Diploma in History of Art I

Transcription

1 Diploma in History of Art I Course code: 1112DCR502 COURSE SPECIFICATION University of Cambridge Institute of Continuing Education, Madingley Hall, Cambridge, CB23 8AQ Tel

2 CONTENTS This course specification is in three sections: Welcome, general information and resources (pp. 2-6) Syllabus and reading list for each term (pp.7 20) Timetable of teaching dates for the year, by term (p. 21) Welcome to the Diploma in History of Art I, a University of Cambridge award offered by the Institute of Continuing Education (ICE). The Certificate is taught and awarded at FHEQ level 5 (i.e. second-year undergraduate level) and attracts 60 credits. The award is completed in one academic year and each unit (term) is equally weighted, in terms of credits. For further information about academic credit please see our website, Study in History of Art at Diploma level comprises two free-standing, complementary pathways, each leading to the award of a Diploma (Diploma I and Diploma II), and each made up of three units. Both are designed to mirror units that are typical of full-time undergraduate Art History degree courses. One pathway is broadly focused on the history, theory and practice of key aspects of the field in Northern Europe from the late 16th century, complimented by a general survey of the art of Portraiture, while the other provides an in-depth and specialised study of two interlocking periods from Classical to Early Christian and the Medieval World. It also provides an opportunity for a project-based, independent though supervised study. The complementary character of the pathways allows students to combine the award of two 60-credit Diplomas in History of Art into the 120-credit Diploma of Higher Education in History of Art. The two Diplomas in History of Art provide students with an opportunity to extend and develop the art historical knowledge and skills that they have acquired in the Certificate in History of Art. Thematic aspects of the core subjects are pursued in greater depth in ways that will help the students to develop specialist skills that will, it is hoped, enable them to continue to further study and perhaps even to practice in the field. There is a strong emphasis throughout each unit on theory and method, and analytical skills. The programme aims to: provide students with a more complete knowledge and understanding of the history of the visual arts in Western Europe from Classical times to the early 20 th century; provide a broad function introducing students to the main ideas, current theories and debates relating to each phase; develop analytical skills when reading key texts of art theory and criticism enable students to acquire analytical skills and good study practice and be able to relate the works of art they see to their appropriate cultural and historical background. Teaching staff Course Director Dr Francis Woodman is a University Lecturer for the Institute of Continuing Education, University of Cambridge, with responsibility for Art History. His specialist field is Architecture, from ancient Greece to the Reformation. He has published a number of books, including the Architectural History of Canterbury 2

3 Cathedral and King's College Chapel. Dr. Woodman is also a specialist tour leader at home and abroad for the National Trust and the National Art Collections Fund, amongst others. Tutors Dr Michael Baldry was a police officer for over 30 years, retiring as a Detective Chief Inspector. Both before retirement and after, he has pursued his academic passions in the subject of Art History. Michael now has a BA Hons with the Open University, an MA with the University of Essex, and recently a PhD from the Norwich School of Art. His particular interest is Art in the Modern period, particularly in how that art was influenced by the social and political issues integral to the events of the time. Mary Conochie has an MA by Research in Art History (Distinction) from London University, where she specialised in Renaissance portrayals of the feminine in both saintly and secular images. Her subjects include 15th-century Italian painting, 19th-century movements and 20th-century isms. She has taught art history at Homerton College and Anglia Ruskin University and art theory at Norwich University College of the Arts and at the University of Hertfordshire. She is currently a freelance lecturer teaching Advance, Diploma and Certificate courses for the Institute of Continuing Education, University of Cambridge. Her approach to art history is thematic, for example, taking Paris and themes relating to the city as a focus for analysing the historical and socio-cultural issues surrounding 19th-century French painting. Administrative staff Academic Programme Manager: Dr Liz Morfoot, Institute of Continuing Education, University of Cambridge, Madingley Hall, Madingley, Cambridge CB23 8AQ, , emm30@ice.cam.ac.uk Programme Administrator: Mrs Clare Kerr, Institute of Continuing Education, University of Cambridge, Madingley Hall, Madingley, Cambridge,CB23 8AQ, cak34@ice.cam.ac.uk Course fee The fee for the course is 1,200 for the year and you can pay in one of two ways: in full on enrolment (by credit or debit card or by cheque made payable to University of Cambridge) in three instalments (credit or debit card only): the first on enrolment, the second on 1 November 2011 and the third on 1 February Venue Madingley Hall is an historic Tudor mansion on the outskirts of Cambridge with one of the finest gardens in the region. The Hall is situated in the village of Madingley, three miles west of Cambridge with easy access from the M11 and the A14. Full directions are given on our website at Parking There is ample car parking reached via the roadway branching to the left at the top of the drive. Facilities for students with disabilities Two parking spaces are available at the front of the Hall and the entrance into the building is on one level. All areas on the ground floor of the main Hall are accessible by wheelchair; at the moment there 3

