Art History: Italian Renaissance Art COURSE DESIGNATOR FLOR 3001 Language of Instruction English

NUMBER OF CREDITS 3 Contact Hours 45

COURSE DESCRIPTION This  course  will  explore  the  development  of  art  and  architecture  in  Florence  and  Tuscany  from  the  late  Middle  Ages   to   the  beginning  of   the  High  Renaissance.    Special  emphasis  will  be  given  to  Leonardo  Da  Vinci  and  his  contribution   to   the   artistic   and   scientific   fields.  Through  an   in-­‐depth  analysis  of   the   art   and  history  of   these  periods,  we  shall  develop  an  understanding  of   Italy’s  role   in  the  overall  development  of  Western  civilization.  Florence  exhibits  to  this  day  a  particularly  well-­‐integrated  conception  of  painting,  sculpture,  and  architecture.    Taking   advantage   of   this,   we   will   use   the   city   as   our   classroom   in   order   to   examine   the   development   of  Florentine  art  and  architecture  in  context.     INSTRUCTOR Prof.  Rocky  Ruggiero     COURSE OBJECTIVES • To thoroughly understand the importance of the Florentine Renaissance and the specific role played in it by

Leonardo da Vinci • To bring a historical period to life through a “hands on” approach to the monuments and works produced

during this specific period • To develop an ability to interact in a personal and intimate manner with works of art and their surroundings LEARNING OUTCOMES

 General  Learning  Outcomes  At  the  end  of  the  course,  students  should  be  able  to  recognize  works  of  art  and  architecture  and  their  specific  creators;  understanding  the  role  and  importance  of  each,  both  in  a  specific  historical  context  and  beyond.        Course  Specific  Outcomes  This  course  is  designed  to  offer  students  the  necessary  skills  to  be  able  to  read  and  analyse  works  of  art  and  architecture  as  regards  artistic  style,  iconography,  the  role  of  patronage  and  social  history.    Through  attentive  compositional  and  historical  dissection,  students  will  develop  an  ability  to  engage  and  comprehend  the  extraordinary  works  produced  during  the  Italian  Renaissance.    Students  will  also  learn  how  changing  social  philosophies  and  conditions  can  influence  and  mutate  the  general  artistic  tastes  of  the  day.   METHODOLOGY A  majority  of  lectures  will  take  place  "on-­‐  site",  that  is,  in  the  various  churches  and  museums  throughout  the  city.    This  will  allow  students  to  engage  their  environment  and  direct  experience  with  the  works  that  make  this  city  so  extraordinary.    In-­‐  class  lectures  will  also  be  held  on  related  topics  in  various  Italian  cities.    Students  are  encouraged  to  actively  participate  during  lectures.  Our  discussions  will  relate  historical  material  to  analogous,  contemporary  social  and  artistic  themes.  

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COURSE PREREQUISITES There are no prerequisites for the course. REQUIRED READING/MATERIALS The  required  text   is  John  T.  Paoletti  and  Gary  M.  Radke,  Art   in  Renaissance   Italy,    3rd  or  4th.  Edition.    This  book  is  available  for  purchase  at  the  Paperback  Exchange  on  via  delle  Oche  and  has  been  pre-­‐  ordered  for  you.  All  readings  should  be  done  in  advance  of  each  week’s  class.   GRADING  CRITERIA FOR GRADING AND GRADING STANDARDS

Grading Rubric A 93-100 Achievement that is outstanding relative to the level necessary to meet course requirements.

A- 90-92 Achievement that is significantly above the level necessary to meet course requirements. B+ 87-89

B 83-86 B- 80-82

Achievement that meets the course requirements in every respect. C+ 77-79 C 73-76 C- 70-72

Achievement that is worthy of credit even though it fails to meet fully the course requirements.

D+ 67-69 D 60-66 F 0-59 Represents failure (or no credit) and signifies that the work was either (1) completed but at a

level of achievement that is not worthy of credit or (2) was not completed and there was no agreement between the instructor and the student that the student would be awarded an I.

SUMMARY OF HOW GRADES ARE WEIGHTED:

Preparation and Participation 10%

Mid- term Exam 20%

Research Project 30%

Final Exam 40%

Overall grade 100%

ATTENDANCE POLICY Regular attendance and punctuality are mandatory in order to earn full marks. The final grade will take into consideration preparation required for class (i.e. readings) and participation in class discussions. If you miss any meetings without an excused absence from the on-site director, your final grade will be dropped accordingly (check the Academic Handbook for the attendance policy in place at the Florence Program). In the case of absences, it is the student’s responsibility to find out what information was given in class including any announcements made.

Missed assignments: a valid doctor’s certificate dated on the day of the absence or other evidence of medical need is required to make up for any missed assignment (paper due, presentation due, project due, test, quiz, midterm, final, and all other graded activities). Failure to provide such evidence will automatically result in an “F”/”0” grade for the assignment. No exceptions allowed.

