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Home , Gothic art, International Gothic

Year Course Programme 2016–17 Late Medieval to Early 1250–1500

Tuesdays, 20 September 2016 – 11 July 2017 (over 3 terms) 11.10–15.30 (Each term includes optional gallery talks, commencing at 10.00 and repeated at 15.30)

The two and a half centuries between 1250 and 1500 are some of the richest and most fascinating in the history of Western European art. Spanning the periods of the and the Renaissance, it was an era of profound cultural, intellectual and social change. Geographically the course encompasses the whole of , while emphasising those countries where significant developments took place.

At the core of the course are the visual arts in all their varied manifestations. Many of them are outstandingly represented in the V&A: painting, and architecture, metalwork and , and maiolica, manuscript illumination and prints. Broader issues crucial to artistic developments are also addressed: political and social structures, Christian thought and devotional practice, the rediscovery of classical antiquity, and patronage. The processes and techniques involved in producing works of art and artefacts are investigated, and related themes such as literature and dress introduced. Case studies offer the opportunity to focus on major works of art and their makers within the broader thematic context of the course as a whole.

Course Director: Dr Paula Nuttall is an art historian specialising in the renaissance, and has taught on the Medieval and Renaissance Year Course since its inception in 1993. She gained her B.A. and Ph.D at the Courtauld Institute of Art, writing her doctoral thesis on artistic relations between the Netherlands and . She has published widely in this field, including From to Florence, the Impact of Netherlandish Painting, 1400–1500 (Yale 2004), and co-curated the exhibition Face to Face: Flanders, Florence and Renaissance Painting at The Huntington, San Marino (California) in 2013. Paula also lectures for the National Gallery, the Art Fund and NADFAS, and is a visiting lecturer on the MA programme at the Courtauld. Course Tutor and Medieval Consultant: Dr Sally Dormer was Director of the Late Medieval and Early Renaissance Year Course 1993–2009 and is currently Director of the V&A Early Medieval Year Course. She is a specialist historian and lecturer who gained an MA in Medieval and a Ph.D on medieval manuscript illumination at the Courtauld Institute. Sally is Dean of European Studies, a study-abroad semester for undergraduate students from the University of the South and Rhodes College, USA, and teaches for the Art Fund, NADFAS and Swan Hellenic.

Other Lecturers: - Dr Sally Dixon-Smith, Tower of London - Peter Draper, Visiting Professor, Birkbeck College, University of London - Dr Anna Eavis, Curatorial Director, English Heritage - Dr Jim Harris, Ashmolean Museum, Oxford - Peta Motture, V&A Senior Curator - Rev Gordon Mursell, former Bishop of Stafford - Dr Catherine Oakes, Director of Studies, University of Oxford, Dept of Continuing Education - Prof Park, Head of Wall Painting Conservation, Courtauld Institute of Art, University of London - Dr Catherine Reynolds, Christie’s manuscript consultant - Dr Andrew Spira, Programme Director, Christie’s Education Autumn Term Programme & Dates: Late Medieval to Early Renaissance 1250–1500 Tuesdays, 20 September – 6 December 2016

The first term covers the period c.1250– Secular life produced its own art forms, 1350, when the fully-fledged Gothic style such as manuscripts, tapestry and spread from the Île de throughout jewellery. Such objects and their Europe, with Paris in the vanguard of functions remained fundamentally artistic centres. Intellectual life was unchanged up until 1500, although their dominated by the universities, while style changed dramatically. spiritually the mendicant Dominican and Franciscan orders were increasingly Conversely, the beginnings of social and influential in encouraging popular ideological change, fundamental to later devotion amongst the laity. This is the developments, were already evident. era of the great late Gothic cathedrals Towns were emerging as centres of of France and , whose influence wealth and power and, for the first time, dominated European architecture of the artistic personalities can be identified. period, and for which much important A dawning interest in the antique is sculpture and stained glass was apparent in the philosophy of produced. theologians and scholars from Thomas Aquinas to Petrarch. In Italy sculptors Religious life inevitably also played a such as the Pisani were aware of antique crucial part in determining the form sources, while Florentine and Sienese and function of small-scale works of painters achieved unprecedented art. The course considers liturgical and which gradually spread to devotional practices and related objects through the travels including , vestments, of artists and patrons. liturgical vessels and Books of Hours.

