Class code ARTH-UA9306001

Name: Silvia Giorgi NYUHome Email Address: [email protected] Instructor Details Email Address: [email protected] Office Hours: by appointment Office Location: Villa Ulivi Mailbox Number at Villa Ulivi Reception: 16 For fieldtrips refer to the email with trip instructions and trip assistant’s cell phone number

Semester: Spring 2015 Class Details Full Title of Course: Early Masters of Painting Meeting Days and Times: Mondays, h 9:00-11:45 AM Classroom Location: Arezzo

Prerequisites ARTH-UA 2, History of Western Art II, ARTH-UA 300, Renaissance Art, or equivalent introductory art history course.

This course is conceived as a series of selected studies on early Renaissance painting, offering in depth analysis of the historical, political and cultural evolution of Italy and Class Description Europe between the 14th and the 15th centuries. This overview will be not confined to works of painting but will include social and patronage issues - i.e. the role of the guilds, the differences in private, civic and church patronage - that affected the style, form and content of the Italian rich artistic output, which reached a peak often nostalgically referred to by later generations as the “dawn of the Golden Age”. Themes such as patronage, humanism, interpretations of antiquity, and Italian civic ideals form a framework for understanding the works of art beyond style, iconography, technique and preservation. Special attention will be given to the phenomenon of collecting as an active force shaping the development of artistic forms and genres. By the end of this course, students gain a thorough knowledge of the Italian and European early Renaissance age, developing practical perception and a confident grasp of the material, understanding the relationship between both historical and artistic events and valuing the importance of patronage. As the early Renaissance works are often still in their original physical settings, during field-studies to museums and churches in , Venice and students will have a unique opportunity to experience the works as their original viewers did and as their creators intended.

On completion of this course, students should: Desired Outcomes • Have improved their ability to think critically, engage in complex reasoning and express their thoughts clearly through their written work • Have improved their ability to analyze primary source materials • Have improved their understanding of the methodologies of art history • Recognize works by the principal protagonists of the early Renaissance painting in Italy and understand why they are significant for the history of art

Attendance and Participation: 15% Assessment Written Visual Analysis (2-3 page reaction paper) and Oral presentation of the Visual Components Analysis (15 minute length): 15% Written Midterm Exam (approximately 6-8 handwritten pages): 20% Written Term Paper (approximately 10-12 typewritten pages): 25% Written Final Exam (approximately 6-8 handwritten pages): 25%

Failure to submit or fulfill any required course component results in failure of the class.

Written and Oral Visual Analysis: at the beginning on the course students are asked to select one masterpiece among those listed in the “Visual Analysis List” given by the professor. During the course students will work on that topic on their own. This assignment is intended to give students the opportunity to look at and study a work of art independently. The written assignment (FONT: Times New Roman, 12-point font size; MARGINS: 1” on left, right, top, and bottom; SPACING: single-space everything) consists of a series of critical descriptions, notes, observations (following the structure of the Notebook template), and is submitted via email to the professor after the student’s Oral Presentation. Any exception will result in a lowering of your grade. The masterpieces of the Visual Analysis are included in the Midterm and Final Exams.

Midterm and Final Exams: It is comprised of four sections: 1) Slides identification and/or slide comparison (you will be shown a series of images to identify and describe; the images for identification will be chosen from among those shown during lecture, seen in your readings or works seen on site, and visual analysis: all images seen in the exams will have appeared in at least one of these places); 2) Slides attribution (you will suggest the probable artist and state your reasons for making this attribution), 3) Quizzes and Multiple-choice Questions (based on material considered in class). 4) Short answer questions and longer essay questions (based on material considered in class). The final exam is comprehensive, although greater weight is given to material covered in the second half of the course. It is recommended that you keep a folder on ArtStor of images of the works listed on your weekly handouts in order to facilitate studying for the image identification portion of the exams. For each image shown, everyone is responsible for the object’s: 1. Artist, 2. Title and Location, 3. Date and, if visible, signature or inscriptions, 4. Artistic and Historic Age, 5. Artist’s Life time, 6. Technique, 7. Preservation, 8. Patronage, 9. Iconography, 10. Style. You will write a brief description of the work in complete sentences, identifying the work’s importance to the history of art as identified in class and/or in your reading. N.B. the exams are carefully timed: if you have a recognized learning disability for which you are entitled to extra time, please speak to someone in the Office of Academic Support immediately to insure that we can make proper arrangements for testing.