4 is no access to the second floor. However, there are plans to install a platform lift to the second floor in Resources for students Student Handbook The Institute s handbook for students contains much useful information relating to studying with the Institute. You will receive a copy of the Student Handbook at your first face-to-face teaching session and it will also be accessible via the VLE. Prior to the course the Handbook is available on our website at Virtual Learning Environment (VLE) The course is supported by online resources accessible within the Institute s VLE and all students will be expected to upload their assignments into the VLE. Any assignments not suitable for uploading into the VLE will be clearly identified. If you did not supply an address on enrolment, or have changed your address please contact elearning@ice.cam.ac.uk ( ) University cards If you are studying with the Institute for 3 terms, you will be eligible to carry a University card ( which will also act as your library card. If you did not submit a passport style photograph with your application then please to studentsupport@ice.cam.ac.uk or post to the Registry, Madingley Hall, Madingley, Cambridge CB23 8AQ. Your card should be ready for you at your first face to face teaching session. University Library While studying at the Institute you will be able to access the resources of the University Library ( both remotely, via the Institute VLE and in person, on presentation of your University card. You will have the same borrowing rights as undergraduate students. If you are studying with the Institute for fewer than 3 terms, please request a letter of introduction to the University Library from the Academic Programme Manager (contact details given above). Cambridge University Press Students of the Institute of Continuing Education are entitled to 20% discount on books published by Cambridge University Press (CUP) which are purchased at the Press bookshop, 1 Trinity Street, Cambridge (Mon-Sat 9am 5:30pm, Sun 11am 5pm). A letter or confirming acceptance on to a current Institute course should be presented as evidence of enrolment. Student participation All students are expected to take an active part in this university-level (FHEQ Level 5) award by handing in work for assessment to provide evidence of their learning on each unit. Therefore, all students will be expected to: (i) attend at least two-thirds of the classes and any fieldtrips and day-schools; (ii) participate actively in class work; (iii) undertake reading and assignments set by the tutors. 4

5 The award of the qualification depends upon the satisfactory completion of the above. The assignments will be assessed against the outcomes for each unit and the generic pass criteria given in the Student Handbook. The dates of the teaching sessions for the year are given at the end of this course specification. Pass/fail criteria Each term s assignment(s) must be passed in order to complete the programme of study successfully. A student will be allowed to resubmit, once only, failed elements of up to two of the three terms assignments within the one year Diploma. Tutors recommendations regarding the pass / fail status of assignments remain provisional until moderation has been completed. Constructive feedback in the form of one 30 minute supervision provided by the Tutor or Academic/Course Director, as appropriate, will be given on failed elements to allow the student to improve on his/her initial submission. A student who fails again on resubmission may opt to continue to study on a not for credit basis and receive a certificate of attendance. Submission deadlines The submission date for each term s work is no later than three weeks after the final teaching session of that term (bank holidays permitting) and these dates are given below, within each syllabus. Please note that assignments should be uploaded into the VLE by 12 noon on the due date, so that if difficulties are experienced, elearning staff will be on hand to help you. In exceptional circumstances, students may negotiate an extension of up to two weeks. To request an extension, students should submit an extension request form to the Academic Programme Manager (contact details given above) in advance of the submission date. Forms are available from the VLE and from your tutor. Examples of exceptional circumstances would include illness of students or their close relatives or unanticipated changes in personal circumstances, but would not include holiday arrangements, workload or social commitments. In extreme circumstances, a longer extension may be possible at the joint discretion of the Academic Programme Manager and Course Director / tutor. Please see the Student Handbook for further details. Moderation procedures and the award of credit The moderation of assessed work is an important element in assuring the quality of programmes. Samples of assessed work from each unit are first moderated by an internal subject assessor. Samples of work, the tutors assessments, and the reports of internal assessors on the level and quality of teaching, learning and assessment on each unit are submitted to a Moderation Panel. In each subject area the Panel consists of a University Moderator, usually a member of the University s academic staff, and an External Examiner, usually an academic member of staff from another university. This Panel is responsible for determining that the work reaches the required standard for the level of the programme, that the tutor s marking is fair, and that the standard achieved is commensurate with that of other higher education providers elsewhere in the country. The report of the Moderation Panel is considered by the Institute s Academic Operations Committee for the approval of the award of University credit. 5

