Gothic (Art History 377) Professor Laura Weigert 60 College Avenue

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Gothic (Art History 377) Professor Laura Weigert 60 College Avenue Gothic (Art History 377) Professor Laura Weigert 60 College Avenue Course Description From the eighteenth-century gothic novel to today’s Goth look, “gothic” has been associated with the macabre, horror, or a rebellious subculture. This course returns to the historical origins of the style known as “gothic,” focusing on artistic production in Northern Europe from the mid-twelfth through the early fifteenth century. It examines architecture, sculpture, stained glass, manuscript illumination, ivories, textiles, and metalwork within the religious, social, political and economic contexts in which they were made and seen. We begin with an examination of the Gothic cathedral, turn to art and urbanism in the city of Paris, and then to art produced for the courts and members of the laity. We will conclude with a discussion of gothic revivals in architecture, cinema, and fashion. Topics to be explored include: liturgy and ceremony, mysticism and devotion, pictorial narrative, the construction of the “other,” lay literacy, attitudes towards death, courtly love, and new notions of seeing and the self. Requirements : -Attendance at all lectures and participation in all discussions -two group presentations -two four-page papers, which draw on the results of your group presentation but which each student submits individually. Paper/Presentation #1: Each group will present one cathedral, including its architecture, sculpture, stained glass, and liturgy. Paper/Presentation #2: Each group will present one manuscript, including text, illuminations, marginalia, and the circumstances of its commission and production. A facsimile of each manuscript will be available in either the Art Library or Alexander Library. -mid-term examination -Class trip to the Cloisters -Final examination All readings will be posted on Sakai Week 1: “Gothic” and its origins a) Introduction: the term “gothic;” course overview No reading assignment b) Abbot Suger and the “origins” of Gothic Reading: -“Abbot Suger of Saint-Denis: The Patron of the Arts,” in Gothic Art: Sources and Documents (Toronto, 1987), 4-13. Week 2: Gothic Cathedrals: the case of Chartres I a) Cult of the Virgin; the School of Chartres; the basics of gothic construction; the gothic “architect” Reading: -Three Disputes involving the Cathedral Chapter of Notre-Dame of Chartres, 1215-1224. Medieval Sourcebook: The Cathedral Chapter of Chartres: The Riot of 1210 (Medieval Sourcebook). Jane Williams, “The Virgin’s Wool,” in Radical Art History (Zurich, 1997), 461-465. Whitney Stoddard, “Notre Dame, Chartres, in Art and Architecture in Medieval France , 1972. b) Sculpture and Ceremony Reading: Margot Fassler, "Liturgy and Sacred History in the Twelfth-Century Tympana at Chartres," Art Bulletin 75 (1993): 499-520. Martin Büchsel, Gothic Sculpture from 1150 to 1250,” in Conrad Rudolph ed. A Companion to Medieval Art , 2006, 403-420. Week 3: Gothic Cathedrals: the case of Chartres II a) Stained Glass and pictorial narrative Reading: Wolfgang Kemp, The Narratives of Gothic Stained Glass , 1997, 10-21; 21-41; 79-88; 91- 101. Madeline Caviness, “Biblical Stories in Windows: Were they Bibles for the Poor?” in Bernard S. Levy, ed. The Bible in the Middle Ages: Its Influence on Literature and Art , 1992, 103-47. b) Interpreting Gothic Architecture Reading: -Erwin Panofsky, Gothic Architecture and Scholasticism , 1974. -Hans Jantzen, “Light” and “Gothic Space and its Containment,” in High Gothic: The Classic Cathedrals of Chartres, Reims and Amiens , 1962, 67-80. -Robert Mark, “The Technology of Light, Wind and Structure,” in Light, Wind and Structure: The Mystery of the Master Builders , 1990, 19-47. Week 4: The Model of Chartres and Beyond a) Reims and Amiens Reading: -Barbara Abou-el-Haj, “The Urban Setting for Late-Medieval Church Building: Reims and Its Cathedral between 1210 and 1240,” Art History 11 (1988): 17-41. -William Clark, “Notre Dame at Reims: The Cathedral of France,” in Medieval Cathedrals , 2006, 85-114. b) Bourges Reading: -Marvin Trachtenberg, “Suger’s Miracles, Branner’s Bourges: Reflections on ‘Gothic Architecture’ as Medieval Modernism,” Gesta 39, no. 2 (2000): 183-205. Week 5: a) group presentations: Cathedrals of Paris, Laon, Sens, Soissons, Beauvais. b) Gothic architecture outside the Ile-de-France, Canterbury and Westminster (Second paper due in class) Reading: “Gervase of Canterbury. The New Architecture,” in Frisch ed. Gothic Art 1140-1450. Sources and Documents , 1971, 14-23. -Christopher Wilson, "The English Response to Gothic Architecture," in Age of Chivalry: Art in Plantagenet England ." 74-82. -Robert Branner, "Westminster Abbey and the French Court Style," Journal of the Society of Architectural Historians XXIII (1964): 3-18. Week 6: St. Louis and the Crusades a) Ste Chapelle Reading: -Al-Makrisi: Account of the Crusade of St. Louis (Medieval Sourcebook). -Daniel Weiss, "Architectural Symbolism and the Decoration of the Ste.-Chapelle," Art Bulletin . 