mannerism” from the workshop of Andr ea del Sar t o (1486–1530) Pont or mo (1494–1557) Rosso (1495–1540)

Har t t–Wilkins, 561–73. Special reading assignment: M ar cia Hall, After Raphael: Painting in Central Italy in the Sixteenth Century ( N ew Yo r k: Camb r i d ge U n i ver si t y Pr ess, 1999), 1–11. ND615.H39 1998; Closed Reserve #1138

V. In and out of Rome in the 1520s and 1530s Par mi gi ani no (1503–40) Giulio Romano (c. 1499–1546) Cor r eggi o (1494–1534)

Har t t–Wilkins, 580–7, 589, 594–7.

VI . V enice, “ la Serenissima,” in t he sixt eenth century Ti t i an (c. 1490–1576), Count Palatine Tintoretto (1518–94)

Har t t–Wilkins, 603–20, 630–37. VII. A r t i st –courtiers of Medici Granddukes of Tuscany Agnolo Br onzino (1503–1572) Gior gi o Vasar i (1511–1574) Benvenut o Cell i ni (1500–1571) Giovanni Bol ogna (1529–1608)

Har t t–Wilkins, 667–86. Special reading assignment: • Charles Hope, “ Bronzino’s Allegory in the National Gallery,” Journal of the Warburg and Courtauld Institutes 45 (1982): 239–43. Jstor • Graham Smith, “ Bronzino’s A llegory of Happiness,” Art Bulletin 66 (1984):Jstor 390 –9. • Margaret Healey, “ Bronzino’s London ‘Allegory’ and the Art of Syphilis,” Oxford Art Journal 20 (1997): 3–11. Jstor • Car ol Plazzot t a and Larr y Keit h, “ Br onzino’ s ‘ A llegor y’ : N ew Evidence of t h e A r t i st ’ s Revi si o n s, ” Burlington Magazine 141 (1999): 89–99. Jstor Suggested: Yael Even, “ The Loggia dei Lanzi: A Showcase of Female Subjugation,” in The Expanding Discourse: Feminism and Art History, N or ma Br oude and M ar y D. Gar r ar d eds. , ( N ew Yor k: HarperCollins, 1992), 124–37. N72.F45E96 1992; Closed Reserve #1136

Suggested: Marcia Hall, After Raphael: Painting in Central Italy, 215–43. ND615.H39 1998; Closed Reserve #1138

Ref or m and I nnovat i on VIII. The Catholic Reformation, the Council of Trent (1545–6 3 ) , and t he variet y of styles in the later sixteenth century Michelangelo, Paol o Ver onese (1528–88), and censorship Giacomo da Vignola (1507–73) & Giacomo del l a Por t a (1541–1604) and Il Gesù The Oratory of the Gonfalone The Oratorians and Santa Maria in Vallicella (Chiesa Nuova), 1575–1605: Feder i co Bar occi (1526–1612), Sci pi one Pul zone (c. 1550–98) Po p e Si xt u s V (1585–90) and Rome Triumphant

Har t t–Wilkins, 638–44. Special reading assignment: John T. Paolet t i and Gar y M . Radke, Art in Renaissance Italy, 2nd ed. (Upper Saddle River, NJ: Prentice Hall, 2002), 441, 451–5, 462–78. N6915.P26 2002; Closed Reserve #1134 Suggested: Marcia Hall, After Raphael: Painting in Central Italy, 267–74. ND615.H39 1998; Closed Reserve #1138 B ar oque I t a l y I X. Formulation of the Baroque and transformations in early sevent eenth-century Italy The Car r acci (Anni bal e [1560-1609], Agostino, Ludovico) Caravaggio (1573–1610) and t he Car avaggeschi Artemisia Gentileschi (1593–1652)

Harris, xii–xxiii, 1–56. Special reading assignment: Pamela M . Jones, “ The place of povert y in Seicent o Rome: bare feet , humilit y, and t he pilgrimage of life in Caravaggio’ s Madonna of Loreto (ca. 1605–06) in the church of S. A gostino,” in idem, Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (A ldershot, UK, and Burlington, VT: A shgate, 2008), 75–136. E-Reserve Suggested: M ar y D. Gar r ard, “ A r t emisia and Susanna, ” in N or ma Broude and Mary D. Garrard, eds., Feminism and Art History: Questioning the Litany ( N ew York: Harper & Row, 1982), 147–72. N72.F45 F44 1982; Closed Reserve #1137

X. Up, up and away: High Baroque ceiling painting Gui do Reni (1575–1642) Guer ci no (1591–1666) Giovanni Lanfranco (1582–1647) Pi et r o da Cor t ona (1596–1669) I l Baci cci o (1639–1709) Fat her Andr ea Pozzo (1642–1709)

Harris, 61–77, 113–20, 127–34

XI . Gianl or enzo Ber ni ni (1598–1680): “ Rare man, sublime artificer, born by Divine Disposition and for the glory of Rome to illuminate the century,” Pope U r ban VIII (1623–44) Car l o Mader no (1556–1629) Fr ancesco Bor r omi ni (1599–1667)