6 Students who have negotiated extensions for the submission of work should be aware that the marking and moderation of their work may fall behind that of their fellow-students. Guidance on plagiarism Students are expected to make sure that their assignments are supported by appropriate referencing and that there is no danger their work could be suspected of plagiarism. They should familiarise themselves with the guidance issued by the University of Cambridge, available in the Student Handbook, within the Virtual Learning Environment (VLE) and at: Students should attach to each assignment a signed and dated statement of authorship, stating that the work is their own, that they are familiar with the scholarly conventions for submitted work and that they have read the Institute s guidance notes on plagiarism. This statement of authorship is given below and can also be downloaded from the VLE or copied from Appendix I in the Student Handbook. Statement of authorship Pages should be numbered and should include a title page stating: full title of the assignment, followed by the statement: The title of this assignment was (select from one of the following options:) taken from the course syllabus/handbook as set up on the VLE discussed and agreed with my tutor, tutor name. your full name course name and code submission date a word count (including footnotes but excluding bibliography) the following declaration: I (your name), in submitting this assignment, confirm that I have read the guidance on the relevant scholarly conventions for submitted work and the guidance notes on Plagiarism and how to avoid it and that the work I have submitted for assessment is my own work and contains no unreferenced or unattributed work of others. I understand that the University reserves the right to include this piece of work for use in the detection of plagiarism. Contact details of ICE Institute of Continuing Education University of Cambridge Madingley Hall Madingley Cambridge CB23 8AQ. Website: awards@ice.cam.ac.uk Switchboard at Madingley Hall:

7 DIPLOMA IN HISTORY OF ART I Syllabus for first unit Michaelmas term 2011 The Northern Renaissance Start date 6 October 2011 End date 15 December 2011 Day Thursday Time 7.15pm 9.15pm Venue Madingley Hall, Madingley, Cambridge CB23 8AQ Tutor Mary Conochie No of meetings / classes 10 meetings and 1 gallery visit (5 November 2011) and a Saturday day-school (3 December 2011) Aims To enable a critical understanding of the historical, cultural and social contexts within which art was produced in Northern Europe between 1400 and To analyse the symbiotic relationship between Netherlandish and Italian artists and in particular the influence of Netherlandish practice upon oil painting, landscape and portraiture in Italy. To examine in particular Flanders as a centre of artistic development during the period. To identify key painters and sculptors whose virtuosity and experimentation had a profound effect upon art production. To analyse the iconography used within religious and secular works in order to understand the content therein. To discuss the altarpiece, its function, its changing shape and as a source for other artistic genres such as landscape, portraiture and still life. Content Through various artists this unit will examine the profound effect of constant political, religious and social change upon patronage, production and subject matter of art. Primarily religious in origin and function, we will analyse the art within these contexts, with particular reference to how they are reflected within the content of altarpieces and private devotionals. In addition, we will discuss the extraordinary observational skills used by Northern artists to describe with increasing accuracy the natural world and how their innovative approaches constitute a Renaissance in art equivalent to that in Italy. Themes covered by the lectures will include: 7

