Italian Renaissance Survey Hours: Wed. 10-12 or by appt.
AH 320, Autumn 2013
ITALIAN RENAISSANCE ART: 1250 to 1595
Professor Gail L. Geiger This survey of Italian Renaissance Art concerns nearly three centuries of change in the arts on the Italian peninsula and the formative role of a cultural phenomenon called "The Renaissance." We shall be concerned with four dominant themes during this course:
1. The artist's changing view of himself (in some cases herself) as an artist. Significantly, those who practiced a “manual trade” recognized by the guild system as a “craft” sought to shift their status to that of a professional, equivalent to recognition afforded the poet.
2. The importance of the patron's purpose and its impact on the art. Note that patronage of artists could be institutional (usually governmental or ecclesiastical) or private.
3. The style of the art with respect to both tradition and innovation, qualified by:
a. the discovery of ancient art and ideas (primarily Roman, but also Greek and
b. global discoveries and the importation of goods from abroad and records of journeys, flora and fauna found across the world.
c. the medium and condition of the art (Note that the organization of the arts into major vs. minor status developed in this period when architecture, painting and sculpture began to be privileged over ceramics, weaving,
metal work, glass making, etc.).
d. theoretical considerations. Focus here is upon Renaissance theory, primarily
4. Methodological approaches to the field. Connoisseurship, iconography, contextualism have dominated most discussion of Renaissance studies. Some attention will be given to theoretical concerns voiced by critics from the last thirty years, however, although more attention will be given to issues of race and gender than to critical post-modern studies.
Procedures: It will be important to read assigned material and look at images in both text and on the web site [http://arthistory.wisc.edu/art-history-320-course-description.htm] before you come to class; go back over the material afterwards. There will be three exams in class covering approximately five weeks of material. A final exercise of a take home, cumulative essay will constitute the final [scheduled 15 December 5:05-7:05pm].The required text book is John T. Paoletti and Gary M. Radke, Art in Renaissance Italy, 4th ed. (Upper Saddle River, N.J.: Pearson/Prentice Hall, 2012). For those of you new to the History of Art, you might want to invest in tracking down a copy of James Hall, Dictionary of Subjects & Symbols in Art (Harper & Row, Icon Editions) and Sylvan Barnet, A Short Guide to Writing about Art a recent ed. (Longman, 2000+).
Late Thirteenth and the Fourteenth Century [1275-1390s] The Early Period, 1250-1301 reveals important developments:
1. The significance of urban layouts including major new buildings in cities administered by oligarchies intended especially to house communal government and churches or a Cathedral (if big enough to warrant a bishop).
2. The emergence of mendicant religious orders (committed to poverty and to an active public ministry rather than reclusive monasticism, especially the Franciscans, the Order of Friars Minor [OFM] and Dominicans, Order of Preachers [OP]) which advocated important use of mural painting and altar pieces to convey their religious teaching.
3. Partly due to point no. 2, a new consciousness emerged regarding effective imagery in both painting and sculpture that should be both clear and increasingly mimetic [imitating the physical world].
4. Signs appear of a new importance given to a recognized artist rather than an anonymous master.
Week I 1. Sept. 3 Tues. Course Parameters
Reading: “Introduction: Art in Context” and Contemporary Scene, “Art and Offerings”, Contemporary Voice, “Terms of Employment.”
Rosh Hashanah, 4-5 September.
2. Sept. 5 Thursday Introduction; The Visual Culture of both the Mendicant Orders and the Roman Papacy
Reading: Ch. 2, “Rome: Artists, Popes, and Cardinals” and Contemporary Scene: “Art and Miracles.”
Images: Ch. 2: [City Plan of Rome, p.58 (note esp. numbers 17, 24 [location of S. Maria in Aracoeli], 29, 30, 32-34 Sancta Sanctorum)]; Anonymous fresco, Nicholas III Kneeling with SS. Peter and Paul before Christ, 1277-80; [The Bambino of Aracoeli, 2nd half 15th c.]; Jacopo Torriti: Coronation of the Virgin, c. 1294, Apse mosaic of S. Maria Maggiore; Pietro Cavallini, Last Judgment fragment, c. 1290, S.Cecilia (fig. 2.8 and detail, p. 56); Cavallini, Birth of the Virgin, c. 1290, mosaic in S. Maria in Trastevere; Arnolfo di Cambio, Baldachin, 1293, S. Cecilia in Trastevere; Stefaneschi altarpiece, early 14th c.