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UNIVERSITY OF MINNESOTA POLICIES AND PROCEDURES Academic integrity is essential to a positive teaching and learning environment. All students enrolled in University courses are expected to complete coursework responsibilities with fairness and honesty. Failure to do so by seeking unfair advantage over others or misrepresenting someone else’s work as your own, can result in disciplinary action. The University Student Conduct Code defines scholastic dishonesty as follows: SCHOLASTIC DISHONESTY: Scholastic dishonesty means plagiarizing; cheating on assignments or examinations; engaging in unauthorized collaboration on academic work; taking, acquiring, or using test materials without faculty permission; submitting false or incomplete records of academic achievement; acting alone or in cooperation with another to falsify records or to obtain dishonestly grades, honors, awards, or professional endorsement; altering forging, or misusing a University academic record; or fabricating or falsifying data, research procedures, or data analysis. Within this course, a student responsible for scholastic dishonesty can be assigned a penalty up to and including an “F” or “N” for the course. If you have any questions regarding the expectations for a specific assignment or exam, ask. STUDENT CONDUCT The University of Minnesota has specific policies concerning student conduct and student needs. This information can be found on the Learning Abroad Center website.

CLASS SCHEDULE

WEEK 1

ANCIENT AND MEDIEVAL FLORENCE This lecture will explore the Ancient Roman origins and urbanism of Florence and its subsequent transformation into the Medieval city- state.

• Introductory Class Lecture / The Origins of Florence and the Rise of the City State   Meet at Accent Center  

Readings: “Introduction”, “The Origins of the Renaissance”, pgs. 48-55; “Florence: Traditions and Innovations”, pgs. 77-78; “The Palazzo della Signoria and Urban Planning”, pgs. 80-82.  

WEEK 2

THE ART OF THE MENDICANT ORDERS Our subject today will concern the revolution in painting that was set in motion by Giotto and his followers as seen in the chapels and refectory of the Franciscan complex of Santa Croce.  

• Franciscan Philosophy and the Basilica of St. Francis in Assisi / The Basilica of Santa Croce   Meet at Accent Center

  Readings: “Assisi and Padua: Narrative Realism”, pgs. 67-71; “Mendicant Churches”, pgs. 82- 94

WEEK 3

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RELIGIOUS AND CIVIC ART AND ARCHITECTURE IN MEDIEVAL SIENA, CITY OF THE VIRGIN  During  the  13th  and  14th  centuries,  the  city  of  Siena  was  Florence's  great  rival.      We  will  exam  the  Sienese  school  of  painting,  as  well  as  the  great  civic  and  religious  architecture  that  made  Siena  so  extraordinary.    

• Religious and Civic Art and Architecture in Siena   Meet at Accent Center  

Readings: “Siena: City of the Virgin”, pgs. 99-123  

WEEK 4

THE FLORENCE CATHEDRAL COMPLEX AND THE DAWN OF THE RENAISSANCE  Today  we  will  examine  one  of   the  most   important   fresco  cycles   in   the  history  of  art-­‐   those  by  Giotto   in   the  Arena  Chapel.    We  will   then   continue   our   discussion   by   looking   at   two   of   the  most   famous  monuments   in  Florence-­‐  the  Cathedral  of  Santa  Maria  del  Fiore  and  the  Baptistery-­‐  in  order  to  understand  the  role  that  art  and  architecture  have  had  in  the  history  of  this  city.    

• Giotto and the Arena Chapel / Santa Maria Del Fiore   Meet at Accent Center

 • Readings: “The Cathedral Complex”, pgs. 94- 98, “Padua: The Scrovegni Chapel”, pgs. 71-76    

WEEK 5

THE BLACK DEATH AND EARLY RENAISSANCE SCULPTURES The epidemic known as the "Black Death", which struck Europe in 1348, is perhaps the single most important event in European history. We will examine some of the paintings produced after this event in order to determine its effects on artistic style. The second half of the lecture will focus on the Medieval grain market -turned -church of Orsanmichele. This structure exemplifies the transformation of the Gothic into the Renaissance style through its unique combination of Gothic architecture and Renaissance sculptures.

• Post Black Death Painting: The Spanish Chapel, SMN / Orsanmichele Meet at Accent Center

Readings: “Santa Maria Novella in Florence”, pgs. 155- 162; Orsanmichele”, pgs. 212- 217  

WEEK 6

MID TERM EXAM

• IN-CLASS MID TERM EXAM  • RESEARCH PAPER TOPICS DUE  

WEEK 7

• SPRING BREAK/NO CLASS

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WEEK 8

MASTERPIECES OF THE UFFIZI GALLERY AND THE EARLY WORKS OF LEONARDO  The   arts   of   the   Renaissance   -­‐   painting,   sculpture   and   architecture-­‐   all   explore   issues   of   space   and   its  representation.    We  will   visit   the  Ufiizi  Gallery,   one  of   the  world's  most   famous  painting  galleries,   and  will  focus  out  attention  on  the  representation  of  space  as  it  changes  from  the  Trecento  to  the  Cinquecento.    We  will  pay  particular  attention  to  the  three  paintings  associated  with  Leonardo  da  Vinci,  and  how  they  represent  the  beginnings  of  the  artists  singular  career.    