Harris, 78–113 Special reading assignment: • Joy Kenseth, “ Bernini’s Borghese Sculptures: A nother View,” Art Bulletin 63 (1981): 191–210. Jstor • Jennifer M ont agu, “ Review of Bernini and the Unity of the Visual Arts,” Burlington Magazine 124 (1982): 240–3. Jstor • Susanne Warma, “ Ecstasy and Vision: Two Concepts Connected with Bernini’ s Teresa,” Art Bulletin 66 (1984): 508–11. Jstor • Suggested: Michael J. Call, “ Boxing Teresa: The Counter-Ref or mat ion and Bernini’s Cornaro Chapel, “ Women’s Art Journal 18 (1997): 34–9. Jstor Baroque F rance XII. “L’Etat c’est moi.” A rt and architecture in France during the reign of the Sun King, Louis XIV (1643–1715) Ni chol as Poussi n (1593/4–1665) Claude Lor r ai n (1600–82) Loui s Le Vau (1612–70) Char l es Le Br un (1619–90) Claude Per r aul t (1613–88) Andr é Le Not r e (1613–1700) Harris, 251–63, 285–321

Baroque F l anders XIII. Triumphant Catholicism in Flemish painting: Sir Pet er Paul Rubens (1577–1640)

Harris, 143–74 Special reading assignment: Margaret Carroll, “ The Erotics of A bsolutism: Rubens and the Mystification of Sexual Violence,” in The Expanding Discourse, 138–59. N72.F45E96 1992; Closed Reserve #1136

Baroque Eng l and XI V. Si r Ant hony van Dyck (1599–1641), “il pittore cavalieresco,” court painter to King Char les I of England Harris, 174–86

Baroque S pai n XV. Age of Iron, A ge of Gold: Spanish painting in the seventeenth century El Gr e c o (1541–1614) Jusepe de Ri ber a (1591–1652) Fr anci sco de Zur bar án (1598–1664) Diego Rodr íguez de Sil va y Vel ázquez (1599–1660), “pintor de cámara” and t he new A pelles

Harris, 199–200, 207–40 Special reading assignment: Jonathan Brown, “ On the Meaning of Las Meninas,” in Images and Ideas in Seventeenth-Century Spanish Painting ( Pr i n cet o n : Pr i n cet o n U n i ver si t y Pr ess, 1 9 7 8 ) , 87–110. ND806.B76; Closed Reserve #1140 Baroque H o l l and XVI . The Golden A ge of Dutch Painting The “ lit t le masters” and genre painting Jan Ver meer (1632–75) Fr ans Hal s (1581/85–1666)

Harris, 323–5, 331–9, and 368–99 Special reading assignment: Celeste Brusati, “ Natural Artifice and Material Values in Dutch Still Life,” in Looking at Seventeenth-Century Dutch Art: Realism Reconsidered, Wayne E. Fr anit s ed. ( Cambr idge and New York: Cambridge University Press, 1997), 144–57. ND646 .F7 1997; Closed Reserve #1135

Suggested: A lison McNeil Kettering, “ Ter Borch’s Ladies in Satin,” ,” in Looking at Seventeenth-Century Dutch Art, 98–115. ND646 .F7 1997; Closed Reserve #1135

XVII. Rembr andt van Ri j n (1606–69): “ I maint ain that no one, be he Protogenes, A pelles or Parr hasius, ever conceived – or were they to return to earth – ever could conceive what has been gathered in a single human figure and expressed in its totality by a beardless boy, a Dutchman, a miller’s son. I say this in pure amazement. Rembrandt, I salute you!” Constantijn Huygens, secretary to the Prince of O range, c. 1 6 28

Harris, 345–68 Special reading assignment: Ernst van de Wet ering, “ Rembrandt’s Manner: Technique in the Service of Illusion,” Christopher Brown, Jan Kelch and Pieter van Thiel, Rembrandt, the Master and his Workshop: Paintings (New Haven and London: Yale University Press, 1991), 12–39. ND653.R4 A42 1991; Closed Reserve #1139 ATH 344.001–WI Dr. Bar bar a Wisch Spring 2009 M anneri sm and Baroque A rt TWO-HOUR CLOSED RESERVE

The Expanding Discourse: Feminism and Art History, N or ma Br oude and M ar y D. Garrard eds. (New York: HarperCollins, 1992). N72.F45 E96 1992; #1136

Feminism and Art History: Questioning the Litany, Norma Broude and Mary D. Garrard eds. (New York: Harper & Row, 1982). N72.F45 F44 1982; #1137

Frederick Hartt and David G. Wilkins, History of Italian Renaissance Art: Painting, Sculpture, Architecture, 6t h ed. ( U pper Saddle River, N J: Pearson / Prent ice Hall, 2007). N6915.H37 2006; #1133

John T. Paolet t i and Gar y M . Radke, Art in Renaissance Italy, 2nd ed. (Upper Saddle River, NJ: Prentice Hall, 2002). N6915.P26 2002; #1134

Marcia Hall, After Raphael: Painting in Central Italy in the Sixteenth Century (New York: Cambridge University Press, 1999). ND615.H39 1998; #1138

Christopher Brown, Jan Kelch and Pieter van Thiel, Rembrandt: the Master and his Workshop: Paintings (New Haven and London: Yale Universi t y Pr ess, 1991).ND653.R4 A42 1991; #1139

Jonathan Brown, Images and Ideas in Seventeenth-Century Spanish Painting (Princeton: Princeton University Press, 1978). ND806.B76; #1140

Looking at seventeenth-Century Dutch Art: Realism Reconsidered, Wayne E. Fr anit s ed. ( Cambridge and N ew York: Cambridge U niversit y Press, 1 9 9 7 ) ND646 .F7 1997b; #1135

E–RESERVE

Pamela M . Jones, “ The place of povert y in Seicent o Rome: bare feet , humilit y, and t he pilgrimage of life in Caravaggio’ s Madonna of Loreto (ca. 1605–06) in the church of S. Agostino,” in idem, Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (Aldershot, UK, and Burlington, VT: Ashgate, 2008), 75–136.