Week II 3. Sept 10 Assisi and Padua: The Didactic Narrative.
Reading: Chapt. 1. “The Origins of the Renaissance” and Contemporary Voice: “Francis as Another Christ,” p. 50; Chapt. 3. “Assisi and Padua: Narrative Realism.” Contemporary Voice: “St. Francis and the Christ Child.”
Images: Ch. 1: Cimabue, Crucifix, 1280s, Santa Croce, Florence. Tempera on panel; Cimabue, Crucifixion, after 1279, fresco, Upper church, San Francesco, Assisi; Bonaventura Berlinghieri, Altarpiece of St. Francis, 1235, Tempera on panel. Map of Renaissance Italy, p. 54. Ch. 3, Upper church of San Francesco, begun 1228, consecrated 1253. Isaac Master, Esau before Isaac, 1290s? Assisi Master, St. Francis Kneeling Before the Crucifix in San Damiano (original crucifix fig. 1.1), St. Francis Renouncing His Worldly Goods,the Dream of Pope Innocent III (3.4)note this as a three part fresco organized in perspectival sequence, and Crib at Greccio, late 13th/early 14th.
Padua, the Scrovegni Chapel, c. 1303-05 frescoes (3.6): Giotto: Expulsion of Joachim from the Temple, Meeting at the Golden Gate, Kiss of Judas, Lamentation, and Last Judgment.
1300-1350. “Proto-Renaissance” Art. This period constitutes the full development of artistic style, a rich and varied patronage, and considerable artistic exchange of ideas throughout the peninsula. The following questions should be kept in mind:
1. What is distinctive, what is shared between the primary creators of the "new style" in Florence and in Siena? Keep in mind the respective roles of "the antique" and the French "gothic" as sources of inspiration for both.
2. What is the relationship between painting and sculpture during these years? Where are the points of exchange? What difference does such exchange have for the art of the period?
3. Compare the arts of different regions: North Italy; Central Italy; the South. What local traditions contribute to these developments?
4. Who are the primary patrons of the art produced in this period? What goals does each group manifest?
4. Sept. 12 Thurs. The Didactic Narrative continued [and the Iconic Madonna] in the Republic of Florence.
Reading: Ch. 4, “Florence: Traditions and Innovations.”
Images: [See Map, p. 80.] Arnolfo di Cambio, Palazzo della Signoria, Florence, 1299-1310; Baptistry, c. 1059-1150; interior: Coppo di Marcovaldi?, mosaic, late 13th c.+; Urban layout of Piazza della Signoria. Mendicant churches: Santa Croce, begun 1294 Arnolfo di Cambio, Palazzo della Signoria, Florence. 1299-1310; Santa Croce, begun 1294 on design perhaps by Arnolfo di Cambio for Franciscan Order (OFM, Order of Friars Minor). Frescoes inside S. Croce: Giotto, the Bardi Chapel c. 1315-20, Trial by Fire and Verification of the Stigmata [see fig. 11, p. 40]. Peruzzi Chapel: Ascension of St. John the Evangelistand Feast of Herod, 1320s. Baroncelli Chapel . Frescoes by Giotto’s leading follower, Taddeo Gaddi: Presentation in the Temple [see preparatory drawing, fig. 8, p. 21] and Marriage of the Virgin. In the Refectory, Tree of Life, Lives of the Saints, Lives of the Saints, and Last Supper,c. 1340-50, commissioned by Mona Vaggia Manfredi? Santa Maria Novella, founded before 1246, nave begun after 1279 for Dominican Order (O.P. Order of Preachers). Altarpiece: Duccio, Enthroned Madonna and Child and Angels, 1285 (so called Rucellai Madonna) commissioned by the Confraternity of the Laudesi for their chapel at S. Maria Novella. Two other important altarpieces for elsewhere in Florence: Cimabue, Enthroned Madonna and Child with Angels (Maestà; also called, S. Trinità Madonna), 1280s; Giotto, Ognissanti Madonna and Child [and Saints and Angels, c. 1310-15. Sculpture: Bronze doors for Baptistry: Andrea Pisano, South Doors, 1330-36.Cathedral complex: Florentine Cathedral, begun 1296 by Arnolfo di Cambio; Baptistry, first set of bronze doors, 1330-36, Andrea Pisano, Feast of Herod and Beheading of St. John [see web site.] Bell tower, c. 1337: Andrea Pisano, Weaving and Sculpture. Week III. The Contrast between a Commune and an Aristocratic Court. The Plague Hits Everyone. 5. Sept 17. The Commune of Siena: Rival of Florence.
