Art History: Italian Renaissance Art - Learning Abroad History: Italian Renaissance Art ... which struck Europe in 1348, ... unique combination of Gothic architecture and Renaissance sculptures.

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  • 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 Italys 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 weeks 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 students responsibility to find out what information was given in class including any announcements made.

    Missed assignments: a valid doctors 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 elses 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 Medicis Civic and Domestic Commissions, pgs. 252- 256; Brunelleschis 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 Piet 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 DellOpera 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 Donatellos 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

    MICHELANGELOS 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: Michelangelos 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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