Written Term Paper: Over the course of the semester, students are asked to produce a 10-12 page paper on a significant art work. Topics are to be selected by students among those listed in the “Paper Titles List” given by the professor at the beginning of the course. The paper draft must be sent by email with a selected bibliography on the due date. The printed paper (FONT: Times New Roman, 12-point font size; MARGINS: 1” on left, right, top, and bottom; SPACING: single-space everything) must be turned in on the due date at the beginning of class, and sent via email as well on the same day. Any exception will result in a lowering of your grade. If you are absent on the date the paper is due, the printed and emailed paper must reach me nonetheless. The term paper should be a well- organized essay, typed and stapled, including references to all sources used. Failure to properly cite or quote your sources constitutes plagiarism (which will result automatically in the grade of “F”: see below); if you are uncertain as to how to properly cite or quote sources, please do not hesitate to contact me via email. The formal aspect of the paper must follow this structure: TITLE, INTRODUCTION, PAPER WITH NOTES OR FOOTNOTES, BIBLIOGRAPHY, ILLUSTRATIONS, TABLE OF CONTENTS. Sources for your research may be found among those listed on this syllabus or any other relevant source available in the Ulivi Library, the British Institute Library, Library of the Dutch Institute, the Library of the Center for Renaissance Studies at Palazzo Strozzi, JSTOR or other databases of scholarly articles (i.e., see “articles via databases” on the NYU Libraries site). N.B. Extensions for the paper will not be granted, so please do not ask.

Readings and Amici Cards Readings are listed under the weeks for which they are assigned and must be done in advance of those classes. Unless otherwise noted, all readings are available in electronic form in the electronic course reader on the NYU Classes site for this course. All other readings may be found in books in the library located in Villa Ulivi. It is essential that you keep up with the reading as they serve as the basis for class discussion. Active participation in class discussion is an essential component of your class participation grade, which is worth 15% of your final grade.

All students at NYU in Florence receive Amici cards. NYU in Florence provides you with an “Amici membership card”, which grants you free, unlimited admission to many of the State museums. It is required for every site visit for this class that you bring this card AND another form of photo identification, and that you arrive to the meeting point at least 5 minutes before the beginning of class. Failure to do so will require that you pay for your own admission to the museum. You will often have to use this card for your Visual Analysis as well. If your card is stolen or lost, please contact the Academic Support Office. N.B. This card is non-transferable and is personalized for each student. These cards are invaluable resources both in the classroom and outside. You are required to bring your Amici card with you to all site visits, regardless of whether or not the sites are among those for which the cards provide free access. Grade A: The student’s work demonstrates an understanding of the subject that goes

beyond assigned course readings. The student writes essays/exam questions that are an Assessment original synthesis of source materials, demonstrating the ability to evaluate source Expectations material critically. Written arguments are clear, well-organized and well-presented; oral presentations are concise, incisive and supplemented by appropriate visual materials. The student has distinguished himself/herself throughout the course of the semester for his/her contributions to class discussion.

Grade B: The student’s work shows a clear understanding of assigned readings and materials covered in class. The student writes clear, well-organized and well-presented essays/exam questions; oral presentations are concise, incisive and supplemented by appropriate visual materials. The student is prepared in class and asks relevant questions.

Grade C: The student’s work shows a basic understanding of the subject treated in assigned readings and covered in class. However, written and/or oral work is deficient in one or more of the following areas: clarity, organization or content. The student’s work is generally in need of improvement

Grade D: The student’s work shows occasional understanding of the subject treated in assigned readings and covered in class. Written and/or oral work is deficient in one of more of the follow areas: clarity, organization or content. The student does not participate in class discussion and has not frequented the instructor’s office hours.

Grade F: The student’s work does not demonstrate understanding of the subject treated in assigned readings and covered in class. Written and/or oral work are either insufficient or are not submitted. The student appears unprepared in class and has not frequented the instructor’s office hours.