Reading: Chapt. 5, “Siena: City of the Virgin,’ Contemporary Voice: “The Procession of the Maestà”, Contemporary Scene: “Art and Popular Piety”.
Images: Introduction: fig. 43, p. 44--Nicola Pisano, Pulpit, 1259/60, marble, Baptistry, Pisa, and detail, fig. 44, Adoration of the Magi, and fig. 45, Phaedra and Hippolytus Sarcophagus, 1st-2nd c. C.E., marble. Chapt. 5: [City Plan of Siena, p. 100 (note #s 4,5, & 7).] Cathedral, complete by 1260s, views 5.1, plan 5.2 (inside #s1,2, 3,5). Sculpture by Nicola Pisano: pulpit for Siena Cathedral, 1265, and detail, Adoration of the Magi [course web site]; Giovanni Pisano: lower half of façade for Cathedral, 1284-99, and [detail, Isaiah, 5.8]. Painting for Cathedral: High altar by Duccio di Boninsegna: The Maestà, 1308-11, front, Enthroned Virgin, Child, and Saints and from reverse, reconstructed panels (5.8) with details of Christ's Entry into Jerusalem, Washing of the Feet, and the Last Supper (5.10, 5.9). Originally for transept chapels: Simone Martini, Annunciation, c. 1333, Pietro Lorenzetti: Birth of the Virgin, 1335-42, Ambrogio Lorenzetti, Purification of the Virgin, 1342. Palazzo Pubblico, begun 1298: the Sala del Consiglio (Room of the Council) Simone Martini, The Maestà, 1315; in the Sala della Pace (or Room of the Nine, the governing body of Siena), Ambrogio Lorenzetti: Allegory of Good Government; Effects of Good Government, Effects of Bad Government, Bad Government and Effects of Bad Government in the City, 1338-9.
6. Sept 19. Naples: Royal Patronage, Franciscan Spirituality, and Significant Women Patrons. Central Italy: the Crisis of the Plague. Reading: Ch. 6, “Naples: Art for a Royal Kingdom”; Ch. 8, “Pisa and Florence: Morality and Judgment,” Contemporary Voice, “Bridge of Salvation” [St. Catherine of Siena].
Naples: [City Plan of Naples, p. 124 (note #s 2, 3, and 8)]; Royal Commissions for two Franciscan churches and for royal tombs: [Santa Maria Donnaregina (6,8, 6.9), founded 1307, plan and view] and inside Tino da Camaino, Tomb of Mary of Hungary, 1325 (6.16); [Santa Chiara,(6.14 and 6.15) 1310, plan and view] and inside, Pacio and Giovanni Bertini, Tomb of King Robert of Anjou, c. 1343.
Royal Commission for painting: Simone Martini, Altarpiece of St. Louis of Toulouse, c. 1319. [Pietro Cavallini, fragment of fresco, King David, after 1308.]
Pisa: Master of the Triumph of Death, Triumph of Death, and Last Judgment, 1330s, Frescos, Camposanto [burial ground near the Cathedral].
Florence: S.Maria Novella, Strozzi Chapel: Nardo di Cione, Paradise (Note also, p. 153 for view of altar wall of chapel with Last Judgment), Andrea di Cione, (called Orcagna), Strozzi Altarpiece [Christ suspended in a mandorla with Saints], 1354-57, tempera on panel. Guidalotti Chapel, (so-called Spanish Chapel): Andrea Bonaiuti, frescoes c. 1365-67: altar wall, Crucifixion, to right, Way of Salvation, to left, Apotheosis of St. Thomas. Or San Michele, (# 21, Plan of Florence, p. 80): Andrea di Cione (Orcagna), Tabernacle (marble), c. 1355-59, detail of Burial andAssumption of the Virgin. [Giovanni del Biondo, St. John the Evangelist, c. 1381, fresco. Niccolò di Pietrto Gerini and Ambrogio di Baldese, Orphans Assigned to their New Parents, 1386, for the Loggia del Bigallo, Florence.]
