The Italian Renaissance, Art 254

SECTION I: The Early Renaissance

1.   TASTE
     Reading Assignment: 167-173
     Brunelleschi, Competition Panel 1402-3; Ghiberti,
     Competition Panel, 1402-3; The North Doors, Baptistery,
     Florence, 1403-24; John the Baptist, Orsanmichele, Florence,
     c.1405-17

2.   CLASSICISM
     Reading Assignment: 173-186; 239-242
     Nanni di Banco, Four Martyrs, Orsanmichele, Florence, 1410s;
     Donatello, St Mark, Orsanmichele, Florence 1411-15; St
     George, Orsanmichele, Florence, c.1415-17; Campanile
     figures, 1420s & 1430s; Ghiberti, The Gates of Paradise,
     Baptistery, Florence, 1425-52

3.   Reading Assignment: 152-158
     Brunelleschi, Ospedale degli Innocenti, Florence, 1419;
     Duomo dome, Florence, 1420-36
     Classical Beauty

4.   Reading Assignment: 158-166
     Brunelleschi's churches, S Lorenzo: Sacristy, 1421-28;
     choir, 1425; rest planned 1434, built 1442-70s; Pazzi
     Chapel, Sta Croce, Florence, c.1433-61; Sto Spirito,
     Florence, planned 1434-1436, built 1446-70s; (Sta Maria
     degli Angeli, Florence, 1434)

5.   MONUMENTALITY, PERSPECTIVE AND LIGHT
     Reading Assignment: 187-212
     Masaccio, S Giovenale Madonna, 1422; Brancacci Chapel, Sta
     Maria del Carmine, Florence, 1425; Pisa Polyptych, 1426;
     Trinity fresco, Sta Maria Novella, Florence, 1427/8

6.   DISCUSSION #1 (Paper Assignment)
     This period is often described as the "Heroic Period" of the
     Renaissance.  Using examples of architecture, painting and
     sculpture from this section, explain what "Heroism" seems to
     mean in this context. Are there any examples in this section
     which do NOT seem Heroic to you?  If so, give your reasons. 
                                            BRING HARTT TO CLASS!

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SECTION II: Flemish Painting


7.   THE BURGUNDIAN COURTS AND THE INTERNATIONAL GOTHIC
     Reading Assignment: Snyder 41-73; Hartt 187-194 (Snyder is
     on reserve)
(a)  Jacques Coene (?), The Boucicaut Hours, c.1401; Master of
     1402, Famous Women of Philip the Bold, 1402; Famous Women of
     the Duke de Berry, 1402; Christine de Pisan, Mutacion de
     Fortune, c.1405-10
(b)  Giovanni di Grassi, Visconti Hours, Milan, by 1395;

     Limbourg Brothers, Trés Riches Heures du Duc de Berry,
     France, 1415; Gentile da Fabriano, Adoration of the Magi,
     Strozzi Chapel, Sta Trinità, Florence, 1423

8.   Reading Assignment: Snyder 119-139
     MONUMENTAL PAINTING
     Robert Campin, Entombment, c.1420?; Mérode Altarpiece,
     Tournai, by 1428; Roger van der Weyden, Deposition, for
     Notre Dame hors-les-murs, Louvain, 1435-38; Miraflores
     Altarpiece, 1445; Altarpiece of the Seven Sacraments, for
     Tournai cathedral, c.1453-55

9.   Snyder 88-118
     Jan van Eyck, Ghent Altarpiece, by 1432; Arnolfini Wedding,
     1434; Rolin Madonna, c.1435; Van der Paele Madonna, 1436;
     Madonna in a Church, 1437-8?; Tymotheus, 1432

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SECTION III: The Later Quattrocento


10.  FINDING A BALANCE
     Reading Assignment: 213-221
     Fra Angelico, Annunciation altarpiece, for S Domenico,
     Cortona, 1432-33; Deposition for Strozzi chapel, Sta
     Trinità, Florence, 1434. Work for S Marco, Florence: Madonna
     & Saints for High Altar, c.1438-40; Hallway Annunciation,
     1438-45; Cell Annunciation, 1438-45

11.  EXTENDING THE CONCEPT OF BEAUTY
     Reading Assignment: 229-239
     Alberti's treatises, Della Pittura, 1436; De Re
     Aedificatoria, 1443-52; Alberti's buildings, Tempio
     Malatestiana, Rimini, 1450; Sta Maria Novella's façade,
     Florence, 1456-70; S Andrea, Mantua, 1470

