ART 445.001 / 545.001 NORTHERN RENAISSANCE ART SPRING 2012 Jill Carrington Office 117 [email protected] tel: 468-4351 Office hours: MWF 11:00 – 11:30, MW 4:00 – 5:00; TR 3:15-5:00; other times by appointment. Class meets TR 2:00 – 3:15 Course Description: European art north of the Alps from 1300 to 1600. The course will focus on painting and the development of printmaking. Program Learning Outcomes: The mission of the BA in Art History program is to initiate a life-long involvement with the visual arts, both through classroom and extramural activities. The BA program provides sound preparation for graduate work in art history, museum studies, cultural studies, or gender studies. Undergraduate students completing the BA Program in Art History will be able to: a) use the historical framework and terminology of Western art; b) employ methods of analysis and interpretation of works of art; c) conduct art historical research involving logical and insightful analysis of secondary literature. Student Learning Outcomes: Students in each upper level BA art history course will complete written work that will be evaluated according to a rubric 1) Foundation Skills. Undergraduate students will define and state a basic knowledge of major and characteristic works of art and architecture in the Western Tradition, including the art of minorities and women. 2) Interpretative Skills. Undergraduate students will employ various interpretive methodologies to analyze works of art. 3) Research Skills. Undergraduate students will conduct art historical research involving logical and insightful analysis of secondary literature. Additional objectives: in taking this course you will become familiar with and understand: 1) major Northern Renaissance artists and their works; 2) the character of Northern art as a whole distinct from Italian art; 3) the treatment and development of religious, mythological and allegorical iconography. Text: James Snyder. Northern Renaissance Art. 2e. rev. by Larry Silver and Henry Luttikhuizen. New York: Prentice Hall, 2005. Library copy on 4 hours reserve at Steen Library. Ordered from the BN Bookstore at the Student Center. Course Work: A) 3 id quizzes R Feb 16 collectively worth 20% if higher than exams, 15% if lower. R April 12 T May 1 B) Two take-home exams together worth 45% (20% ea) if higher than quizzes, 35% (20% & 15%) if lower. 1) Questions assigned T 3/6, due R 3/22 by 6:00 pm. 2) Questions assigned R 5/3, due W 5/9 by 6:00 pm. C) Discussion and written summary of 4 readings listed in the Course Calendar, collectively worth 15%. The readings will be either in .PDF form on Blackboard or photocopies distributed in class. We will meet in Room 112 (2D Design Room) instead of 106 on those days. 2 D) Paper discussing the contributions of two different scholars to specific topic, artist or art work. I have a list of readings or you can choose another topic in consultation with me. First version, due R 3/1 by 6:00 PM, worth 15% Rewritten version, due T 4/10 by 6:00 PM, worth 10% Grade scale A = 90% or more, B = 80 - 89%, C = 70 - 79%, D = 60 - 69%, F = below 60% Attendance Policy: Sign the roll sheet every class. 6 absences is the maximum allowed to receive course credit; no course credit is given for 7 or more absences, whether excused or unexcused. (School policy) Please submit reasons for missing class when there is an id quiz or reading discussion exams in by email, although conversation or phone call with e-mail follow-up is fine. Course list pages: Know info on the left side only (except fig. numbers). Info on the right is extra description. You do not have to know the specific date of each work, only the period date. Emergency Exit: In case of emergency, take a left from the main door of the classroom and proceed down the empty hall to the double doors. There are at least five other exits main entrance; hall where my office is, near the photography studio; graduate hallway, and, in emergencies, the art metal/jewelry studio. Academic Integrity: (A-9.1) Academic integrity is a responsibility of all university faculty and students. Faculty members promote academic integrity in multiple ways including instruction on the components of academic honesty, as well as abiding by university policy on penalties for cheating and plagiarism. Definition of Academic Dishonesty Academic dishonesty includes both cheating and plagiarism. Cheating includes but is not limited to (1) using or attempting to use unauthorized materials to aid in achieving a better grade on a component of a class; (2) the falsification or invention of any information, including citations, on an assigned exercise; and/or (3) helping or attempting to help another in an act of cheating or plagiarism. Plagiarism is presenting the words or ideas of another person as if they were your own. Examples of plagiarism are (1) submitting an assignment as if it were one's own work when, in fact, it is at least partly the work of another; (2) submitting a work that has been purchased or otherwise obtained from an Internet source or another source; and (3) incorporating the words or ideas of an author into one's paper without giving the author due credit. Please read the complete policy at http://www.sfasu.edu/policies/academic_integrity.asp Withheld Grades: Semester Grades Policy (A-54) Ordinarily, at the discretion of the instructor of record and with the approval of the academic chair/director, a grade of WH will be assigned only if the student cannot complete the course work because of unavoidable circumstances. Students must complete the work within one calendar year from the end of the semester in which they receive a WH, or the grade automatically becomes an F. If students register for the same course in future terms the WH will automatically become an F and will be counted as a repeated course for the purpose of computing the grade point average. Students with Disabilities: To obtain disability related accommodations, alternate formats and/or auxiliary aids, students with disabilities must contact the Office of Disability Services (ODS), Human Services Building, and Room 325, 468-3004 / 468-1004 (TDD) as early as possible in the semester. Once verified, ODS will notify the course instructor and outline the accommodation and/or auxiliary aids to be provided. Failure to request services in a timely manner may delay your accommodations. For additional information, go to http://www.sfasu.edu/disabilityservices/ 3 COURSE SCHEDULE R 1/19 Introduction, International style at the French court: Jean Pucelle, Jean Bondol (chp. 2) T 1/24 Boucicaut Master, Rohan Master, Jacquemart de Hesdin, Limbourg Brothers, Claus Sluter, Johan Malouel, Melchior Broederlam (chp. 2) R 1/26 Conrad Witz, Stephan Lochner, (chp. 4) Jan van Eyck (chp. 5) T 1/31 Jan van Eyck (chp. 5) R 2/2 IN-CLASS DISCUSSION OF READINGS IN RM. 112: Erwin Panofsky, "Jan Van Eyck's 'Arnolfini' Portrait," Burlington Magazine (March, 1934): 117-127. Bedaux, Jan Baptist. “The Reality of Symbols and the Question of Disguised Symbolism in Jan van Eyck’s Arnolfini Portrait” Simiolus 16/1 (1986), 5-28. –or-- Campbell, Lorne, Arnolfini Portrait, in Fifteenth-Century Netherlandish Schools, London [New Haven]: National Gallery Publications, Distributed by Yale U Pr, 1998, pp TBA. T 2/7 Robert Campin, Rogier van der Weyden (chp. 6) Choose readings for paper. R 2/9 IN-CLASS DISCUSSION OF READINGS IN RM. 112: Margaret Freeman, “The Iconography of the Merode Altarpiece,” Metropolitan Museum of Art Bulletin 16 (December, 1957): 130-139. Meyer Shapiro, "Muscipula Diaboli: The Symbolism of the 'Merode Altarpiece'," The Art Bulletin 27 (1945): 182-187. T 2/14 Rogier van der Weyden (continued) R 2/16 Id quiz 1 Petrus Christus, Dieric Bouts (chp. 7) T 2/21 Dieric Bouts, Joos van Ghent (chp. 8) R 2/23 TBA while I am away. T 2/28 Hugo van der Goes (chp. 8), Geertgen Tot Sint Jans (chp. 9) R 3/1 First version of paper due by 6:00 PM. Netherlandish woodcuts and printed books (chp. 9), Hans Memling (chp 10) T 3/6 Gerard David (chp. 10), Jean Fouquet, Enguerrand Quarton, Master of the Unicorn Tapestries (chp. 11). Assign exam questions. R 3/8 TBA while I am away. Spring break 13. T 3/20 Engravers, Martin Schoengauer, Master of the Amsterdam Cabinet, Tilman Riemenschneider, Matthias Grunewald (chp. 12) 14 R 3/22 No class. Take-home exam due by 6:00 PM. 15. T 3/27 IN-CLASS DISCUSSION OF READING IN RM. 112: Andre Hayum, “Meaning and Function of the Isenheim Altarpiece: The Hospital Context Revisited,” The Art Bulletin, 69 (1977): 501-518. 16. R 3/29 Albrecht Durer (chp. 13) 17. T 4/3 Albrecht Durer R 4/5 Holiday. 18. T 4/10 Albrecht Durer, Lucas Cranach (chp. 14). Revised version of paper due by 6:00 PM. 19. R 4/12 Id quiz 2 Lucas Cranach, Iconoclasm and Reformation (chp. 14) 20. T 4/17 Albrecht Altdorfer, Hans Baldung Grien (chp. 14), Hans Holbein (chp. 15) 21. R 4/19 Hieronymus Bosch (chp. 16) 22 T 4/24 IN-CLASS DISCUSSION OF READING IN RM. 112: Laurinda Dixon, “Bosch’s Garden of Delights Triptych: Remnants of a ‘Fossil’ Science,” The Art Bulletin 63 (1981): 96-113. 23 R 4/26 Lucas van Leyden (chp. 17), Quentin Massys, Joachim Patinir (chp. 18) 24. T 5/1 Id quiz 3 Jan Gossaert, Antonis Mor (chp. 19), Pieter Aertsen (chp. 20), Martin van Heemskerck (chp. 21) 25. R 5/3 Pieter Bruegel the Elder (chp.