Week IV. The Venetian Republic and the Aristocratic Court in Padua. Sept 24 Venice and Padua
Reading: Chapt. 7, “Venice: The Most Serene Republic”; Contemporary Voice: “The Image as Document”; Contemporary Scene: “Art and Violence.” Chapt. 9, “Visconti Milan and Carrara Padua. Read only on Padua: The Carrara Court, the Padua Baptistry, and Patronage at the Santo, pp. 184-190; Contemporary Voice: “Illustrious Men.”
Images: Venice: Pala d’Oro, restored and embellished in 1345, San Marco, Gold and enamel and detail from its cover by Paolo Veneziano, Rediscovery of the Relics of St. Mark, signed and dated 22 April 1345; mosaic, Translation of the Relics of St. Mark, c. 1270, S. Marco, left portal of façade; [Baptistry of San Marco, 1342-54, mosaics and tomb commissioned by Andrea Dandolo; anonymous sculptor for Tomb of Doge Andrea Dandolo, before 1354; Pierpaolo and Jacobello dale Masegne, Choir Screen, for San Marco, 1394 and detail of Crucifix with Virgin and St. John]; SS. Giovanni e Paolo, begun c. 1333 for Dominican Order; anonymous sculptor for Tomb of Doge Michele Morosini, 1382, SS. Giovanni e Paolo; Doge’s Palace, 1340-1438 and two examples from palace exterior sculptural program in Istrian stone, Drunkenness of Noah, 1340s (7.15) and Adam, Eve and Archangel Michael (above), 1430s. [From lost painted program inside palace, Guariento, remains of his fresco, Coronation of the Virgin, 1365 and an interpretation of the fresco by Jacobello del Fiore, Coronation, early 15th c. tempera on panel.] Jacobello del Fiore, Enthroned Justice Flanked by St. Michael the Archangel and the Angel Gabriel, 1421, panels with gold work and tempera. Padua: Medal of Francesco da Carrara, c. 1390, recto and verso. Petrarch in his Study, illumination recording lost fresco for Sala Virorum Illustrium, Carrara Palace; Baptistry vault for Cathedral, Giusto de’ Menabuoi, Dome of Heaven, 1370s. The Santo (San Antonio, OFM church and pilgrimage site): Andriolo de’Santis and Altichiero, Crucifixion for chapel of St. James, at the Santo. [Reliquary of the jaw of St. Anthony, 1349, Santo, gold, enamel, jewels, and crystal.]
Sept 26 Visconti Court at Milan
Reading: Chapt. 9, “Visconti Milan and Carrara Padua,” read sections on Milan, 174-184, 190-199; Contemporary voice: “In Praise of Magnificence”; Contemporary Scene: “Art and Gastronomy.”
Images: Milan, part 1: City Plan of Milan (note #s 8,9 and 11). Ms. Illumination, Vainglory from Petrarch’s De Viris Illustribus, after 1336. Giovani di Balduccio, Tomb of St. Peter Martyr, 1330s, for Sant’Eustorgio, Dominican church. Bonino da Campione, Equestrian Monument of Bernabo Visconti, before 1363, originally for high altar of San Giovanni in Conca; [Bonino da Campione, Funerary Monument of Cansignorio della Scala, before 1375, Santa Maria Antica, Verona. Baldassare degli Embriachi, Ivory altarpiece, 1390s, originally for the Certosa at Pavia (today in Metropolitan Museum of Art)]. Giangaleazzo Visconti, Duke.
Commissions from the Duke or encouraged by him: [The Certosa of Pavia, begun 1396; Baldassare degli Embriachi, Ivory Altarpiece, 1390s for the Certosa.]
Manuscripts: Giovannino dei Grassi: Visconti Book of Hours: Psalm 118:81, c. 1395 and Animal Studies, from artist’s notebook, 1390s. [Other secular, contemporary imagery:
Men and Women Playing Cards, c. 1430s? Casa Borromeo, fresco Milan
Tarot Cards, Papessa and Pope, 1441-47.]
Week V Oct. 1 EXAM #1. Review images on the “flash cards” of the course web site; images in square brackets above will NOT be candidates for exam questions, but may earn credit if you use them. Oct. 3 Florence: From the Baptistry to OrSanMichele: Sculpture Pioneers Again.