20 September 27 September Contexts: Philosophical and Theological Contexts: Historical and Devotional 10.30 Introduction 11.10 Emperors, Kings and Princes: Paula Nuttall Secular Authority in Western Europe 11.10 The Medieval Universities Sally Dormer Gordon Mursell 12.15 Popes, Bishops and Friars: 12.15 Philosophers and Theologians Ecclesiastical Authority in Gordon Mursell Western Europe 14.30 The Antique Sally Dormer Gordon Mursell 14.30 Late Medieval Devotion to the Virgin Sally Dormer 4 October 8 November Art, Artefacts and the Liturgy Civic Architecture and Church Sculpture 10.10 Looking at Pictures 11.10 Italian Paula Nuttall Sally Dormer 11.10 Late Medieval Devotional and 12.15 Architectural Sculpture: Liturgical Practice North and South Peter Draper Sally Dormer 12.15 Altarpieces and Altars 14.30 Castles and Fortified Architecture Peter Draper Sally Dixon-Smith 14.30 Liturgical Vestments, 15 November and Vessels Goldsmiths and Glass Painters Peter Draper 10.00 Gallery Talk 11 October 11.10 Stained Glass 1250–1400 Italian Gothic Sculpture Anna Eavis 11.10 Case Study: – The Pisa 12.15 The Goldsmith’s Craft Baptistery Pulpit Sally Dormer John Renner 14.30 Enamelling Techniques 12.15 Assisi and Late 13th Century Italian Sally Dormer Painting 22 November John Renner Private Devotional Art 1250–1300 14.30 & 11.10 Ivory Carving Vicky Leanse Sally Dormer 18 October 12.15 Painting in the North 1250–c.1300 and Italian Painting c. 1300 Sally Dormer 10.00 Gallery Talk 14.30 Books of Hours 11.10 Case Study: Giotto – the Arena Chapel Catherine Oakes John Renner 29 November 12.15 Narrative Sculpture Illuminated Manuscripts 1300–80 John Renner 10.00 Gallery Talk 14.30 The Sculpted Figure 11.10 Romance Manuscripts and the John Renner Roman de la Rose 25 October Sally Dormer Painting in Siena 12.15 Case Study: the Queen Mary Psalter 11.10 Case Study: ’s Maestà Sally Dormer John Renner 14.30 Manuscript Painting in England and 12.15 Siena: Early Trecento France: 1300–80 John Renner Catherine Oakes 14.30 Siena: Early Trecento Mural Painting 6 December John Renner Secular Buildings 1 November 11.10 Islamic Gothic Church Architecture in Northern Europe Sally Dormer 11.10 French Gothic Architecture 12.15 Domestic Architecture and Interiors Sally Dormer Catherine Oakes 12.15 Gothic Architecture in England, 14.30 Secular Wall Painting Germany and Spain David Park Sally Dormer 14.30 Case Study: Westminster Abbey Sally Dormer Spring Term Programme & Dates: Late Medieval to Early Renaissance 1250–1500 Tuesdays, 10 January – 28 March 2017

The second term continues from 1350 Growing urbanisation and the rise of to c.1440, by which time new styles and the middle classes led to changes in attitudes had emerged both in the North patronage and artistic consumption, and in Italy. reached its apogee which ceased to be the preserve of the in the late 14th century courts of Bohemia, Church and the ruling elite. Painters and Burgundy and France, where patrons sculptors sought increasingly to reproduce such as Jean de Berry commissioned the world about them both in the North buildings and sculpture, metalwork and and Italy, although this was often achieved manuscripts of superlative craftsmanship by very different means. In the Netherlands and . Increased interchange enabled and occurred across the Alps as Parisian to paint with painters became aware of Italian ideas. astonishing fidelity to appearances, The florid style of late Gothic architecture while in Italy the rediscovery of classical continued to evolve until 1500, spreading antiquity, promoted by humanist as far south as and reaching its scholars, contributed to the creation of a most fantastical in the German countries. new realistic style by , Ghiberti and in Florence. The first post-classical theory of art was written by Alberti, and Brunelleschi developed a new architectural style based on classical principles of symmetry and proportion.

