ARTH 323: FIFTEENTH-CENTURY ITALIAN RENAISSANCE ART SUMMER 2015 (Session II-D)

(August 3 - August 21) Class Meetings: MTuWTh 11am-1pm

Michelle Smith Collaboratory for Visual Culture (Art/Sociology 4213)

Professor: Nicole Riesenberger Office: Art/Soc 4205B Email: nriesenb@umd.edu Introduction: This course surveys the painting, sculpture and architecture of fifteenth-century Italy. We will consider the social and political functions of artistic programs, the domestic role of art, artistic patronage and commemoration, the revival of antique styles, developments toward naturalism, and the distinct regional styles practiced throughout Italy. This hybrid course will be taught from a website that hosts images of the artworks students will learn throughout the semester, a syllabus, a schedule of class topics and assignments, supplemental resources, and a digital map and timeline populated with course content. The course site can be found at: http://quattrocentoitalia.artinterp.org/omeka/. Due to the hybrid nature of the course, students have the option of attending lecture in person or virtually. For those who cannot attend in person, lectures will be accessed by logging onto Canvas, at: https://myelms.umd.edu/login. The Canvas site will also be used for discussion forums, which all students will be expected to contribute to regularly. Although students are invited to attend daily class meetings via the online portal, all students must be present at the University of Maryland, College Park for the final exam on August 20, 2015. Required Readings: All required readings and supplemental digital resources will be available online at Canvas, https://myelms.umd.edu/login. Students are not required to purchase any textbooks. Expectations: Students will be expected to complete assigned readings and to review online resources before each lecture. These materials will often serve as the starting point for debates in the Canvas discussion forum, which students will contribute to with brief responses before each lecture. On a rotating basis, individual students will be enlisted as discussion moderators for the online forum. The role of the discussion moderator is to stimulate debate with open-ended questions about the assigned materials and to respond to the posts of their peers in a thoughtful and inclusive manner. Attendance of all lectures (either virtually or in person) and active participation on Twitter during lecture will be essential to the creation of a vibrant and engaging online community. The time allotted for lecture has been reduced substantially from the traditional course in order to allow ample time for students to complete discussion forum posts and to review additional online materials. The combination of discussion forum and Twitter participation will make up 40% of the student’s grade. Because there is no term paper required for this course, both the quality and quantity of students’ discussion forum posts will be factored into the participation grade. Therefore, contributions to the discussion forum should be concise (1-2 paragraphs) but thoughtful and cogent entries that reveal the student’s knowledge of the material and questions at hand. The remainder of the course grade will comprise two exams and a digital exhibition project.

Digital Exhibition Project: This course will culminate in a semester project involving the curation of a digital exhibition using Google Art Project. After first developing a question or subject for their exhibition, students will select five fifteenth-century Italian artworks from those available in Google’s collection. Exhibitions may be thematic (ie. mythology, marriage chests, the study of human anatomy, regional variations on a particular theme, such as the Madonna and Child, etc.) or retrospectives of a single artist’s work. In each case students will be expected to draft short narratives for each object in their exhibition, explaining the general history of the object and how it relates to the broader topic. Students will submit proposals for their exhibitions on August 6th and the final project will be due on August 17th. Students will then review one another’s exhibitions for the final discussion forum assignment. Further details for this project will be distributed on the first day of class. Grading: Participation (Discussion Forum and Twitter Posts): 40% Digital Exhibition Project: 30% Exams: 30% University of Maryland Grading Scale

• A+, A, A- denotes excellent mastery of the subject and outstanding scholarship • B+, B, B- denotes good mastery of the subject and good scholarship • C+, C, C- denotes acceptable mastery of the subject • D+, D, D- denotes borderline understanding of the subject, marginal performance, and it

does not represent satisfactory progress toward a degree • F denotes failure to understand the subject and unsatisfactory performance • XF denotes failure due to academic dishonesty