A=94-100 A-=90-93 Grade conversion B+=87-89 B=84-86 B-=80-83 C+=77-79 C=74-76 C-=70-73 D+=67-69 D=65-66 F=below 65 Please refer to Assessment Expectations and the policy on late submission of work Grading Policy

Attendance: Attendance is expected and required of all students. Any absences will negatively impact upon your course grade. Study abroad at Global Academic Centers is an academically intensive and immersive experience, in which students from a wide range of backgrounds exchange ideas in discussion-based seminars. Learning in such an Attendance Policy environment depends on the active participation of all students. And since classes

typically meet once a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centers is mandatory, and unexcused absences will be penalized with a two percent deduction from the student’s final course grade. Students are responsible for making up any work missed due to absence. Repeated absences in a course may result in failure.

Absences: In case of absence, regardless of the reason, the student is responsible for completing missed assignments, getting notes and making up missed work in a timely manner based upon a schedule that is mutually agreed upon between the faculty member and the student

Absence Due to Illness ● If you are sick, please see a doctor (contact the OSL for information). ● Only a medical certificate from a local medical professional will be accepted to justify an absence due to illness ● Within 24 hours of your return to class you must bring this note to the Office of Academic Support, located on the ground floor of Villa Ulivi. We will review the medical certificate and we will notify your faculty via email about your justified absence due to illness ● Absences for short term illness without a medical certificate are not justified and count as unjustified absences. We will not accept a student email or telephone call regarding an absence due to illness. We will not notify your faculty about these absences ● The Office of Student Life, when assisting you in cases of severe or extended illness, will coordinate with the Office of Academic Support to properly record your absences Due to Religious Observance ● Students observing a religious holiday during regularly scheduled class time are entitled to miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday ● Students must notify their professor and the Office of Academic Support in writing via email one week in advance before being absent for this purpose Due to a class conflict with a program sponsored lecture, event, or activity ● All students are entitled to miss one class period without any penalty to their grade in order to attend a lecture, event or activity that is sponsored by NYU Florence or La Pietra Dialogues, Acton Miscellany or the Graduate Lecture series. ● Students must notify their professor and the Office of Academic Support in writing via email one week in advance before being absent for this purpose

All course work must be submitted on time, in class on the date specified on the syllabus. Late Submission of To request an extension on a deadline for an assignment, students must speak to the Work professor one week prior to the due date To receive an incomplete for a course at the end of the semester, two weeks before final exams, both the student and the faculty member must meet with the Assistant Director of Academic Affairs to review the request and if granted, they must both sign an Incomplete Contract detailing the terms for completing missing coursework.

Submitting your work: Electronic submission and hard copy submission of your assignments are mandatory. All electronic submissions must be made in Word (.doc format); for all other formats, please contact me to confirm their acceptability before submission. If you submit assignments electronically, you must do so before 9:00 p.m. of the day prior to the due date indicated on the syllabus. Electronic submissions received after 9:00 p.m. will be considered late. Late submission of either electronic or hard copy assignments will result in a lower grade or evaluation for them.

PLAGIARISM WILL NOT BE TOLERATED IN ANY FORM:

The presentation of another person’s words, ideas, judgment, images or data as though they were your own, whether intentionally or unintentionally, constitutes an act of plagiarism.

In the event of suspected or confirmed cases of plagiarism, the faculty member will Plagiarism Policy consult first with the Assistant Director for Academic Affairs as definitions and procedures vary from school to school. Please consult the “Academic Guidelines for Success” distributed on your USB key at Check-in and on the NYU Florence Global Wiki. For a detailed description of some possible forms of plagiarism and cheating please consult the Community Compact that you signed at Orientation, a copy of which is on the above mentioned Wiki and USB key. Unless otherwise indicated, all readings for this course are to be found in the Electronic Course Reader on NYU Classes site. Required Text(s)

Required: Hartt F. and Wilkins D. G., History of Italian Renaissance Art. Painting, Sculpture, th Architecture, Pearson Education Inc., Prentice Hall - New York, 2011 (7 ed.) [hereafter, “H/W”] Reader: Selected articles are assigned on the syllabus under the week for which they are due. Please see details of the listed readings in the week-by-week breakdown of the academic calendar.