Brunelleschi and a New Architecture
Reading: Chapter 10: 202-218; 235-238; Contemporary Voice, “Ghiberti versus Brunelleschi”
Images: Sculpture. Competition and Baptistry Doors: Ghiberti, Sacrifice of Isaac, 1401-03, North doors, Baptistry, Florence, 1403-24: Adoration of the Magi, and Flagellation of Christ. Brunelleschi, Sacrifice of Isaac, 1401-03.
Cathedral and Or San Michele: Donatello: David, 1408-09, St. Mark, 1411-13, St. George, c. 1410-15, relief of St. George and the Dragon, c. 1417. Ghiberti, St. John the Baptist, c. 1412/13-17, St. Matthew, c1419-22. Nani di Banco, Four Crowned Saints, 1414-16.
Architecture: Brunelleschi, Foundling Hospital, begun 1421, Dome for the Cathedral, Florence, see view on our web site and Isometric drawing in our text, fig. 10.26. Sculpture outside Florence: Ghiberti and Donatello in Siena. Baptismal Font, Siena Baptistry, tabernacle of font by Jacopo della Quercia, reliefs by Ghiberti, Baptism of Christ, 1423-27 and Donatello, The Head of the Baptist Brought before Herod, 1423-27. Bologna: Jacopo della Quercia, main portal of San Petronio, and detail Expulsion of Adam and Eve from Paradise, 1425-39.
Oct. 8 The Pictorial Arts Catch up: Masaccio and Alberti’s Codification
Reading: Chapt 10, con’t: p. 219
Images: Florence: Birth Plate, 1420s, sometimes attributed to Masaccio. Lorenzo Monaco, Coronation of the Virgin, 1414 [originally for S. Maria degli Angeli]. Gentile da Fabriano: Adoration of the Magi and predella panel, Nativity. Masaccio, Madonna, Child and Angels, 1426 [originally central panel of polyptych for Santa Maria del Carmine, Pisa], The Trinity, c. 1426-27(?) [see web site], Santa Maria Novella, from the Brancacci Chapel, Santa Maria del Carmine, c. 1424-27 Expulsion and Tribute Money. Fra Filippo Lippi, Coronation of the Virgin, 1447 [originally for Sant’ Ambrogio]. Domenico Veneziano, St. Lucy Altarpiece, c. 1445-47. Andrea del Castagno, Last Supper, 1447, Sant’Apollonia, Vision of St. Jerome, c. 1454-55 [SS. Annunziata, cf. web site]. Paolo Uccello, Sir John Hawkwood, 1436, Cathedral. Outside Florence:
Oct. 10. The Second Generation: Consolidation and Exploration Reading: Remainder of Chapter 10, 242-248. Chapter 11, 249-268.
Images: Chapter 10. Sculpture: Luca della Robbia, Cantoria, 1430-38, and detail of Boys Singing; *Madonna of the Apple, 1460,tin-glazed terra cotta [added, not in your text]. Donatello, Cantoria, 1433-c. 1440, and detail of Running Putti. Bernardo Rossellino, Tomb of Leonardo Bruni, late 1440s, Santa Croce, Florence. Lorenzo Ghiberti, East Doors, Baptistry of Florence, 1425-32: Details: Creation of Adam and Eve, and Jacob and Esau, and Meeting of Solomon and Sheba.
From Chapter 11: Michelozzo, The Medici Palace, and courtyard c. 1445-, Sculpture originally in courtyard, Donatello, David, 1460s? and Judith and Holofernes, late 1450s?. Medici Chapel in Palace, architecture by Michelozzo and fresco of Adoration of the Magi by Benozzo Gozzoli, Fra Filippo Lippi, Adoration of the Christ Child, late 1450s for Chapel altarpiece; c. 1459. For San Marco, Fra Angelico, Madonna, Child and Saints, High altarpiece, c. 1440, dormitory corridor, Annunciation, 1438-45. Architecture: Brunelleschi, San Lorenzo: nave and Old Sacristy.
Oct. 15 The Second Generation Cont. and Lorenzo de’Medici.