8 The forerunners Broederlam, Sluter, Campin Illuminated manuscripts/books of Hours the world in miniature Naturalism and symbolism in Jan van Eyck Patronage and the changing art market. Use of expressionism in van der Weyden and Grunewald German limewood sculptors and persistence of the Gothic Visualising the proverbial in Bosch and Breughel Secularisation of art in early portraiture and landscape. Dürer and his contemporaries. Presentation of the unit The unit will be structured around slides / powerpoint presentations of the images. Weekly lists of images discussed will be provided, together with information sheets (e.g. terminology, historical context) and some texts. Class discussion is encouraged. Tutor-led gallery visits to the National Gallery will form part of the unit. Outcomes As a result of the unit, within the constraints of the time available, students should be able to: Analyse a painting or sculpture within a critical context using the appropriate terminology. Discuss the artistic changes taking place during the period within an historical, religious and social context. Identify the work of a particular artist and roughly the period in which the work was produced. Describe and compare works by different artists in terms of style, content, imagery and iconography. Student assignments As part of a Diploma course, this unit requires a commitment to reading and pre-class preparation. Coursework will be in the form of three assignments weighted 80 /10/10 to a total of 3,000 4,000 words overall. Students will be encouraged to read set texts, participate in class discussion, and familiarise themselves with the history and artists discussed during the unit through independent research. (a) Each student should compile a written record of the gallery visits. These visits provide the opportunity to analyse images in the original (shape, size, painted surface). Weighted 10%. (b) Each student will prepare a short illustrated presentation on a chosen subject relevant to the course. Weighted 10%. (c) Students will prepare an essay of 2,000-2,500 words. Weighted 80%. Coursework will total 3,000 4,000 words overall. Example essay titles: 1. Discuss the influence of illuminated Books of Hours upon early Netherlandish painters. 2. Compare different approaches to portraiture of Campin and van Eyck. 8

9 3. Analyse the use of expressionism in the work of Grunewald s Isenheim Altarpiece. 4. Consider the variety of iconography and style of ONE of the following subjects in Flemish art: (1) Nativity. (2) Crucifixion, (3) Resurrection, (4) Last Judgement. Confine your answer to panel painting, manuscripts or prints. 5. Assess how Jan van Eyck combines naturalism and symbolism in his art. You can choose to do this by analysis of a single work or a selection of works. 6. Compare and contrast the work of Rogier van der Weyden with an Italian contemporary (e.g. Fra Angelico) with particular reference to differing approaches to similar subject matter. 7. Examine Riemenschneider s innovative techniques and his contribution to the monumental altarpiece. 8. Analyse the subject of human folly in the work of either Bosch or Breughel. If you wish, you can discuss works by both artists. 9. Examine the integration of Flemish and Italian influences within the work of Pacher. If students choose a title that is not given above it must be discussed and agreed with the tutor first. Closing date for the submission of assignments: 12 noon on Tuesday 3 January 2012 (Please see the information on the Institute s Virtual Learning Environment on p.4) Reading and resource list Baxandall M Chipps Smith J Cuttler C D Dunkerton J The Limewood Sculptors of Renaissance Germany The Northern Renaissance (Art and Ideas) Northern Painting: From Pucelle to Brueghel Giotto to Dürer: Early Renaissance Painting in the National Gallery Yale 1980 Phaidon 2004 Holt, Rinehart & Winston, 1991 (10th edition) National Gallery, 1991 Friedlander M J From Jan Eyck to Breughel Phaidon 1981 Harbison C Jan van Eyck: The Play of Realism Reaktion, 1991 Harbison C The Art of the Northern Renaissance Weidenfeld & Nicholson, 1995 Humfrey P & Kemp M The Altarpiece in the Renaissance (Chapters 3, 4, 5 and 6) Cambridge, 1990 Metropolitan Museum Tilman Riemenschneider Metropolitan, New York, 1999 Nuttall P From Flanders to Florence: Impact of Netherlandish Painting Yale,