• Uffizi Gallery  Meet at the copy of the David in Piazza Signoria  

 Readings:“The Strozzi Chapel at Santa Trinita”, pgs. 224- 226; “Altarpieces at Mid- Century”, pgs. 233- 236;“The Devotional Image”, pgs. 272-275; “Classical Antiquity and the Golden Age”, pgs. 281- 285; “Reconstructing Civic Space: The Uffizi”, pgs. 460- 461  

WEEK 9

BRUNELLESCHI, THE MEDICI AND EARLY RENAISSANCE ARCHITECTURE Filippo   Brunelleschi   is   usually   credited  with   inventing   a   new   "Renaissance"   style   of   architecture.    We  will  discuss   his   innovative   design   for   the   Basilica   of   San   Lorenzo.    We   will   then   visit   the   family   palace   of   the  Medici,  examining  its  facade,  courtyard,  garden  and  chapel  and  how  this  building  became  the  quintessential  Renaissance  domestic  building.    

• San Lorenzo / Palazzo Medici   Meet in front of San Lorenzo  

 Readings: “The Medici Palace”, pgs. 259- 262; “The Medici’s Civic and Domestic Commissions”, pgs. 252- 256; “Brunelleschi’s Dome”, pgs. 218- 221.

WEEK 10

EARLY RENAISSANCE PAINTING “IN PERSPECTIVE” / THE GENIUS OF LEONARDO DA VINCI  Perhaps   the  greatest   technical   contribution  of   the  Renaissance    was   the  development  of   linear  perspective.    Realistic  three-­‐  dimensional  illusions  on  two-­‐  dimensional  surfaces  was  a  tool  unprecedented  in  the  history  of  art.    We  shall  examine  the  first  ever  perspectival  painting  in  Masaccio's  Trinity.    We  will  also  analyse  Alberti's  facade  of  Santa  Maria  Novella-­‐  Florence's  only  Renaissance  style  church  facade.    Our   discussion   will   then   continue   in   the   classroom   with   an   in-­‐depth   examination   of   the   career   of   the  "universal  genius"  Leonardo  Da  Vinci.    

• Santa Maria Novella   Meet at Santa Maria Novella    Readings: “The Trinity and Single- point Perspective”, pgs. 231- 233: “Masaccio and the Brancacci Chapel” pgs. 226- 231, "Leonardo Da Vinci", pgs 371-375

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WEEK 11

CATHEDRAL SCULPTURE AND THE “DAVID” IMAGE IN FLORENCE The   Bargello,   originally   a   civic   palace,   is   now   the   National   Sculpture   museum   of   Florence.     Here   we   will  discuss   important   works   by   Ghiberti,   Donatello   and   Verrocchio.    We   will   continue   with   our   discussion   of  sculpture   with   a   visit   to   the   museum   of   the   cathedral,   which   houses   the   original   panels   of   the   Gates   of  Paradise  and   a   late  Pietà  by  Michelangelo.  Our   visit   to   this  museum  will   allow  us   to   discuss   the   variety   of  artistic   commissions  necessary   for  one  building  complex,   as  well   as   the  modern  problem  of  how   to  exhibit  works  from  the  past.    

• Bargello / Museo Dell’Opera del Duomo   Meet at the Bargello Museum  

 Readings:“Sculpture for the Cathedral Complex, pgs. 204- 212;“The Florence Cathedral Interior”, pgs. 243-250; “The Competition for the Second Baptistry Doors”, pgs. 205- 209; “Buttress Sculpture”, pgs. 209- 211; “The Medici and Donatello’s Late Work”, pgs. 267- 269; “ Art and the Collector”, pg. 285  

WEEK 12

• Taormina Study Tour/ NO CLASS     Looking  assignment  to  be  completed  during  trip  to  Sicily

WEEK 13

MICHELANGELO’S DAVID AND THE MEDICI POPES For   a   discussion   of   Michelangelo's   sculptural   and   architectural   works,   we   will   first   visit   the   Accademia  Gallery,  which  houses  his  famous  statue  of  David  and  several  unfinished  works  for  the  tomb  of  Pope  Julius  II.    We  shall   then  continue  our  visit   to  the  New  Sacristy  at  San  Lorenzo,  which  features  his  noted  sculptures  of  Night  and  Day.    We  will  discuss  Michelangelo's  career,  his  problematic  relationships  with  clients,  his  artistic  license,  his  method  of  design  and  the  controversial  style  known  as  "Mannerism".    

• The Accademia Gallery / The Medici Chapels   Meet at the Accademia Gallery RESEARCH PAPERS DUE

 Readings: “A new Civic Hero: Michelangelo’s David”, pgs. 308-309; "Raphael and Michelangelo", pgs. 422-423  

 

WEEK 14

• NATIONAL HOLIDAY- NO CLASS Lecture to be re- scheduled and recovered during the semester. Date TBA  

WEEK 15

 • FINAL EXAM  

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