Academic integrity The University of Maryland, College Park has a nationally recognized Code of Academic Integrity, administered by the Student Honor Council. This Code sets standards for academic integrity at Maryland for all undergraduate and graduate students. As a student you are responsible for upholding these standards for this course. It is very important for you to be aware of the consequences of cheating, fabrication, facilitation, and plagiarism. For more information on the Code of Academic Integrity visit the Student Honor Council web site: http://www.shc.umd.edu. To further exhibit your commitment to academic integrity, remember to sign the Honor Pledge on all examinations and assignments: "I pledge on my honor that I have not given or received any unauthorized assistance on this examination (assignment)." Academic Accommodations for Students with Disabilities If a student has a documented disability and wishes to discuss academic accommodations, please contact the professor as soon as possible. The rules for eligibility and the types of accommodations a student may request can be reviewed on the Disability Support Services web site: http://www.counseling.umd.edu/DSS/registration.php

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Disability Support Services requires that students request an Accommodation Form each semester. It is the student's responsibility to present the form to the professor as proof of eligibility for accommodations. Religious Observances The University System of Maryland policy states that students should not be penalized in any way for participation in religious observances. Students shall be allowed, whenever practicable, to make up academic assignments that are missed due to such absences. It is the student's responsibility to contact the professor, and make arrangements for make-up work or examinations. The student is responsible for providing written notification to the professor within the first two weeks of the semester. The notification must identify the religious holiday(s) and date(s). For additional information, please visit the University of Maryland Policies and Procedures at http://www.president.umd.edu/policies/iii510a.html. University Closure In the event that the University is forced to close for an extended period of time, the material missed will be made up either through rescheduled classes or by extra assignments relevant to that material. If an exam cannot be rescheduled in a normal fashion, other means of assessment will be employed.

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CLASS SCHEDULE WITH REQUIRED READINGS AND ASSIGNMENTS August 3—INTRODUCTION & FLORENCE 1400-1440 -John T. Paoletti and Gary M. Radke, Art in Renaissance Italy. Chapter 10—“Florence:

Commune and Guild,” pp. 204-243. SUPPLEMENTAL VIDEOS History of Western Culture: https://www.khanacademy.org/humanities/art-history-

basics/beginners-art-history/a/a-brief-history-of-western-culture Birth of Gothic Art: https://www.khanacademy.org/humanities/medieval-world/latin-western-

europe/gothic1/v/birth-of-the-gothic-abbot-suger-and-the-ambulatory-in-the-basilica-of-st-denis-1140-44

Giotto: https://www.khanacademy.org/humanities/medieval-world/latin-western-europe/florence-late-gothic/v/giotto-the-ognissanti-madonna-1306-10

Nicola and Giovanni Pisano: https://www.khanacademy.org/humanities/medieval-world/latin-western-europe/pisa-rome/v/nicola-and-giovanni-pisano-1260-1301

Looking at Paintings: https://www.khanacademy.org/video/looking-at-paintings August 4—FLORENCE 1440-1470 -John T. Paoletti and Gary M. Radke. Art in Renaissance Italy. Chapter 10—“Florence:

Commune and Guild” & Chapter 11—“Florence: The Medici and Politica Propaganda” pp. 243-270.

SUPPLEMENTAL VIDEOS Marble: https://www.khanacademy.org/video/quarrying-and-carving-marble

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https://www.khanacademy.org/humanities/art-history-basics/artists-materials-techniques/sculpture/v/carving-marble-with-traditional-tools

Bronze: https://www.khanacademy.org/humanities/art-history-basics/artists-materials-techniques/sculpture/v/de-vries-bronze-casting

Donatello’s David: https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/sculpture-architecture-florence/v/donatello-david-bronze-c-1440s

Ghiberti’s Gates of Paradise: https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/sculpture-architecture-florence/v/ghiberti-gates-paradise