10 Panofsky E Life and Art of Albrecht Dürer Princeton 1971 Panofsky E Early Netherlandish Painting Website Addresses for The Groeninge Museum in Bruges 10

11 DIPLOMA IN HISTORY OF ART I Syllabus for second unit Lent term 2012 From Hogarth to Turner c.1730 c.1850 Start date 19 January 2012 End date 22 March 2012 Day Thursday Time pm Venue Madingley Hall, Madingley Cambridge CB23 8AQ Tutor Dr Michael Baldry No of meetings / classes 10 meetings and two gallery visits (dates tbc) Aims A survey of the period to highlight the significant artists and delineate their contexts; Examine the unique social and political background to this period so as to understand why art should flourish as it did whereas previously it had not; Consider the particular genre of painting, portrait, landscape and history, in the context of the nature of the English social conditions; and, Experience the range and diversity of the art produced so as to evaluate it in the broader context of Western art generally. Content The unit will study the sequence of innovation and change in English art from the early years of the 18th century to the middle years of the 19th century. The legacy of two centuries dominated by foreign artists, mainly from the Netherlands and Germany, is the foundation that Hogarth set out to challenge and in so doing, created the basis for a national school. The Glorious Revolution of 1688 bestowed upon Britain a political advantage that led ultimately to the Pax Victoriana, Britain s prosperity via the agrarian and industrial revolutions, a British empire based on trade primarily but colonisation latterly and increasingly on Britain s position as arbiter of European affairs. George III and George IV built up the royal collection of paintings and were significant patrons of the arts. The aristocracy and gentry were inspired by their experience of the Grand Tour. The wealth the English economy generated made possible lavish spending on the arts further down the social hierarchy and new money amongst a growing commercial class spread patronage to the collectors whom Hogarth had cultivated. The benefit of the establishment of the Royal Academy was intended to 11

12 serve the artists but patrons gained too. The National Gallery and the Museum at South Kensington were also founded during this period, principally as a means of educating public taste. The unit will focus on the history of painting, but painting in the context of the architecture and the decorative arts of the period. It will pay attention to shifts in critical opinion, from Hogarth to Reynolds to Ruskin, to the work of provincial artists like Wright of Derby and of eccentrics like Blake and his admirers and to relationships with non-visual arts. The English maintained their traditional fondness for portraiture and developed a new national obsession with landscape and with the art of watercolour, but there were also painters who were obsessed with imaginative visions. Presentation of the unit Digital presentations will be the meat of the course. They, and the supporting material, should stimulate class discussion. There will be visits to galleries with relevant collections, chosen from Cambridge, the Fitzwilliam Museum, and London, Tate Britain, the National and National Portrait Galleries and maybe other collections such as Norwich Castle Museum and Gallery and the Wallace Collection. Outcomes As a result of the unit, within the constraints of the time available, students should be able to: demonstrate recognition of the characteristic style and philosophy of a number of significant painters from the period; relate these artists to their social and ideological contexts; evaluate their significance; show some in-depth understanding of the development of new and different modes of expression as they develop through the period. Student assignment As part of a Diploma course, this unit requires a commitment to reading and pre-class preparation. Coursework will be in the form of a single essay of 3,000 4,000 words or two shorter essays of words each (if two essays, they will be weighted equally in terms of the final mark). Students will be encouraged to read as widely as possible, especially with a view to writing essays. Experience shows that students who set themselves one topic to explore in depth and at length produce the best work. The required word-total for the course is 3,000-4,000 words. Example Essay Titles In 1801 Henry Fuseli at a Royal Academy lecture referred disdainfully to the last branch of uninteresting subjects, that kind of landscape which is entirely occupied with the tame delineation of a given spot, Does this criticism characterise the art of Constable or Turner? Discuss. Using the work of at least three painters as exemplars examine what is involved in the concept of Romanticism in painting. 12

