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.