August 5—SIENA 1400-1470 -Diana Norman. Painting in Late Medieval and Renaissance Siena (1260-1555). Excerpts from Chapters 3 & 4, pp. 150-221. SUPPLEMENTAL VIDEOS Duccio’s Maesta: https://www.khanacademy.org/humanities/medieval-world/latin-western-europe/siena-late-gothic/v/duccio-maesta-front-1308-11 Tempera Paint: https://www.khanacademy.org/humanities/art-history-basics/artists-materials-techniques/painting-materials-techniques/v/tempera-paint Gold Ground Panel Painting: https://www.khanacademy.org/humanities/art-history-basics/artists-materials-techniques/painting-materials-techniques/v/gold-ground-panel-painting Paintings, Layer by Layer: http://arttube.nl/en/video/Boijmans/Layer_by_Layer August 6—URBINO & RIMINI EXHIBITION PROPOSALS DUE -Mary Hollingsworth, “ Art Patronage in Renaissance Urbino, Pesaro, and Rimini, c. 1400-

1550.” In, The Court Cities of Northern Italy: Milan, Parma, Piacenza, Mantua, Ferrara, Bologna, Urbino, Pesaro, and Rimini. Cambridge: Cambridge University Press, 2010. (pp. 325-350)

- Patrons and Courts: http://italianrenaissanceresources.com/units/unit-8/ -Chivalry: https://www.khanacademy.org/humanities/medieval-world/medieval-europe/v/chivalry-

middle-ages -Medals and the Studiolo: http://italianrenaissanceresources.com/units/unit-4/ SUPPLEMENTAL VIDEOS Oil Painting: https://www.khanacademy.org/humanities/art-history-basics/artists-materials-

techniques/painting-materials-techniques/v/oil-paint Piero della Francesca Portraits: https://www.khanacademy.org/humanities/renaissance-

reformation/early-renaissance1/central-italy1/v/piero-della-francesca-portraits-of-the-duke-and-duchess-of-urbino-1467-72

August 10—FERRARA & MANTUA -Evelyn Welch, “Painting as Performance in the Italian Renaissance Court.” In, Artists at Court: Image

Making and Identity, 1300-1500, edited by Stephen J. Campbell (Boston: Isabella Stewart Gardner Museum, 2005). (pp. 19-32)

-John T. Paoletti and Gary M. Radke, Art in Renaissance Italy. Chapter 14—“Courtly Art: The Gothic and Classic,” pp. 336-343, 353-361.

-Goldsmiths: https://www.khanacademy.org/humanities/medieval-world/medieval-europe/v/medieval-goldsmiths

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-Making of an Artist: http://italianrenaissanceresources.com/units/unit-3/ -Recovering Rome: http://italianrenaissanceresources.com/units/unit-7/ August 11—THE KINGDOM OF NAPLES & SICILY -Woods-Marsden, Joanna. “Art and Political Identity in Fifteenth-Century Naples: Pisanello, Cristoforo

di Geremia and King Alfonso’s Imperial Fantasies.” In, Art and Politics in Late Medieval and Early Renaissance Italy, 1250-1500, edited by Charles M. Rosenberg (Notre Dame: University of Notre Dame Press, 1990). pp. 11-25.

-John T. Paoletti and Gary M. Radke, Art in Renaissance Italy. Chapter 6—Naples: Art for a Royal Kingdom, pp. 124-134.

-Manuscripts: https://www.khanacademy.org/humanities/medieval-world/medieval-book/making-medieval-book/v/making-manuscripts

-Manuscripts: https://www.khanacademy.org/humanities/medieval-world/medieval-europe/v/manuscripts

-Antonello da Messina: http://www.metmuseum.org//toah/hd/mess/hd_mess.htm August 12—THE COURT OF MILAN -Evelyn Welch, “Patrons, Artists, and Audiences in Renaissance Milan, 1300-1600.” In, The Court Cities

of Northern Italy: Milan, Parma, Piacenza, Mantua, Ferrara, Bologna, Urbino, Pesaro, and Rimini, edited by Charles M. Rosenberg (Cambridge: Cambridge University Press, 2010). pp. 21-48