13 With reference to the production of at least two painters from within the period, assess, compare and contrast the notion of the sublime and picturesque. Evaluate the impact of the founding of the Royal Academy on the art market in Britain. Hogarth is a much more significant painter than his reputation as a satirist would lead us to think. Gainsborough and Reynolds had dramatically different styles and techniques. Compare and contrast these with an eye to evaluating the relative standing of each. Consider the vast amount of work that was done outside the capital and evaluate the merits of two provincial painters. Discuss the differences and similarities in the depiction of the working classes, in paintings by Morland, Constable, Gainsborough and/or others. Does your appreciation of the work of Blake benefit from understanding his poetry? Explore the boundary between science and the arts through the work of any two painters from the period. Trace the demand for a National Gallery of Art in Britain and consider how it ultimately benefited artists, patrons, including those from the growing industrial class. Examine how the term Romantic could appropriately be applied to William Blake, John Constable and J.M.W. Turner, indicating those aspects of Romanticism that each exemplify. What evidence in art is there for the impact of the agrarian and industrial revolutions? If students choose a title that is not given above it must be discussed and agreed with the tutor first. Closing date for the submission of assignments: 12 noon on Thursday 12 April 2012 (Please see the information on the Institute s Virtual Learning Environment on p.4) Reading and resource list BAILEY Anthony BAILEY Anthony Standing in the Sun: a Life of J.M.W. Turner John Constable A Kingdom of His Own Sinclair- Stevenson Vintage 2007 BARRELL, John The dark side of the landscape Cambridge 1983 BENTLEY G.E. The Stranger from Paradise: A Biography of William Blake Yale 2001 BICKNELL Peter Beauty, Horror and Immensity: Picturesque Landscape in Britain Fitzwilliam 1981 Museum 13

14 BINDMAN David Hogarth Thames & Hudson 1981 BINDMAN, David William Blake: the complete illuminated books Thames & Hudson 2001 BLAYNEY BROWN, David The Art of JMW Turner Knickerbocker Press BOASE, TSR English Art Oxford 1959 BOIME, Albert Art in an age of Bonapartism Chicago 1990 BOIME, Albert Art in an age of counter-revolution Chicago 2004 BROWN Blayney et al David Romantic Landscape: The Norwich School of Painters Tate Gallery 2000 BURKE, James English Art Oxford 1976 CLARK, Kenneth Landscape into art John Murray 1979 CLARK, Kenneth Romantic Rebellion Icon (Harper) 1987 COLLEY, Linda Britons: forging the nation Vintage 1996 CORMACK, Malcolm CORNMACK Malcolm Bonington Cambridge 1989 The Paintings of Thomas Gainsborough Cambridge U P 1991 EGERTON, Judy Wright of Derby Tate 1990 GARLICK, Kenneth Sir Thomas Lawrence: portraits of an age Yale 1993 GEORGE, MD Hogarth to Cruikshank Allen Lane 1967 GRAHAM-DIXON A A History of British Art BBC 1996 HALLETT, Mark Hogarth Phaidon 2000 HAMILTON, James Turner: a life Hodder & Stroughton 1997 HAMLYN Robert & M. Phillips William Blake Tate Gallery 2000 HARRISON, Colin Samuel Palmer Ashmolean Museum, Oxford 1998 HARRISONCharles, WOOD Paul, Art in Theory Blackwell

15 GAIGER Jason KLINGENDER Francis D. Art and the Industrial Revolution Paladin 1975 KRIZ Kay The idea of the English Landscape Painter Yale 1997 LESLIE, CR Memoirs of the late John Constable R.A. Phaidon 1995 LEVY, Michael Sir Thomas Lawrence Yale 2003 MCINTYRE, Ian Joshua Reynolds Penguin 2004 MEYER Laure Masters of English Landscape Terrail 1995 MOORE Andrew The Norwich School of Artists Norfolk Museum Service 1995 MORRISON Venetia MYRONE, Martin et al The Art of George Stubbs Eagle Editions 2003 Gothic nightmares Tate 2006 NOON, Patrick Constable to Delacroix: British Art and the French Romantics Tate 2002 PARISSIEN, Steven George IV: the great entertainer John Murray 2001 PORTER, Roy English Society in the eighteenth century Penguin 2001 POSTLE, Martin et al Joshua Reynolds; the creation of celebrity Tate 2005 RAINE Kathleen William Blake Thames & Hudson 2000 REYNOLDS Graham Turner Thames & Hudson 1976 RIBEIRO, Aileen The art of dress: Fashion in England and France Tate 1995 RODNER S. William J.M.W. Turner: Romantic Painter of the Industrial Revolution University of California Press 1997 ROSENTHAL Michael ROSENTHAL Michael & M. Myrone (ed) Constable: The Painter and His Landscape Yale 1983 Gainsborough Tate Gallery