Optional, but highly recommended: Campbell S. J. and Cole M. W., A New History of Italian Renaissance Art, Thames and Hudson, London, 2012 Partridge l., Art of Renaissance. 1400-1600, University of California Press, Berkeley and Los Angeles, California 2009 Vasari G., The lives of the Artists, transl. by J. Conaway Bondarella and P. Bondarella, Oxford University Press, Oxford 2005

Copies of the required texts have been ordered at : “Paperback Exchange”, Via delle Oche, 4, 50122 Florence, Tel. 055 / 293460 E-mail: [email protected] Web: http://www.papex.it

The following texts, available in the Villa Ulivi library, contain other assigned readings or are recommended as extra resources for questions on renaissance art and for Supplemental Texts(s) presentation and term paper research: (not required to purchase as copies Primary Sources: are in NYU-L Library or Alberti, L. B., On Painting, trans. J. Spencer, New Haven and London 1966 available on line) Baldassarri, s. U. – Saiber a., ed., Images of Quattrocento Florence. Selected Writings in Literature, History, and Art, New Haven and London 2000 Conaway Bondarella, J. – Musa, M., ed., The Italian Renaissance Reader, New York 1987 Da Vinci, L., Leonardo on Painting, ed. and trans. by M. Kemp and M. Walker, London and New Haven 1989 Manetti, A., The Life of Brunelleschi, University Park and London 1970 Richter, J. P., ed., The Notebooks of Leonardo Da Vinci, I-II, Dover (1883) 1970 Vasari, Giorgio. Lives of the Painters, Sculptors and Architects, 2 vols., trans. by Gaston du C. de Vere; intro. and notes by David Ekserdjian. London, 1996 (please note: this is the preferred edition in English as it is the only one that is COMPLETE!).

Museum Catalogues Fossi, G., Uffizi Gallery. The Official Guide, Florence 2005 Fossi, G., The Uffizi Gallery. Art, History, Collections, Florence 2008

Italian History Hale, J. R., Florence and The Medici, London 2001 Hibbert, C., Florence, The Biography of a city, London 2004 Hibbert, C., The Rise and the Fall of the House of Medici, London (1974) 1979

Italian Early Renaissance, General Ames – Lewis, F., The Intellectual Life of the Early Renaissance Artist, New Haven and London (2000) 2002 Baxandall, M., Painting and Experience in Fifteenth-century Italy, Oxford and New York (1972) 1988 Campbell, G., Renaissance Art and Architecture, Oxford 2004 Cole, A., Art of the Italian Renaissance Courts, Prentice Hall 1995 Cole, B., The Renaissance Artist at work, New York 1983 Murray, P. - L., The Art of Renaissance, New York 1997 Paoletti, J. T. - Radke, G. M., Art in Renaissance Italy. London (3rd ed.) 2005 Richardson, C. M., Locating Renaissance Art, (vol. 2), New Haven and London, Yale University Press 2007 Rubin, p. L., Images and Identity in Fifteenth-Century Florence, New Haven and London, Yale University Press 2007 Schneider Adams, L., Italian Renaissance Art, Boulder (Colorado) and London 2001 Tinagli, p., Women in Italian Renaissance Art. Gender, Representation, Identity, Manchester and New York, Manchester University Press 1997 Toman, R., The Art of the Italian Renaissance, Architecture, Sculpture, Painting, Drawing, Köln 1995 Turner, R., Renaissance Florence. The Invention of a New Art, London 1997 Welch, E., Art in Renaissance Italy 1350-1500, Oxford, Oxford University Press (1997) 2000

Northern Renaissance Johnson, G. A., Renaissance Art. A very short Introduction, Oxford and New York 2005 Nuttall, P., The Medici and Netherlandish Painting, in Ames-Lewis, F., ed. The Early Medici and Their Artists, London 1995, pp. 135-153 Rohlmann, M., Flanders and Italy, Flanders and Florence. Early Netherlandish painting in Italy and its particular influence on Florentine Art: an overview, in Meijer, B., ed. Italy and the Low Countries – Artistic Relations. The Fifteenth Century, Florence 1999, pp. 39-68 Snyders, J., Northern Renaissance Art. Painting, Sculpture, the Graphic Arts from 1350 to 1575, New York 1985.