-John T. Paoletti and Gary M. Radke. Art in Renaissance Italy. Chapter 15: “Sforza Milan,” pp. 362-375 SUPPLEMENTAL VIDEOS Leonardo da Vinci: https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-

florence-rome/leonardo-da-vinci/a/about-leonardo August 13—FLORENCE: 1470-1500 MIDTERM EXAM (TAKE-HOME ESSAY) -John T. Paoletti and Gary M. Radke. Art in Renaissance Italy. Chapter 11—“Florence: The

Medici and Politica Propaganda,” pp. 271-88. -Barolsky, Paul. “Naturalism and the Visionary Art of the Early Renaissance,” Gazette des Beaux-Arts

129 (1997). -Presentation of the Self: http://italianrenaissanceresources.com/units/unit-5/ SUPPLEMENTAL VIDEOS Verrocchio and Leonardo: https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-

florence-rome/beginners-guide-high-ren/v/verrocchio-with-leonardo-baptism-of-christ-1470-75 For more about the Medici: http://www.pbs.org/empires/medici/index.html August 17—ROME DIGITAL EXHIBITION PROJECTS DUE -John T. Paoletti and Gary M. Radke. Art in Renaissance Italy. Chapter 12—“Rome: Re-

establishing Papal Power,” pp. 289-312. -Gill, Meredith J. “The Fourteenth and Fifteenth Centuries.” In Rome. Edited by Marcia B. Hall. New

York: Cambridge University Press, 2005. -3D Sistine Chapel: http://www.vatican.va/various/cappelle/sistina_vr/index.html SUPPLEMENTAL VIDEOS

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Michelangelo’s Fresco Technique: https://youtu.be/Cej4Ggq5nQI Michelangelo’s Drawings: http://82nd-and-fifth.metmuseum.org/thinking-aloud Michelangelo’s Pietà: https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-

florence-rome/michelangelo/v/michelangelo-piet-1498-1500 Bramante: https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-florence-

rome/bramante/v/donato-bramante-tempietto-rome August 18—VENICE I -Patricia Fortini Brown, Chapter One: “Venezianità: The Otherness of the Venetians.” In, Art

and Life in Renaissance Venice. pp. 9-38. SUPPLEMENTAL VIDEOS Venice: https://www.khanacademy.org/humanities/renaissance-reformation/renaissance-venice Mosaics: https://www.khanacademy.org/video/ancient-and-byzantine-mosaic-materials August 19—VENICE II -John T. Paoletti and Gary M. Radke, Art in Renaissance Italy. Chapter 13—“Venice: Affirming

the Past and Present,” pp. 313-33. SUPPLEMENTAL VIDEOS Oil Paint in Venice: https://www.khanacademy.org/humanities/art-history-basics/artists-

materials-techniques/painting-materials-techniques/v/oil-paint-in-venice August 20—FINAL EXAM All students must take the final exam in person in the Michelle Smith Collaboratory for Visual Culture (4213 Art/Sociology) from 11am to 1pm.

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DIGITAL RESOURCES: National Gallery of Art Learning Resources- http://italianrenaissanceresources.com/ The Metropolitan Museum of Art, Heilbrunn Timeline- http://www.metmuseum.org/toah/ The Metropolitan Museum of Art, 82nd & Fifth- http://82nd-and-fifth.metmuseum.org/ Khan Academy- https://www.khanacademy.org/humanities/renaissance-reformation Google Cultural Institute- https://www.google.com/culturalinstitute/home Google Art Project- https://www.google.com/culturalinstitute/project/art-project Google World Wonders- https://www.google.com/culturalinstitute/project/world-wonders Google Art Project, Made in Italy (Sample Exhibitions): https://www.google.com/culturalinstitute/project/made-in-italy 3D Sistine Chapel: http://www.vatican.va/various/cappelle/sistina_vr/index.html

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