Students will be provided with a number grade for all assignments, but their final mark will be calculated in the form of a letter grade (see below).

Transcription

1 Queen s University ARTH 214 RENAISSANCE ART AND ARCHITECTURE TO 1500 Times: Mondays, 5:30-8:30PM Location: Dunning Instructor: Dr. Allison Sherman 305, Ontario Hall Office Hours: Mondays, 12-2PM, or by appointment as90@queensu.ca Learning Outcomes: Learning to think critically and objectively about what history tells us is important. Obtaining a sense of the chronological progression and geographical focus of the Renaissance in Italy and the North up to the year How works of art are produced: methods and materials. Learn why works of art were created in this period issues of patronage. Acquire a vocabulary/terminology for describing these works formally and visually. Learn to read the visual symbols/language or iconography of paintings. Acquire a sense of social context: religious, economic, political, intellectual, cultural circumstances that form the backdrop of the Renaissance, including issues relating to their ideas about: nature/science, Antiquity, ideal beauty, the status of the artist, technical innovation and communication. Develop a period eye : an analytical method used by art historians that was developed by Michael Baxandall a means of attempting to understand works of art by reconstructing the mental, physical, cultural and visual equipment possessed by the original viewer for whom the work/monument was created. Method of Evaluation Fall Term: Mini Slide Test In class September 29 th 15% Essay Due in class October 20 th 25% Slide Test November 10th 30% Take-Home Exam Due December 16 th 30% Students will be provided with a number grade for all assignments, but their final mark will be calculated in the form of a letter grade (see below).

2 SLIDE TESTS: The slide tests will be based on material from class lectures and readings. If you have never written a slide test before, not to worry: there will be a mini slide test to prepare you for a more substantial slide test in November, followed by slide test review and workshop one week before the November test. The mini slide test will consist of ten slides. These will all be drawn from works discussed in lectures. You will be asked to provide: the artist, title, date (within 10 years either way), medium and location of the work AND one sentence that provides a MEANINGFUL fact about the work. This is intended as a preparatory or warm-up exercise for the larger, more in-depth slide test that will follow in November. The second slide test will be longer and more in-depth. It will consist of 5 single slides, drawn from class material up to the date of the test. You must provide the name, title, date (within 10 years), medium and location of the work, and must compose a substantial statement outlining the significance of the work, incorporating your use of terminology, knowledge of technique, function, patronage and context for the work of art. There will also be 2 comparison questions. You will still provide the artist, title, date (within 5 years either way), medium and location of the work, but you will also be required to provide deeper and more critical comparative analysis of the two works as part of your response. **Again, there will be a slide test review in class in which more specific instructions will be given, as well as an optional study workshop in advance of the test. Failure to write the slide tests for reasons other than documented illness or bereavement will result in a mark of zero on these assignments. WRITTEN ASSIGNMENT: There will be one mandatory essay assignment. The paper will consist of approximately 800 words (about 4 pages double-spaced, properly footnoted and with bibliography if secondary sources are employed). If you are unclear about how to cite your sources, visit: A description of this assignment will be posted on Moodle from the first week of class and there will be a review of expectations in class in advance of the deadline. Marks will be deducted for late assignments at the rate of 5% per day.

3 Extensions will be permitted under two conditions only: documented illness or bereavement. If you cannot provide documentation you will receive a mark of zero on the assignment. TAKE-HOME EXAM: In order to remove a bit of the anxiety associated with a formally proctored exam, I make use of Moodle technology to assign a take-home exam that will be distributed and submitted online. You will have a number of days to prepare an essay on one of three topics relating to major course themes these will require you to draw on material and visual examples from throughout the course. Further details TBA. To be submitted via MOODLE before 12AM on December 16 th. TEXTBOOKS The following textbooks are available at the Campus Bookstore and copies will be on reserve at the circulation desk at Stauffer Library: Frederick Hartt, History of Italian Renaissance Art: Painting, Sculpture, Architecture (4th edition) - required. Craig Harbison, The Art of the Northern Renaissance - required. ** Please note this text may be available for much less on Amazon. *** In order to reduce textbook costs for ARTH 214 and ARTH 215, we have opted not to use James Snyder s Northern Renaissance Art this year. This text does remain an excellent resource, particularly for studying for slide tests. Several copies will be on reserve at the circulation desk of Stauffer Library. Schedule of Lectures for the Fall Term (SUBJECT TO CHANGE) Sept. 8: Introduction and Romanesque, Gothic, Renaissance: Basic Introduction to the International Styles Reading: Hartt, Chapter 1 Sept. 15: Sept. 22: Italian Gothic Architecture: the Mendicant Orders and Churches for Preaching in Assisi and Florence; Civic Cathedrals in Florence and Siena Gothic Sculpture: the Pisani and Arnolfo di Cambio Reading: Hartt, Chapter 2