Reading: relevant sections of Chapter 11
Images: Paolo Uccello, The Battle of San Romano, 1430s; Antonio del Pollaiuolo, Hercules and Anteus, early 1470s, bronze. Donatello in Padua: High altar of the Santo, The Ass of Rimini, 1446-53, Equestrian Monument to Gattamelata [Erasmo da Narni], 1447-53. Donatello for San Lorenzo, Florence: North pulpit, Christ in Limbo and South pulpit, Lamentation c. 1460-66. Andrea del Verrocchio, Tomb of Piero and Giovanni de’Medici, c. 1470-72 in San Lorenzo, Incredulity of St. Thomas, 1465-83, Or San Michele. Botticelli, Birth of Venus, 1480s, Primavera, c. 1482, and Calumny of Apelles, 1497-98.
Oct. 17 Rome and Pienza:
Images: Masolino and Masaccio, Santa Maria Maggiore altarpiece, c. 1423-27; Filarete, Bronze doors of Old St. Peter’s, 1445; Fra Angelico, St. Lawrence Distributing Alms, 1448c. fresco, Chapel of Nicholas V, Vatican Palace, Rome; Pienza, Main square, c. 1462; Melozzo da Forli, Sixtus IV Confirming Platina as Papal Librarian, c. late 1470s/early 80s, fresco originally; Sistine Chapel, 1477-81, Rome for Sixtus IV; Frescoes in the Chapel, 1481-2: Botticelli, Punishment of Corah and Perugino, Christ Giving the Keys to Peter. Antonio and Piero Pollaiuolo, Tomb of Sixtus IV, 1480s[not in your text, cf. web site] and Tomb of Innocent VIII, c. 1492-98. Filippino Lippi, Carafa Chapel, 1489-93, Santa Maria sopra Minerva, Rome. Borgia Apartments, Vatican Palace: Pinturicchio, Disputation of St. Catherine, 1492-95 and Resurrection of Christ, 1492-94 [not in your text, cf. web site].
Week VIII 22 Oct. Tuesday. Princely Courts [Ferrara and Naples] Reading: Chapter 14.
Images: Pisanello, St. George and the Princess, detail, 1430s Sant Anastasia, Verona, Fresco. Ferrara. Medal of Emperor John VII Paleologus, c. 1438, obverse and reverse and Medal of Leonello d’Este, obverse and reverse, 1444; Taddeo Crivelli and Franco de’Russi, Bible of Borso d’Este, 1455-61; Francesco del Cossa, Hall of the Months, detail of April, 1469-70, Palazzo Schifanoia, Ferrara, fresco. Naples. Donatello and Michelozzo, Tome of Cardinal Rainaldo Brancacci, c. 1425, Sant’Angelo a Nilo, Naples; Castel Nuovo, [Castle of King Alfonso I of Aragon], renovated after 1443, Triumphal Arch of King Alfonso, Castel Nuovo, 1453-58 and 1465-71 and detail of The Triumphal Entry of Alfonso of Aragon into Naples, 1453-58. Pisanello, Medal of Alfonso I of Aragon, recto and verso, 1440s [web site]
Oct. 24 Thursday. Princely Courts [Rimini and Urbino and Mantua] Reading: Chapter 14
Images:Urbino. Piero della Francesca: Battista Sforza and Federico da Montefeltro, c. 1472 and on reverse, Triumphs of Federico da Montefeltro and Battista Sforza, c. 1472; Enthroned Madonna and Saints Adored by Federico da Montefeltro, c. 1472-74 (fig. 14.0); and Flagellation, 1460s (web site). Palazzo Ducale Courtyard: designed by Luciano Laurana, mid-1460s; Giuliano da Maiano, Studiolo, 1476. Rimini: Leon Battista Alberti and Matteo de’Pasti, San Francesco (the Rimini Temple), 1447-50 [a rehab job from an earlier building]. Side view, piers supporting arches [web site]. Detail from interior, Agostino di Duccio, Luna [the Moon], Chapel of the Planets, c. 1453-56. Piero della Francesca,Sigismondo Malatesta before St. Sigismondo,
signed and dated 1451, [web site]. Mantua. Leon Battista Alberti, Sant’Andrea, designed 1470, façade and interior. Palazzo Ducale: Pisanello, Legend of Lancelot, c. 1447-48, Mantegna, Camera Picta [Painted Bedroom]: view of ceiling with its oculus; for Isabella D’Este’s studiolo: Mantegna, Pallas Expelling the Vices from the Garden of Virtue, c. 1499-1502 and Triumph of Mars and Venus, 1497 [web site]. Mantegna, Madonna of Victory [with Francesco II Gonzaga], 1493-96 [web site]; Mantegna: Battle of the Sea Gods, Engraving and drypoint,1470s [web site].