Monographs on Individual Artists: Barbera, G., Christiansen K., et al., Antonello da Messina: Sicily’s Renaissance Master, New York, 2005. Bolchert - Till-Holger, ed. Memling’s Portraits, New York, 2005. Cadogan, J. K., Domenico Ghirlandaio: Artist and Artisan, New Haven, 2000. Holmes, M., Filippo Lippi: The Carmelite Painter, New Haven, 1999. Kanter, L.- Palladino P., et al., Fra Angelico, New York, 2005. Lightbown, R., : Life and Work, New York, 1989.

Internet Research The careful use of internet resources is encouraged and a list of recommended websites Guidelines will be given. Failure to cite internet and other non-traditional media sources in your written work constitutes plagiarism.

Additional Required Equipment N/A Eating is not permitted in the classrooms. Bottled water is permitted. ● Cell phones should be turned off during class time. Classroom Etiquette ● The use of personal laptops and other electronic handheld devices are prohibited in the classroom unless otherwise specified by the professor. ● We recycle! So keep it green! Please dispose of trash in the clearly marked recycle bins located throughout the on campus buildings See Field-trips description under Session A and Session B. Required Co-curricular Activities Suggested optional co-curricular activities will be announced in class and/or via Suggested Co-curricular email by the professor throughout the semester. activities