4 ATTENDANCE OF THIS LECTURE IS ABSOLUTELY IMPERATIVE it forms the basis of your essays on the Arena Chapel, and a review for the mini slide test will be given. Italian Gothic Painting. Altarpieces and Frescoes: Technique, Function and Style in Major Works by Berlinghieri, Cimabue, Duccio, Giotto and Simone Martini Narrative and Moral Lesson in Sacred and Secular Spaces: S. Francesco, Assisi; Giotto at the Arena Chapel Reading: Hartt, Chapters 3, 4 & 5 Sept. 29: Late Gothic and International Gothic in the North: the Arts of Luxury in the Courts of Charles V; Louis of Anjou; Jean, Duc de Berry; Charles the Bold of Burgundy Reading: Harbison, Chapter 1. **AND Mini Slide Test** Oct. 6: Early Italian Renaissance Architecture and Sculpture: Brunelleschi and Ghiberti at the Florentine Duomo and Baptistery Reading: Hartt, Chapters 6 & 7 Early Italian Renaissance Sculpture, cont d: Ghiberti and Donatello at Orsanmichele; the Singing Galleries for the Florentine Duomo Reading: Hartt, Chapter 10 Review of Expectations for the Essay (*due in two weeks) OCTOBER 13 THANKSGIVING NO CLASSES Oct. 20 Painting in Early Renaissance Florence I: Lorenzo Monaco, Gentile da Fabriano, and Early Works by Masaccio and Masolino Reading: Hartt, Chapter 8 Painting in Early Renaissance Florence I, cont d: Death and Taxes: the Brancacci Chapel; Masaccio s Trinity (and Perspectival Theory) ESSAY DUE!! Oct. 27: Painting in the North: Disguised Symbolism in Campin and Van Eyck; the Cult of St. Joseph in the North

5 Painting in the North, cont d: More on Jan Van Eyck; Rogier van der Weyden and Hugo van der Goes Reading: Harbison, Chapters 2 and 3 Nov. 3: Painting in Early Renaissance Florence II: Fra Angelico at San Marco; Fra Filippo Lippi; Domenico Veneziano and Andrea del Castagno Reading: Hartt, Chapters 9 & 11 Nov. 10: Nov. 17: Painting in Early Renaissance Florence II, cont d: Paolo Uccello and Piero della Francesca. Reading: Hartt, Chapter 12 **Slide test review SLIDE TEST **AND Art at the Italian Courts: Alberti in Rimini and Mantua; Andrea Mantegna Reading: Hartt, Chapter 15, pp (section on Andrea Mantegna) Art at the Italian Courts, cont d: Ferrara and Urbino Reading: Hartt, Chapter 14 Painting and Sculpture in the North II: Memlinc and David Reading: Harbison, Chapter 4 and Printmaking in Chapter 2 (pp. 75-6) Schongauer s prints and Early Renaissance Painting in Venice: Antonello da Messina, the Bellini and Carpaccio; the Venetian Scuole and the Eyewitness Style Reading: Hartt, Chapter 15 (except pp ) Nov. 24: Italian Sculpture : Later Donatello, Verrocchio, Antonio del Pollaiuolo Reading: Hartt, Chapter 12 & Chapter 13 up to p. 330

6 Botticelli, Ghirlandaio, Perugino at Home; and in the Sistine Chapel (before Michelangelo) Reading: Hartt, rest of Chapter 13 to p TAKE HOME EXAM REVIEW Academic Integrity Academic Integrity is constituted by the five core fundamental values of honesty, trust, fairness, respect and responsibility (see These values are central to the building, nurturing and sustaining of an academic community in which all members of the community will thrive. Adherence to the values expressed through academic integrity forms a foundation for the "freedom of inquiry and exchange of ideas" essential to the intellectual life of the University (see the Senate Report on Principles and Priorities ). Students are responsible for familiarizing themselves with the regulations concerning academic integrity and for ensuring that their assignments conform to the principles of academic integrity. Information on academic integrity is available in the Arts and Science Calendar (see Academic Regulation 1 on the Arts and Science website (see and from the instructor of this course. Departures from academic integrity include plagiarism, use of unauthorized materials, facilitation, forgery and falsification, and are antithetical to the development of an academic community at Queen's. Given the seriousness of these matters, actions which contravene the regulation on academic integrity carry sanctions that can range from a warning or the loss of grades on an assignment to the failure of a course to a requirement to withdraw from the university. Copyright Much of the material provided in our department s art history courses (course websites, exams, professors lecture notes, etc.) is for the sole use of students registered in the courses and should not be distributed or disseminated to anyone other than registered students. To do so may be in violation of copyright and may also constitute a breach of academic integrity. Grading For art history courses offered by the Department of Art, students will be given letter grades for course work and final marks. Some professors may choose to modify this scheme to include percentage grades for course work of a quantifiable nature. The precise nature of each course's grading scheme will be indicated on the syllabus.

7 For the purpose of calculating final grades, professors will use the Arts and Science Letter Grade Input Scheme, in which professors adopt the following numerical values to replace letter grades. Letter Grade Assigned A+ 93 A 87 A- 82 B+ 78 B 75 B- 72 C+ 68 C 65 C- 62 D+ 58 D 55 D- 52 F48 (F+) 48 F24 (F) Numerical Calculation Value To convert final calculated numbers back to letter grades, Queen's Official Grade Conversion Scale will be used (grade point equivalencies are also shown). Numerical Range Grade Grade Grade Point Equivalent A A A B B B C C 2.0

8 60-62 C D D D and below F 0.0