Dr. Elizabeth Carroll Consavari ARTH 08 Stanford University CSP

THE ART OF

Syllabus and Course Outline

Course Description and Objectives Course Requirements

Students attend lectures and complete the assigned readings from assigned texts and supplemental as indicated. If taken for credit, students must complete a brief 10-page critical research paper with a topic agreed upon with the instructor’s consent.

Required Course Texts

1 The weekly readings are divided by topic in the outline below.

Week 1

Introduction to the Art Of Renaissance Venice: The Republic, Clergy, Confraternities, Patricians and Citizens. Features of Venezianità Readings: •Regis Debray, “Against Venice,’ (1995) 3-46 •“Praise of the City of Venice, 1493,” in David Chambers and Brian Pullan, eds. Venice: A Documentary History 1450-1630. 2001, 4-20 •Davis and Marvin, Venice, the Tourist Maze: A Cultural Critique of the World’s Most Touristed City, (2004), Chapter 1. •Brown, Patricia Fortini. Art and Life in Renaissance Venice. London, 1997, Chapter 1, “Venezianità: The Otherness of Venetian.” •Matthew, Louisa, “Clergy and Confraternities,” chapter in Venice and the Veneto, ed. Peter Humfrey (2008)

Further Reading: Ames-Lewis, Frances. Drawings in Early Renaissance Italy. New Haven and London: 1981. Chapter IV, “Model Books and Sketchbooks.” Boccassini, D. “Fifteenth-century istoria: Texts, images, Contexts (Matteo Maria Boiardo and Jacopo Bellini,” 13 (1999):1-14. Dunkerton, J. “Antonello da Messina e la tecnica fiamminga,” in Ecce Homo: Antonello da Messina. Exh. Cat. 26-32, Genova: 2000. Hills, Paul, Venetian Color, New Haven: 1999. Humfrey, Chapter 1, “Early Renaissance,” 37-81. Humfrey, Peter. “The Bellini, Vivarini and the Beginning of the Renaissance Altarpiece in Venice,” in Eve Borsook and Fiorella Superbi, eds. Italian Altarpieces 1250-1550: Function and Design. Oxford: 1994. Wright, Joanne. “Antonello da Messina: The Origins of His Style and Technique.” Art History 3 (1980): 41-60.

Week 2 Early Trecento Italy: From Giotto to Paolo Veneziano, the Birth of the Altarpiece, Formulation of light and color Readings: •Rosand, David. Painting in Sixteenth-Century Venice: , Veronese, . Cambridge University Press, 1997, “Introduction.” •Romanelli, Giandomenico ed.Venice: Art and Architecture, vols. I, Cologne: Konemann, •1997, Sandro Sponza, “Painting in Fourteenth-Century Venice.”

Further Reading: •Giotto e il suo tempo. Exhibition catalogue, Milan 2000. •Basile, Giuseppe. Giotto: The Arena Chapel Frescoes, London: 1993. •Jacobus, Laura. “Giotto’s Annunciation in the Arena Chapel, .” The Art Bulletin 81:1 (March 1999): 93-107.

2 •Romanini, A. M. “Nuovi Dati su Giotto architetto della cappella Scrovegni, Altichiero e Jacopo Avanzo,” Arte Documento 15 (2001): 85-89.

Week 3 The Early Venetian Renaissance: Explore Issues of Pilgrimage/Tourism in Early Modern Venice: Venice Circa 1500, Multiculturalism and the Rise of the Scuole Readings: • de Maria, Blake, “Becoming Venice, Becoming Venetian,” in Becoming Venetian: Immigrants and the Arts in Early Modern Venice, (Yale University Press, 2010), 1-31. • Robert C. Davis and Garry R. Marvin, “Venice: The Tourist Maze,” Pilgrim’s Rest, 11-29 • Fred Wilson, “Speak of Me As I am,” essay by Paul Kaplan, “Local Color: The Black African Presence in Venetian Art and History,” (2003), 8-19.

Week 4 East Meets West: The Influence of the East in Venetian Architecture and Painting Readings: • Howard, Deborah, Venice and the East: The Impact of Islamic World on Venetian Architecture 1100 1500, (2001), Introduction and Chapter 2 Week 5 Titian and the Venetian Renaissance: The Beginnings of Modernity Readings: • Frederick Ilchman, David Rosand, Linda Borean et al, Titian, Tintoretto, Veronese: Rivals in Renaissance Venice Ashgate: 2009, Introduction, and Rosand, “Titian and Challenge of the The Altarpiece,” Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto. Cambridge University Press, 1997.

Week 6 Titian and Images Of Power: The Early Globalization of Portraiture Readings: • Frederick Ilchman, David Rosand, Linda Borean et al, Titian, Tintoretto, Veronese: Rivals in Renaissance Venice Ashgate: 2009, Brown, “Where the Money Flows…” and further selections.

Week 7

3 Artistic Exchange After the Sack of Rome: The “” of and Readings: • Tracy Cooper, Palladio’s Venice, New Haven, 2005, Introduction to Part II, 40-47; 105-125; 181-185 • Charles Davis, “Jacopo Sansovino’s Loggetta in San Marco and Two Problems in Iconography,” Mitteilungen des Kunsthistorischen Institutes in Florenz, 29 (1985): 396-400 • Deborah Howard, The Architectural History of Venice. New Haven and London, 2002, 164-174.

Week 8 Jacopo Tintoretto: Tradition and Innovation in Late Sixteenth-Century Venice Readings: • Frederick Ilchman, Tintoretto ed. Miguel Falomir, (Madrid: Museo Nacional del Prado, 2007), selected chapter(s). • Jill Dunkerton, “Tintoretto’s Painting Technique,” Tintoretto ed. Miguel Falomir,(Madrid: Museo Nacional del Prado, 2007), 139-58. • Paul Hills, “ Tintoretto and the Venetian Gothic,” in ed. Miguel Falomir. JacopoTintoretto: Proceedings of the International Symposium, (Madrid, Museo Nacional del Prado, 2009), 13-18.

Week 9 Painting in Late Sixteenth-Century Venice: The Return of Classicism with and Course Conclusion Readings: • Rosand, D. Painting in Sixteenth Century Venice…, Chapter 4, ”Theater and Structure in the Art of Paolo Veronese.” • Goodman-Soellner, Elise. “The Poetic Iconography of Veronese’s Cycle of Love,” Artibus et Historiae, vol. 4 no. 7 (1983): 19-28. • Frank, Mary E. “The Power of Portraits: Reuniting the Family at ,” in Reflections on Renaissance Venice: A Celebration of Patricia Fortini Brown. (2013): 163-175. *Please note that the instructor reserves the right to adjust this schedule at discretion.

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