Session 1 Week 1: Introduction to the Course. Reading: H/W: pp. 17-38 (Techniques). 02.02 (Mon.) Lecture in class: The Role of Antiquity and early Renaissance. Site Visit: Villa La Pietra: focus on art techniques. Meet at h 9:00 in class. Session 2 Site Visit: Uffizi (I). Focus on Gentile da Fabriano, Reading: H/W: pp. 203-206 (Gentile da Fabriano), 02.06 (Fri.) Masolino, Masaccio, Paolo Uccello and Domenico 267-271 (Domenico Veneziano). Veneziano. VISUAL ANALYSIS TITLES ASSIGNED. Meet in front of Florence Cathedral’s façade (Duomo) WITH your Museum Card and ID. Session 3 Week 2: The Age of Giovanni di Bicci Medici (I) Reading: H/W: pp. 159-169 (Brunelleschi), 181-188 02.09 (Mon.) Site Visit: Palazzo Davanzati Museum and Bargello (Brunelleschi and Ghiberti), 188-193 (Donatello). Museum (I). Focus on Scheggia, Filippo Brunelleschi and Lorenzo Ghiberti. Meet in front of Florence Cathedral’s façade (Duomo) WITH your Museum Card and ID. Session 4 Week 3: The Age of Giovanni di Bicci Medici (II) Reading: H/W: 145-148 (Lorenzo Monaco), 249-251 02.16 (Mon.) Site Visit: Santa Trinita Church, Orsanmichele (Ghiberti’s maturity). Reader: Tarr R., Brunelleschi Church and Orsanmichele Museum. Focus on and Donatello: Placement and Meaning in Sculpture, Lorenzo Monaco and Donatello’s early career. “Artibus et Historiae”, Vol. 16, No. 32 (1995), pp. Meet in front of Florence Cathedral’s façade 101-140 (Duomo) WITH your Museum Card and ID. Session 5 Week 4: The Age of Giovanni di Bicci Medici (III) Reading: H/W: pp. 206-220 (Masolino and 02.23 (Mon.) Site Visit: Brancacci Chapel at Carmine Church Masaccio), 251-254 (Luca della Robbia), 254-259 and Bargello (II). Focus on Masaccio’s and (Donatello’s maturity), 298-303 (Donatello’s late Donatello’s maturity. Meet in front of Florence activity), 302-303 (Desiderio da Settignano). Reader: Cathedral’s façade (Duomo) WITH your Museum Williams R., "Virtus Perficitur": On The Meaning Of Card and ID. Donatello's Bronze "David", “Mitteilungen des Kunsthistorischen Institutes in Florenz”, 53. Bd., H. 2/3 (2009), pp.217-22. Session 6 Week 5: The Age of Cosimo the Elder Medici (I) Reading: H/W: pp. 174-179 (Michelozzo di 03.02 (Mon.) Site Visit: San Marco Museum and Sant’Apollonia Bartolommeo), 222-231 (Fra’ Angelico), 271-278 Cenacolo. Focus on Fra’ Angelico and Andrea del (Andrea del Castagno). Reader: Terry-Fritsch A., Castagno. Meet in front of San Marco museum Florentine Convent as Practiced Place: Cosimo (Piazza San Marco, 3) WITH your Museum Card de’Medici, Fra Angelico, and the Public Library of and ID. San Marco, “Medieval Encounters”, 18 (2012) pp. 230-271. Session 7 Week 6: The Age of Cosimo the Elder Medici (II) Reading: H/W: pp. 232-237 (Filippo Lippi), 295-298 03.09 (Mon.) Site Visit: Medici-Riccardi Palace and Bargello (III). (Medici), 312-313 (Benozzo Gozzoli). Reader: Focus on Filippo Lippi and Benozzo Gozzoli. Meet Saalman H. - Mattox P., The First Medici Palace, in front of Medici-Riccardi Palace (Via Cavour, 3) “Journal of the Society of Architectural Historians”, WITH your Museum Card and ID. Vol. 44, No. 4 (Dec., 1985), pp. 329-345; Rowlands E.W., Fra’ Filippo Lippi and Masaccio, “Gazette des Beaux-Arts”, 140, 2002, pp. 167-180; Mack R. E. – Zakariya M., The Pseudo-Arabic on Andrea del Verrocchio's David, “Artibus et Historiae”, Vol. 30, No. 60 (2009), pp. 157-172 Session 0 Week 0: NO CLASS: SPRING BREAK (03.16-03.20) 03.16 (Mon.) Session 8 Week 7: The Age of Cosimo the Elder Medici (III) Reading: H/W: pp. 238-249 (Alberti), 263-266 03.23 (Mon.) Site Visit: Florence Duomo (Duomo, Santa (Uccello). Reader: Jones B., Sereni A., Ricci M., Reparata Crypt, Giotto’s Bell-Tower, Baptistery Building Brunelleschi's Dome: A Practical and Dome), and Rucellai Holy Sepulchre Temple. Methodology Verified by Experiment, “Journal of the Focus on Filippo Brunelleschi’s maturity and on Society of Architectural Historians”, Vol. 69, No. 1 Leon Battista Alberti. Meet in front of Florence (March 2010), pp.39-61; Aiken, J. A., Leon Battista Cathedral’s façade (Duomo) WITH your Museum Alberti's System of Human Proportions, “Journal of Card and ID. the Warburg and Courtauld Institutes”, Vol. 43 (1980), pp. 68-96; Eden W. A., Studies in Urban Theory: The De Re Aedificatoria of Leon Battista Alberti, “The Town Planning Review”, Vol. 19, No. 1 (Autumn, 1943), pp. 10-28. Session A FIELD TRIP : REQUIRED ONE-DAY FIELD TRIP TO VENICE. Reading: H/W: pp. 393-395 (Bartolomeo Bon), 395- 03.27 (Fri.) Mandatory. Details announced in class. 