10 January 17 January Late Gothic in England and France Textiles and Gem Stones 10.55 Introduction 11.10 Embroidery Paula Nuttall Catherine Reynolds 11.10 Architecture in France and England: 12.15 Tapestry Perpendicular and Catherine Reynolds Catherine Oakes 14.30 Late Medieval Jewellery 12.15 The English Parish Church Sally Dormer Catherine Oakes 14.30 English and the Influence of the Golden Legend Sally Dormer 24 January 28 February Late Gothic Architecture in Germany and Italy Contexts: Corporations, Commerce and Learning 10.00 Gallery Talk 11.10 Guilds 11.10 Europe c.1400 Catherine Reynolds Catherine Reynolds 12.15 Markets and Marketing 12.15 Late Gothic Architecture in Germany Catherine Reynolds Alexandra Gajewski 14.30 The New Humanism: 14.30 Case Study: Milan Cathedral From Antiquity to the Renaissance Alexandra Gajewski Gordon Mursell

31 January 7 March Late 14th Century Panels and Portraits Early Renaissance Florence 11.10 Bohemian Art 11.10 Florence: the New Rome Catherine Oakes Paula Nuttall 12.15 Case Study: the 12.15 Sculpture in Early Sally Dormer Florence 14.30 Jean de Berry Jim Harris Sally Dormer 14.30 Case Study: Ghiberti – the Gates of Paradise 7 February Jim Harris Three Royal French Patrons 11.10 The Development of Portraiture 14 March Catherine Reynolds Brunelleschi and Early Renaissance Architecture 12.15 Charles V 10.00 Gallery Talk Catherine Reynolds 11.10 The Classical Language of 14.30 Philip the Bold Architecture Paula Nuttall Paula Nuttall 12.15 Case Study: Brunelleschi – San Lorenzo 14 February Dorigen Caldwell Early Netherlandish Painting 14.30 Architectural Theory and Practice 10.00 Gallery Talk Paula Nuttall 11.10 Painting in the North: 1380–1420 Catherine Reynolds 21 March 12.15 Early Netherlandish Painting: Masaccio and Early Renaissance Painting The Founders 11.10 ‘’ in Italy Paula Nuttall Catherine Reynolds 14.30 Painting Techniques: Oil 12.15 Case Study: Vicky Leanse Masaccio – the Paula Nuttall 21 February 14.30 Alberti and Florentine Painting in the Jan van Eyck and Rogier van der Weyden wake of Masaccio 11.10 Early Netherlandish Painting: Paula Nuttall Material and Spiritual Realities Catherine Reynolds 28 March 12.15 Case Study: Jan van Eyck – the Piero della Francesca and Perspective Arnolfini Double Portrait 10.00 Gallery Talk Catherine Reynolds 11.10 Perspective and Proportion 14.30 Case Study: Rogier van der Weyden – Andrew Spira the Descent from the Cross 12.15 Case Study: Paula Nuttall Drawing and Perspective Andrew Spira 14.30 Cardinal of ’s chapel at San Miniato al Monte Paula Nuttall Summer Term Programme & Dates: Late Medieval to Early Renaissance 1250–1500 Tuesdays, 25 April – 11 July 2017

The final term covers the period 1450– Patrons continued to play a crucial role, 1500. In Italy, stylistic innovations spread notably the Medici in Florence, the from Florence to northern Italy, Venice Gonzaga in Mantua and the Montefeltro and Rome through the travels of artists in Urbino. As the century progressed, the such as Donatello and Verrocchio, growth of private wealth fuelled influencing Mantegna, Bellini and demand for objects made for the home, others. Brunelleschi’s perspective, such as devotional images and portraits, Alberti’s theories, and the mathematical marriage chests and maiolica. and scientific knowledge of Piero della Reproductive techniques in media such Francesca and Leonardo da Vinci as terracotta and print evolved to cater underscored the increasingly intellectual for demand down the social scale. content of and contributed to Amongst the elite, the rise of collecting, the rising status of the artist. So too did prompted by the cult of Antiquity, also a growing engagement with classical encouraged the development of new art antiquity, exemplified by Botticelli’s forms, notably small bronzes. mythological paintings. Northern Europe remained largely unaffected by The period concludes with the developments, but northern invasions of Italy at the end of the innovations such as oil painting and century, the new aesthetic ideal spread to Italy and had a embodied in the transition from Early transformative impact. to and the spread of Italian influence north of the Alps, giving Italy an artistic pre-eminence unparalleled before 1500.

