AH 145: Survey of Renaissance Art
Costanza Gislon Dopfel, PhD
Office: Dante 318
e-mail:
Office hours: Tu/Th 10:00-11:20
Course Description:
This course examines the development of Renaissance art from the late medieval period to the beginning of the 16th century. Particular attention is given to Northern art, often obscured by its more popular Italian counterpart. The course, though focusing on art, will include history, architecture, social history, literature and music in order to give a holistic understanding of the period.
Course Goals:
To understand the development of art as living and ever-changing expressions of a society; to connect different periods while identifying their differences; to gain a clear understanding of historical sequences; to recognize artwork and gain knowledge of its genesis
Course outcomes:
After looking at and carefully analyzing multiple artworks in painting, architecture, sculpture and jewelry, students will be able to
- think of artwork and artistic movements in an organized, informed and contextual way;
- identify, analyze and interpret artwork from different periods and styles, while exploring the artistic piece’s significance within appropriate contexts
- develop or refine their understanding of research methodology and artistic analysis, which they will demonstrate in a research paper using discipline-based vocabulary and a contextual approach.
Classroom Policy and Procedure
Attendance and participation are necessary in this course. Come prepared to listen, respond and be involved in class activities. After three absences, each absence will result in one point being deducted from the total percentage points at the end of the semester. There is no distinction between excused and unexcused absences. Repeated tardiness is not acceptable. No eating in class unless it is social eating.
Textbooks:
Northern Renaissance Art (Oxford History of Art) [Paperback] by Susie Nash
ISBN-10: 0192842692
ISBN-13: 978-0192842695
Italian Renaissance Art by Laurie Schneider Adams
Westview Press
ISBN-10: 0813336910
ISBN-13: 978-0813336916
Honor Code: This course follows all rules and practices of Saint Mary’s College Honor Code. Students will be required to submit their papers through Turnitin.
Students with disabilities:
Reasonable and appropriate accommodations, that take into account the context of the course and its essential elements, for individuals with qualifying disabilities, are extended through the office of Student Disability Services. Students with disabilities are encouraged to contact the Student Disability Services Coordinator at (925) 631-4164 to set up a confidential appointment to discuss accommodation guidelines and available services. Additional information regarding the services available may be found at the following address on the Saint May’s website: http://www.stmarys-ca.edu/academics/academic-advising-and-achievement/student-disability-services.html
Week 1
Read: Nash, ch 8 and 9
2/8 – Introduction
2/10 – Miniature painting: Jean Pucelle and the Limburg Brothers
Week 2
Read: Nash, ch 16 and 18
2/15 – Jan van Eyck, Rogier van der Weyden
2/17 – Robert Campin, Hugo van der Goes
Week 3
Read: Nash, Ch 10, 12 and 13
2/22–Jean Fouquet Dirc Bouts, Hans Memling
2/24- Albrecht Duerer ,Lucas Cranach, Hans Holbein
Week 4
Ch. 1 The Thirteenth Century (Adams, 2-23)
3/1- Hieronimus Bosch, Pieter Bruegel
3/3 – Introduction to the Italian Renaissance - C
Week 5
Ch. 2 Trecento precursors (Adams, 25-54)
3/8 The Trecento in Florence and Siena: Giotto and Duccio
3/10 – Sienese Painting: Lorenzetti and Simone Martini
Week 6
Ch. 3 Architecture and sculpture in Florence (Adams, 59-75)
3/15 Donatello, Filippo Brunelleschi and Lorenzo Ghiberti
3/17 Masolino and Masaccio
3/19 medieval tournament
Week 7 –
Ch 4 Painting in Florence 1400-1430 (Adams, 83-100)
3/22 – Class Summary
3/24 - Midterm quiz
Week 8– research paper first proposal
Ch. 5 and 6 :Painting in Florence 1430-1460 (Adams, 104-131)
3/29 – Alberti, Angelico, Lippi
3/31 – Paolo Uccello
Week 9
Ch. 7 and 8 (Adams, 142 – 178)
4/5 – Leonbattista Alberti, Donatello, Ghiberti
4/7 – Jacopo dell Quercia, tempio malatestiano
Week 10
Ch 9 and 10 (Adams, 184-215)
4/12 – Piero della Francesca/ Presentations
4/14 – Donatello, Pollaiolo, Verrocchio/ Presentations
Week 11 – Easter Break
Week 12: Ch.11, 12 (Adams, 223-245)
4/26 – Florence and the Medici; Gozzoli, Ghirlandaio/Presentations
4/28 – Botticelli/ Presentations
Week 13
Ch.13 (Adams, 260-277; 281-289) and Ch 14 (291-211)
5/3–Mantegna, the Bellini and Vittore Carpaccio
5/5 –Leonardo da Vinci
Week 14 – research paper final draft
Ch. 15 and 16 (Adams, 312-352)
5/10 – Michelangelo Buonarrotti
5/12– Raffaello Sanzio
5/17 –2:00 p.m. to 4:00 p.m.- Final
Grading: Midterm 20%
Final 30%
Research Paper 25%
Attendance, Presentations and Participation 25%
Attendance is mandatory: more than three absences will result in point deduction from your final grade.
Guidelines for writing your research paper:
1) Choose a painting or artifact from the period we cover during this course. Look for something you find interesting, something that can hold your attention and makes you want to find out more.
2) Begin your research. Find out about the context of the work, why was it produced, by whom and for whom. Although some of the background information can be used as a backdrop for your research, this is not the basis for your paper, it is just the information upon which you can start building your own interpretation.
3) Now that you can situate the work in a social and historical context, start looking at it carefully and try to develop the purpose of your paper. Ask yourself questions without relying on readily available answers: What does the work convey as its apparent message? Are there other layers of reading and interpretation? How does it fit with what was expected of similar artifacts?
4) DO NOT COPY OR RELY ON AVAILABLE INTERPRETATIONS, DEVELOP YOUR OWN. Plagiarism will be harshly dealt with, so be extremely careful about citing all sources.
5) Set up the purpose of your paper. What are you going to discuss? What are you trying to prove? What is the message that the artifact delivers, according to your own reading of the work?
6) Now you can use your research to find out if your interpretation fits within the general and current approach, or if it counters it. You can support your thesis not just on your personal reading of the artifact itself and its historical and social context, but also using current interpretations. Find out if there are conflicting views, and state your position.
7) Finished papers must be at least 12 pages long and must contain:
· Title, name, date
· Text, double-spaced
· Footnotes
· Bibliography
· List of illustrations, with printed copies of the work(s), labeled including location, artist and date
Guidelines for Presentation:
Presentations are group projects that will examine the development of art in specific areas, i.e. Italy, France, Germany, or in regions within that areas.
The groups will bring together knowledge acquired during class, organize it and present it with a historical and social background.
Presenters will make use of PowerPoint, and can include inquiry of other artistic elements such as music, fashion etc.
Guidelines for Class Summary:
Class summary is an exercise aimed at clarifying our understanding of timelines, concepts and artistic movements. Each group will prepare privately and then will guide the class through an organized review of a specific part of the material. Class summaries allow students to collaboratively re-organize the material according to the way they see most fit and help one another clarify questions regarding artistic characteristics, differences and events. It is a valuable exercise in preparation for the Midterm and is evaluated as part of Class Participation.