397 (Jacopo Bellini), 411-412 (Gentile Bellini), 412- 415 (Antonello da Messina), 415-420 (Giovanni Bellini), 421-425 (Vittore Carpaccio). Session 9 Week 8: Lecture in class: MID-TERM EXAM. Reading: review readings. 03.30 (Mon.) Session 0 NO CLASS: EASTER MONDAY. 04.06 (Mon.) Session 10 Week 9: The Age of Piero the Gouty Medici. Reading: H/W: pp. 251-254 (Luca della Robbia), 261 04.13 (Mon.) Site Visit: San Miniato al Monte Basilica, and San (Mino da Fiesole), 302 (Desiderio da Settignano), Lorenzo Church. Focus on Piero and Antonio del 303-306 (Chapel of Cardinal of Portugal: Antonio Pollaiuolo and Andrea del Verrocchio. Rossellino, Alesso Baldovinetti, Antonio del Meet in front of Loggia della Signoria (Piazza della Pollaiuolo), 313-317 (Alesso Baldovinetti), 306-309 Signoria) WITH your Museum Card and ID. (Benedetto and Giuliano da Maiano), 319-325 (Antonio and Piero del Pollaiolo), 326-330 (Verrocchio). Session 11 Week 10: The Age of Lorenzo The Magnificent Reading: H/W: pp. 332-345 (Botticelli), 347 (Hugo 04.20 (Mon.) Medici (I) Van der Goes), 346-350 (Filippino Lippi), 350-356 Site Visit: Santa Trinita Church, Ognissanti (Ghirlandaio). Reader: Gombrich E. H., The Sassetti Cenacolo and Church, and Santa Maria Novella Chapel Revisited: Santa Trinita and Lorenzo de' Church. TERM PAPER DRAFT DUE (TO BE SENT VIA EMAIL Medici, “I Tatti Studies in the Italian Renaissance”, in Word (.doc format) TO THE INSTRUCTOR). Focus Vol. 7 (1997), pp. 11-35 on Focus on Domenico Ghirlandaio, Sandro Botticelli and Filippino Lippi. Meet in front of Florence Cathedral’s façade (Duomo) WITH your Museum Card and ID. Session B FIELD TRIP : REQUIRED ONE-DAY FIELD TRIP TO MILAN. Reading: H/W: pp. 433-434 (Foppa, Filarete), 443- 04.24 (Fri.) Mandatory. Details announced in class. 469 (Leonardo da Vinci). Session 12 Week 11: The Age of Lorenzo The Magnificent Reading: Reader: Blake McHam S., Donatello's 04.27 (Mon.) Medici (II) Bronze "David" and "Judith" as Metaphors of Medici Site Visit: Museo di Palazzo Vecchio, Oratorio dei Rule in Florence, “The Art Bulletin”, Vol. 83, No. 1 Buonomini and Bargello (IV). Focus on Focus on (Mar., 2001), pp. 32-47 Domenico Ghirlandaio and Michelangelo Buonarroti’s early career. Meet in front of Loggia dei Lanzi in Piazza della Signoria, WITH your Museum Card and ID. Session 13 Week 12: : The Age of Girolamo Savonarola. Reading: H/W: pp. 469-480 (Michelangelo 05.04 (Mon.) Site Visit: Santo Spirito Church and Casa Buonarroti). Buonarroti Museum. TERM PAPER DUE (TO BE PRINTED AND TO BE SENT VIA EMAIL in Word (.doc format) TO THE INSTRUCTOR). Focus on Focus on Michelangelo Buonarroti’s early career. Meet in front of Florence Cathedral’s façade (Duomo) WITH your Museum Card and ID. Session 14 Site Visit: Uffizi Gallery (II) and Accademia. ORAL Reading: H/W: pp. 278-293 (Piero della Francesca), 05.08 (Fri.) PRESENTATION OF VISUAL ANALYSIS (TO BE PRINTED AND 397-410 (Andrea Mantegna). Reader: Nygren B., SENT VIA EMAIL TO THE INSTRUCTOR). Focus on "We First Pretend To Stand At A Certain Window": Leonardo da Vinci and Michelangelo Buonarroti. Window As Pictorial Device and Metaphor In The Meet in front of the museum (Piazzale degli Uffizi, Paintings Of Filippo Lippi, “Notes in the History of Gate 2) WITH your Museum Card and ID. Art”, Vol. 26, No. 1 (Fall 2006), pp. 15-21; Zirpolo L., Botticelli's "Primavera": A Lesson for the Bride, “Woman's Art Journal”, Vol. 12, No. 2 (Autumn, 1991 - Winter, 1992), pp. 24-28; Michalski S., Venus as Semiramis: A New Interpretation of the Central Figure of Botticelli's "Primavera", “Artibus et Historiae”, Vol. 24, No. 48 (2003), pp. 213-222; Schibanoff S., Botticelli's Madonna del Magnificat: Constructing the Woman Writer in Early Humanist Italy, “PMLA” (Modern Language Association), Vol. 109, No. 2 (Mar., 1994), pp. 190-206; Long J.C., Botticelli's Birth of Venus as Wedding Painting, “Aurora”, Vol. IX, 2008, pp. 1-27 Session 15 Week 13: Final Exam. Reading: review readings. 05.11 (Mon.) Lecture in class: FINAL EXAM.