16 ROSENTHAL Michael et al Prospects for the Nation: Recent Essays in British Landscape Yale 1997 ROSENTHAL, Michael Constable Thames & Hudson 1987 STRONG Roy The Arts in Britain: A History Pimlico 2000 TATE Gallery Manners & Morals: Hogarth and British Painting Tate Gallery 1987 TILLYARD, Stella Aristocrats Vintage 2000 UGLOW, Jenny The Lunar Men Faber & Faber 2002 UGLOW, Jenny William Hogarth: a life and a world Faber & Faber 2002 VAUGHAN William British Painting: The Golden Age Thames & Hudson 1999 VAUGHAN William Gainsborough Thames & Hudson 2002 VAUGHAN, William Thomas Gainsborough Thames & Hudson 2002 VENNING, Barry Turner: Art & Ideas Phaidon 2003 WATERHOUSE, Ellis Painting in Britain Yale 1994 WHITE T.H. The Age of Scandal Penguin

17 DIPLOMA IN HISTORY OF ART I Syllabus for third unit Easter term 2012 About face: portraiture Start date 26 April 2012 End date 28 June 2012 Day Thursday Time pm Venue Madingley Hall, Madingley, Cambridge CB23 8AQ Tutor Mary Conochie No of meetings / classes 10 meetings and 2 gallery visits (19 May and 23 June 2012) Aims This unit aims to: identify different categories of the portrait (pair, group, royal, civic, formal, informal); examine how pose, glance, gesture, dress affect our interpretation; discuss genderisation within the portrait; discuss the relevance of the portrait as a social document; and analyse the artist s perception of self in the self-portrait. Content Artistic development of this genre is particularly significant: how the artist meets the difficult challenge of portraying the status and individuality of the sitter and the iconography associated with the portrait. The historical, cultural and political contexts will also be examined in relation to society s perception of itself over the centuries. The sessions will include the following themes: The gaze - from profile to three-quarter view to full face. Men of power and men of letters Expressing status and individuality Dürer: Holbein & English Court Regal and Civic Portraits The versatility of Van Dyck Genderisation and the portrayal of the feminine The English Face Reynolds and Gainsborough Velasquez and Goya - portrayals of Spanish society. Individual Portraits the formal and informal The Self Portrait 17

18 The work of major contributors to portraiture (Leonardo da Vinci, Titian, Rembrandt, Hals, Rubens) as well as lesser known artists (Gossaert, Bronzino, Moroni, Mor) will also be discussed during the unit. Presentation of the unit The unit will be structured around slides images/powerpoint presentations. Weekly lists of the images shown will be provided, together with information sheets and relevant texts. Class discussion is encouraged at all times. Two tutor-led gallery visits (Saturday 19 May 2012 to the National Gallery and National Portrait Gallery and Saturday 23 June 2012 to the Fitzwilliam Museum) will form part of the course. Outcomes As a result of the unit, within the constraints of the time available, students should be able to: Identify different categories of portraiture within a critical context using the appropriate terminology. Discuss the artistic attitude to portraiture within changing historical, cultural and social contexts. Analyse the iconography of portraiture with particular reference to the relevance of pose, gaze and gesture. Compare and describe in depth portraits by different artists in terms of style, content and strata of society portrayed. Demonstrate critical awareness of the relevance of status and individuality within portraiture. Student assignment As part of a Diploma course, this unit requires a commitment to reading and pre-class preparation. Students will be encouraged to read set texts, participate in class discussion, and familiarise themselves with the history and artists discussed during the course through independent research. Coursework will comprise two assignments, weighted 80 / 20 which, together, should come to a total of 3,000 4,000 words: 1) Each student should compile a written record of the gallery visits. These visits provide the opportunity to analyse images in the original (shape, size, painted surface). Each student will prepare an analysis of two portraits studied during the gallery visits (1, words). Weighted 20% of the final mark. 2) Students will prepare an essay of 2,500 3,000 words. Weighted 80% of the final mark. Example Essay titles 1) Do societies make portraitists or do portraitists make societies? 2) Discuss the significance of social rank, profession and gender in the depiction of the individual. 3) Examine Titian s contribution and influence upon portraiture. 4) To what extent does the Aristotelian concept of the woman as internal and the man as external persist in portraiture? How are such gendered spaces evoked? (Exceptions to this premise which should also be discussed.) 18

