Download Syllabus

HISTORY OF RENAISSANCE ART
ARTS 4305.794.2162 8W2, Online
University of Texas of the Permian Basin
Professor Marianne Berger Woods
Office: Visual Arts Studios, 200c
Phone: 552-2290
email: [email protected]
Office Hours: Off & on daily
or by appointment!
COURSE DESCRIPTION This course is an examination of the major achievements in
art during the era known as the Renaissance (both Italian and Northern). We will
investigate the ways in which the worldview turned its focus away from the supernatural
orientation of the Middle Ages toward the natural world and the life of man. We will trace
the artistic manifestations of both the Italian and Northern Renaissance pointing to the
similarities and differences in technique and representation. Emphasis will be placed on
painting and sculpture, but certain architectural monuments will also be discussed. In
addition, the ways in which the growth of city-states, the rise of the merchant class,
secularization of power, expansion of the natural sciences, and increased knowledge of
other cultures will be part of our investigation. At the same time, we will analyze ways of
appreciating each of artwork in and of itself through looking at design, color, medium
and setting as well as by questioning ways in which one artist’s vision influenced that of
another.
REQUIRED TEXTS:Italian Renaissance Art by by Laurie Schneider Adams, Westview
Press, Second Edition, 2014
Mirror of the Artist by Craig Harbison, out-of-printSELECTED READINGSWomen in
Italian Renaissance Art: Gender l, Representation, Identity by Paola Tinagli, 1997
INSTRUCTIONAL METHODSSlide lectures and videos/dvds will be used to present
stylistic, historical, and interpretative information about individual artists and works of
art. A substantial portion of each class period will be devoted to discussions of
questions related to the assigned readings for the class and to practicing written and
verbal skills used in the analysis of a work of art. Your contributions are an important
aspect of the learning process. As your instructor, I will provide the theoretical and
informational structure of the course and will serve as your resource person.
Missing deadlines is unprofessional and unfair to yourself and to others. Late work will
be lowered by the point value of a half grade for every late day (for example, an A paper
which is one day late will receive the equivalent of an A-). Exam make-ups will be
available only for acceptable, documented excuses and they will generally take the form
of essay exams.
LEARNING OBJECTIVES
The student who pursues this course vigorously will:
• have the tools to recognize the influences of ancient Greece and Rome on the Italian
Renaissance.
• develop the ability to discern the differences and similarities between Northern and
Italian Renaissance styles.
• assess and appraise the influences of literary, social, and cultural resources on the
visual arts during the Renaissance.
• become familiar with major Renaissance artists of both Italy and Northern Europe and
be able to identify particular artists with specific works of Art.
• understand key terms related to Renaissance Art and Culture.
Introductory Module: March 7-13
Introduction to one another and to the History of Renaissance Art;
view “An Introduction to the Italian Renaissance,” answer related
questions, and post answers on Discussion Board.
Review Syllabus; discuss assignments; read Preface/Introduction to
each text: Adams, and Harbison, “The Self-Conscious Pragmatic
Artist,” and pp. 120-121 in Adams
Take Syllabus quiz and pass before being able to proceed in the
course.
Module One: March 14-20
Read Adams, Chapter 1, “The Thirteenth Century” and Chapter 2,
”Trecento Precursors” AND Read Harbison: Chapter 1, “Realism,”
AND related lectures
Module Two: March 21-27
Read Adams: Chapter 3, “Architecture and Sculpture in Florence:
1400-1430,” Chapter 4, “Painting in Florence: 1400-1430;” Read
Harbison, Chapter 2, “Physical Production and Original Location”
AND related lectures
Module Three: March 28- April 3
Read Adams: Chapter 5, “Painting in Florence: 1430-1460” AND
Adams: Chapter 6, “Painting in Florence, II: 1430-1460,” AND related
lectures
First Examination
Module Four: April 4-10
Adams: Chapter 7, “Sculpture and Architecture in Florence:
1430s-1460s” AND Chapter 8, “Developments in Siena, Rimini, and
Pienza: 1400-1460,” AND related lectures. Research Proposals
Due!
Module Five: April 11-17
Adams: Chapter 9, “Developments in Umbria, the Marches, and
Naples: 1400-1460s” AND Chapter 10, “Sculpture and Architecture in
Florence after 1450”AND Chapter 11, “Painting in Florence after
1450” AND related lectures
Module Six: April 18-24
Adams: Chapter 12, “Fifteenth-Century Developments in Verona,
Ferrara, and Mantua” AND Chapter 13, “Developments in Late
Fifteenth and Early Sixteenth-Century Venice” AND related
lectures
Second Examination
Module Seven: April 25-May 1
Adams: Chapter 14, “Leonardo and Bramante: Late Fifteenth and
Early Sixteenth-Century Developments in Florence and Milan”
Chapter 15, “Michelangelo and Raphael: The Late Fifteenth Century
to 1505” AND Harbison: Chapter 3, “Religious Behaviour and Ideals”
AND related lectures
Module Eight: May 2-May 8
Adams: Chapter 16, “Bramante, Michelangelo, Raphael:
Developments in Rome to 1520” AND Chapter 17, “Venice in the
Sixteenth Century” AND Chapter 4, “Artistic Specialities and Social
Developments” AND related lectures
Research paper due: May 8th
Final Examination: May 11th
Online Student Authentication
UTPB requires that each student who registers for an online course is the same student who
participates in, completes, and receives credit for the course. UTPB’s Distance Education Policy
requires faculty members to employ at least two methods of verification to ensure student
identities. To access online courses students must login to the UTPB learning management
system using their unique personal identifying username and secure password. UTPB’s Distance
Education Policy requires at least one additional student identification method within the course
that has been determined and approved by the faculty or academic program. This course satisfies
the second method of student authentication by:
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An approved photo ID*. (25 point assignment)
Presentation of approved photo ID* through a web cam and video recorded proctoring
during assessment (Respondus Monitor)
Synchronous or asynchronous video activities using an approved photo ID*. (This may
become an option with several of the art projects)
*Approved photo identifications are: passports, government issued identification, driver’s
licenses, military ID from DoD; dual credit and early college high school students use school
district identifications.