25 April 2 May Donatello and Early Renaissance Sculpture Florence and Rome 10.00 Gallery Talk 11.10 The Medici 10.55 Introduction Paula Nuttall Paula Nuttall 12.15 Drawing 11.10 Sculpture Techniques Paula Nuttall Glyn Davies 14.30 Art and Patronage in 15th-century 12.15 Case Study: Rome Donatello – the Santo Geoff Nuttall Jim Harris 14.30 Tombs and Monuments Jim Harris 9 May 13 June Patronage in Northern Italy Secular Architecture in Italy 10.00 Gallery Talk 10.00 Gallery Talk 11.10 The Italian Courts 11.10 The Ideal Renaissance City Paula Nuttall Jane Bridgeman 12.15 Case Study: Mantegna – the Camera 12.15 Palaces and Villas Picta in Mantua Paula Nuttall Paula Nuttall 14.30 The Domestic Interior in 14.30 Allegory and Mythology Renaissance Italy Paula Nuttall Jane Bridgeman 16 May 20 June Renaissance Venice People and Possessions 11.10 Venice and its Traditions 11.10 Sculpture in Later 15th Century Paula Nuttall Florence 12.15 Venice and the Renaissance Jim Harris Paula Nuttall 12.15 Renaissance Dress 14.30 Case Study: Carpaccio and Narrative Jane Bridgeman Cycles in Venice 14.30 Maiolica Antonia Gatward Cevizli Terry Bloxham 23 May 27 June The Influence of Netherlandish Painting Late Fifteenth-Century Sculpture 11.10 Netherlandish Painting: 10.00 Gallery Talk the Founders’ Heritage 11.10 The Renaissance Portrait Paula Nuttall Paula Nuttall 12.15 Painting in the North outside the 12.15 Italian bronzes: Netherlands techniques and contexts Catherine Reynolds Peta Motture 14.30 Netherlandish Painting and Italy 14.30 German Limewood Sculpture Paula Nuttall Joachim Strupp 30 May 4 July Books, Printing and Goldsmiths’ Work Leonardo da Vinci and New Directions 10.00 Gallery Talk 11.10 Late 15th Century Florentine Painting 11.10 Manuscripts in the 15th Century: Paula Nuttall 1420–1500 12.15 Case Study: Leonardo da Vinci – the Catherine Reynolds Virgin of the Rocks 12.15 Prints and Printmaking Paula Nuttall Catherine Reynolds 14.30 The Rise of the Artist 14.30 15th Century Goldsmiths’ Work Geoff Nuttall Marian Campbell 11 July 6 June Conclusions: Art Around 1500 Art and Spirituality 11.10 From Early to High Renaissance 11.10 Pessimism, Pathos and Piety Paula Nuttall Paula Nuttall 12.15 Europe on the Eve of the 16th Century 12.15 Private Devotional Images Catherine Reynolds Paula Nuttall 14.30 Interpretations of the Renaissance 14.30 Beyond Brunelleschi: Paula Nuttall Church Architecture in Italy Dorigen Caldwell

The V&A reserves the right to alter the programme at short notice if circumstances make it necessary. If you are booking for a particular day please confirm the programme of the day with the V&A booking office a few days in advance. Certificate Option

The certificate option offers the chance to Upon satisfactory completion of these study the subject in greater depth. It is conditions, the V&A will award the Certificate. designed to suit both the returning student The course tutor is happy to discuss the and those keen to attempt academic study certificate option with any potential student. for the first time. In recent years Certificate students have gone on to further study at, Certificate tutors: amongst others, the Courtauld Institute, Dr Paula Nuttall and Dr Sally Dormer Birkbeck and Christie’s Education. Course Fees The option involves 18 seminars throughout the year which take place on Tuesdays and £1950 per year, £1600 concessions begin promptly at 10.05. In these seminars, £825 per term, £640 concessions tutors cover topics complementary to the £73 per day, £57 concessions main programme and encourage students £410 Certificate Option to participate in discussion. External visits may incur additional costs.

There are opportunities for: How to Book • Studying objects in the V&A’s collections Book online at www.vam.ac.uk/whatson or • Developing study skills: researching, essay call 020 7942 2211 writing, referencing and compiling bibliographies Please note term tickets will be released 4 • Individual discussion with the course tutor weeks before the start of each term and day • Acquiring a reader’s ticket for the National Art tickets will be released 2 weeks before the Library at the V&A start of each term.

Certificate requirements Full Fee applies to V&A Members, Patrons, Up to 15 students will be accepted for the students and senior citizens. Certificate option. Concessions are available to ES40 holders They will be required to: and registered disabled people. A carer may • Attend at least 75 percent of the seminars accompany registered disabled course • Submit two object reports of 500 words each students for free. • Submit two essays, one of 2,000, the other of 4,000 words.