19 5) Analyse the development of the pair portrait during the centuries discussed. 6) Choosing two artists from different schools (eg Netherlandish, Italian) analyse how differently (or not) they depict the sitter and how their approach might reflect different cultural attitudes to self. If students choose a title that is not given above it must be discussed and agreed with the tutor first. Closing date for the submission of assignments: 12 noon on Thursday 19 July 2012 (Please see the information on the Institute s Virtual Learning Environment on p.4) Reading and resource list Author Title Publisher and date Brilliant Richard Portraiture London 1990 Campbell L Renaissance Portraits: European Portrait Painting in 14 th 15 th 16 th centuries Hearn K Dynasties: Painting in Tudor and Jacobean England Lynton N Painting the Century 101 Portrait Masterpieces London 1995 London 2000 London Piper D The English Face 1992 National Portrait Gallery Publications Pope-Hennessy John The Portrait in the Renaissance Princeton Schnieder N The Art of the Portrait 1994 Cologne Shawe-Taylor D The Georgians: 18 th c Portraiture & Society 1990 London Simon R The Portrait in Britain and America 1987 Oxford Wendorf R Sir Joshua Reynolds: The Painter in Society 1996 London West Shearer Portraiture Oxford 2004 Woodall Joanna Portraiture: Facing the Subject Manchester 1997 Exhibition Catalogues Portraits by Ingres Image of an Epoch Rembrandt by Himself Millais: Portraits Self Portrait: Renaissance to Contemporary 1999 National Gallery London/Metropolitan Museum of Art New York 1999 National Gallery Publications 1999 National Portrait Gallery 2005 National Portrait Gallery 19

20 For portraiture by specific artists it is best to consult monographs on individuals - Titian, Rembrandt, Velasquez, Goya, Degas etc which will usually cover all aspects of an artist s work including portraiture Website Addresses

21 TEACHING TIMETABLE Term 1 Date Lecture 1 06/10/2011 Lecture 2 13/10/2011 Lecture 3 20/10/2011 Lecture 4 03/11/2011 Gallery visit 05/11/2011 Lecture 5 10/11/2011 Lecture 6 17/11/2011 Lecture 7 24/11/2011 Lecture 8 01/12/2011 Saturday day-school 03/12/2011 Lecture 9 08/12/2011 Lecture 10 15/12/2011 Term 2 Date Lecture 1 19/01/2012 Lecture 2 26/01/2012 Lecture 3 02/02/2012 Lecture 4 09/02/2012 Lecture 5 16/02/2012 Lecture 6 23/02/2012 Lecture 7 01/03/2012 Lecture 8 08/03/2012 Lecture 9 15/03/2012 Lecture 10 22/03/2012 Gallery visit TBC Gallery visit TBC Term 3 Date Lecture 1 26/04/2012 Lecture 2 03/05/2012 Lecture 3 10/05/2012 Lecture 4 17/05/2012 Gallery visit 19/05/2012 Lecture 5 24/05/2012 Lecture 6 31/05/2012 Lecture 7 07/06/2012 Lecture 8 14/06/2012 Lecture 9 21/06/2012 Gallery visit 23/06/2012 Lecture 10 28/06/2012 University of Cambridge Institute of Continuing Education, Madingley Hall, Cambridge, CB23 8AQ Tel Information correct as at 6 September