77 (1995): 308-20. -Alyce Jordan, Visualizing Kingship in the Windows of the Sainte-Chapelle , 2002. b) Jews, Muslims, and illuminated manuscripts for a king Reading: Laura Hollengreen, “The Politics and Poetics of Possession: Saint Louis, the Jews, and Old Testament Violence,” in Colum Hourihane ed. Between the Picture and the Word , 2005. Debra Higgs Strickland, “Christians Imagine Jews,” ch. 3 in Saracens, Demons, and Jews: Making Monsters in Medieval Art , 2003, 94-155. Week 7: Summarizing and Paris a) Mid term examination b) Paris as a Center of Art Production Reading: Mary A. and Richard H. Rouse, “The Book Trade and the University of Paris, ca. 1250- ca. 1350,” in Authentic Witnesses. Approaches to Medieval Texts and Manuscripts , 1991, 259-338. -Henry Kraus, The Living Theater of Medieval Art . 1967, 2-21. -Robert de Courçon: Statutes for the University of Paris, 1215 (Medieval Sourcebook). -Jean de Jandun. A Treatise of the Praises of Paris in 1323, In Old Paris. An Anthology of Source Descriptions 1323-1790 . Edited and translated by Robert W. Bergen, 1-17 Week 8: From the City to the Courts a) Tapestry: Nicolas Bataille, the Angers Apocalypse, and Revelation Reading: -James Bugslag, “Nicolas Bataille,” in The Grove Dictionary of Art , v. 3, 361-362. -Tom Campbell, Tapestry in the Renaissance: the Age of Magnificence , 2002, 41-49. -Geneviève Souchal, Masterpieces of Tapestry from the fourteenth through the sixteenth century , 1974. b) Manuscripts: the Limbourg Brothers Reading: -Margaret M. Manion, “Limburg, de” in Grove Art Online . -Jonathan J.G. Alexander, “Programmes and Instructions for Illuminators,” ch. 3 in Medieval Illuminators and their Methods of Work , 1992, 52-71. - Christopher De Hamel, “Books for Everybody,” in A History of Illuminated Manuscripts , 2 nd ed. (London, 1994), 168-199. Week 9: Lay Devotion, education, and manuscript production a) Literacy and lay devotion Reading: - Susan Groag Bell, “Medieval Women Book Owners: Arbiters of Lay Piety and Ambassadors of Culture,” Signs 7 (1982): 742-68. -Kathryn A. Smith, Identity and Devotion in Fourteenth-Century England: Three Women and Their Books of Hours , 2003. b) Devotion, mysticism, and spirituality -Caroline Bynum, “The Female Body and Religious Practice in the Later Middle Ages,” reprinted in Fragmentation and Redemption: Essays on Gender and the Human Body , 1991, 181-238. -Martha Easton, “The Wound of Christ, the Mount of Hell: Appropriations and Inversions of Female Anatomy in the Later Middle Ages,” in Tributes to Jonathan Alexander: the Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art and Architecture , 2006, 395-414. Week 10: More Manuscripts a) Marginalia -Reading: -Lucy Freeman Sandler, “A Bawdy Betrothal in the Ormesby Psalter,” in Tribute to Lotte Brand Philip, Art Historian and Detective , ed. W.W. Clark et. al, 1985, 154-9. -Lillian Randall, “Games and the Passion in Pucelle’s Hours of Jeanne d’Evreux,” Speculum 47 (1972): 246-61. - Joan A. Holladay, “The Education of Jeanne d'Evreux: Personal Piety and Dynastic Salvation in her Book of Hours at the Cloisters,” Art History 17 (1994): 585-611. b) Presentation #2 Week 11: Death and Dying a) The Master of Death and Jean le Noir (Second paper due in class) Reading: Michael Camille, Master of Death: The Lifeless Art of Pierre Remiet, Illuminator , 1996, 57-95. Philip Ariès, Images of Man and Death , 1985. James Snyder, Medieval Art , 375. b) Monument for a prince: the Chartreuse de Champmol Reading: Sherry Lindquist, Agency, Visuality and Society at the Chartreuse de Champmol , 2008. Week 12: Courtly Love a) painting chivalric tales: Chrétien de Troyes Reading: -Chrétien de Troyes, excerpts from “Yvain” in Arthurian Romances , trans. D.D.R. Owen. -Chrétien de Troyes, excerpts from “Lancelot of the Lake,” Corine Corley trans., 311-23. -Alison Stones, “Illustrating Lancelot and Guinevere,” in Lancelot and Guinevere: A Casebook , Lori J. Walters ed., 1996, 125-57. -Sandra Hindman, “King Arthur, His Knights, and the French Aristocracy in Picardy,” Yale French Studies , 114-33. b) The Lady and the Unicorn Reading: -Andreas Capellanus, “The Rules of Love,” in The Art of Courtly Love , trans. Parry, 1969, 177-86. -Douglas Kelly, Medieval Imagination: Rhetoric and the Poetry of Courtly Love , 13-25. - Thomas Campbell, Tapestry in the Renaissance , 2002, 70-79. - Margaret B. Freeman, “The Unicorn in Ancient and Medieval Texts,” in The Unicorn Tapestry , 1976, 13-30. Week 13: International Gothic and class trip a) Bohemia b) Class trip to the Cloisters Week 14: The End of Gothic and its Revival a) Jan Van Eyck, a gothic artist? Reading: James Snyder, Northern Renaissance Art , 2005, 88-109. James Marrow, “History, Historiography, and Pictorial Invention in the Turin-Milan Hours,” in In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson , 1998, 1-14. b) Gothic revivals Reading: -Victor Hugo, Notre-Dame de Paris , book 3, chapter 1. -Eugène-Emmanuel Viollet le Duc, “The Middle Ages” and “Restoration” in The Architectural Theory of Viollet-le-Duc: Readings and Commentary . M.F. Hearn, ed. 1990, 87-93, 272-88. -August Rodin, “Reims,” Cathedrals of France . E.C.
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