Week IX. 29 October Tuesday. Venice. Reading: Chapter 13.
Images: Bartolomeo Bon the Elder, Porta della Carta, 1438-42 and detail of Head of Francesco Foscari , entrance to the Doge’s Palace. Architecture: Palazzo Foscari, begun 1450. Giovanni and Bartolomeo Bon, Ca’d’Oro (Palazzo Contarini), 1421-37, Mauro Codussi, Codussi, Palazzo Loredon, now Vendramin-Calergi, begun 1500; Mauro Codussi, San Michele in Isola, Venice, 1469, façade and interior, San Zaccaria, completed by Mauro Codussi, and interior. Painting: Antonello da Messina, St. Jerome in his Study, before 1475?, Giovanni Bellini, San Giobbe Altarpiece, before 1478, St. Francis in the Desert, 1470s. The Scuole: Vittore Carpaccio, Miracle at the Rialto, c. 1494. Gentile Bellini, Procession of the Relic of the True Cross, 1496 [web site]. Commemorative State Commissions: Antonio Rizzo, Tomb of Doge Niccolò Tron, 1476-80, Santa Maria Gloriosa dei Frari, marble. Verrocchio, Equestrian Monument to Bartolomeo Colleoni, Piazza di SS. Giovanni e Paolo, bronze, 1488+
31 October Thursday. Florence Reading: Relevant sections of Chapter 11, primarily from pp. 273-285.
Images: Family Chapels: Sassetti Chapel, 1483-86, Santa Trinita. Painting by Ghirlandaio, Adoration of the Shepherds and Confirmation of the Franciscan Rule, sculpture by Giuliano da Sangallo, Tomb of Francesco Sassetti.
The Strozzi Chapel, 1487-1502, Santa Maria Novella: Filippino Lippi cycle of paintings: St. Philip Exorcising the Demon in the Temple of Mars and sculpture by Benedetto da Maiano, Tondo of Virgin and Child flanked by Flying Angels, 1490s [for Strozzi’s tomb] and Portrait Bust of Filippo Strozzi, 1475; Strozzi Palace by Giuliano da Maiano, in part [not Giuliano da Sangallo as your text says].
Hugo van der Goes, The Portinari Altarpiece, 1470s. Leon Battista Alberti completes façade for Santa Maria Novella by 1470, inside choir frescoes by Ghirlandaio, 1485-90: Birth of the Virgin Mary. Giuliano da Sangallo, Medici Villa at Poggio a Caiano, 1480s. Sandro Botticelli, Mystical Nativity, 1500.
Week X Nov. 5 Exam #2, Material from 3 Oct through 31 October. Nov. 7 : Transitions from 15th to 16th c.: Leonardo da Vinci and Michelangelo
Leonardo da Vinci:
Read: In Chapt. 11, “The Devotional Image,” 270-273; “Portraiture,” 276-277. Chapt. 15, “Leonardo da Vinci,” 371-378.
Images: Chapt. 11: Verrocchio, Baptism of Christ, 1472-75; Leonardo da Vinci, Adoration of the Magi, begun 1481, unfinished, Ginevra de’Benci, c . 1474? and 1478/80; Ghirlandaio, Giovanna de’Tornabuoni, 1488. Chapt. 15: Leonardo da Vinci, Madonna of the Rocks, 1483-86, Burlington Cartoon, 1499?,\ [web site only], The Last Supper, 1494?-97/8, Madonna and Child with St. Anne, c. 1505?-13 and Studies for an Equestrian Tomb monument, c. 1511.
Read: Chapt. 11: “Antiquarianism” 282-283; chapt. 12: p. 309-310.
Images: Battle of the Lapiths and the Centaurs, c. 1492; Kneeling Angel, 1494, for Tomb of St. Dominic, San Domenico, Bologna [web site only],
Bacchus, 1496-7 [web site only], Pietà, 1498-99, St. Peter’s, Rome.