12.  Reading Assignment: 243-251; 290-294
     Donatello, Bronze David, for Medici, Florence, 1446-60?;
     Gattamelata, Campo del Santo, Padua, c.1445-53; Crucifix, S
     Antonio, Padua, 1446-50; Penitent Magdalen, Baptistery,
     Florence, ?1432-50s; Altars, S Lorenzo, Florence, 1460s

13.  Reading Assignment: 317-340
     Verrocchio, David, for Lorenzo de' Medici, 1470s; Colleoni
     Monument, Campo SS Giovanni e Paolo, Venice, c.1481-96;
     Botticelli, Adoration of the Magi, for Sta Maria Novella,
     Florence, 1470s; Sistine Frescoes, Rome, 1481-2; Primavera ?
     for Palazzo Medici, Florence, c.1482; Birth of Venus,
     (companion to Primavera) c.1484-6

14.  DISCUSSION # 2 (Paper plan)
     Prepare for this by checking out the other artists, too:
     Hartt 212-228; 252-289; 340-349
     In your opinion, were the Italian artists aware of artistic
     developments on the other side of the Alps?  If so, what did
     they imitate, and what might they have hoped to achieve by
     it?  Illustrate your answer with FOUR Italian examples, and
     mention as many Flemish ones as you consider necessary.
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SECTION IV: The Venetian Renaissance


15.  ELEVATING THE SENSES
     Reading Assignment: 378-406
     Mantegna, S Zeno Altarpiece, Verona, 1456-59; Cristo Scorto,
     after 1466; Camera Picta, Ducal Palace, Mantua, 1465-74
     Giovanni Bellini, Brera Man of Sorrows/Pietà, c.1468; Frari
     Altarpiece, Sta Maria Gloriosa dei Frari, Venice, 1488;
     S Zaccaria Altarpiece, Venice, 1505

16.  Reading Assignment: 582-589
     Giorgione, Castelfranco Altarpiece, nr Venice, c.1500-1505; 
     Tempestà, Venice, 1505-1510; Dresden Venus, Venice, c.1510;  
     Titian, Gypsy Madonna, Venice, c.1510-15; Sacred and Profane 
     Love, probably for Niccolò Aurelio, Venice, 1514

17.  Reading Assignment: 587-593
     Titian, Bacchanalia, and Bacchus and Ariadne, for Este
     studiolo, Ferrara, 1522-3; Assuntà, Sta Maria Gloriosa dei 
     Frari, Venice, 1519-26; Pesaro Madonna; Sta Maria Gloriosa
     dei Frari, Venice, 1519-26; Venus of Urbino, for Guidobaldo
     della Rovere, by 1539

18.  DISCUSSION # 3 (Paper plan)
     If Central Italian art tends to appeal to the intellect,
     what does Northern Italian art tend to appeal to and how
     does it set about this?  Consider sacred and secular art,
     and public and private art.
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SECTION V: The High Renaissance


19.  THE CANON DEFINED
     Reading Assignment: 430-457
     Leonardo, Adoration of the Magi, for S Donato a Scopeto, 
     Florence, 1481; Madonna of the Rocks, for S Francesco
     Grande, Milan, 1483; Last Supper, Sta Maria delle Grazie,
     Milan, 1495-97/8; Madonna and Child with St Anne, 1501;
     Battle of the Anghiari, Palazzo dei Priori, Florence, 1504

20.  Reading Assignment: 457-468
     Michelangelo, Madonna of the Stairs, for himself?, Florence, 
     1489-92; Bacchus, for Jacopo Galli's garden, Rome, 1496-7;
     Rome Pietà, for burial chapel of Cardinal Jean de Bihlères,
     St Peter's, Rome, 1498/9-1500; David, for cathedral
     buttress, Florence, 1501-1504; Battle of Cascina, for
     Palazzo dei Priori, Florence, 1504-5;

21.  Reading Assignment: 479-487
     Bramante, "Tempietto", S Pietro in Montorio, Rome, 1502-11;
     New St Peter's, Rome, 1506; Cortile Belvedere, Vatican,
     Rome, 1505   

22.  Reading Assignment: 487-506
     Michelangelo, Ceiling, Sistine chapel, Vatican, Rome,
     1508-10; Julius Tomb, for Old St Peter's, Rome, 1505   

23.  Reading Assignment: 468-472; 506-512
     Raphael, Marriage of the Virgin, for Chapel of St Joseph,
     S Francesco, Città di Castello, 1504; Madonna of the
     Meadows, Florence, 1505; School of Athens, Stanza della
     Segnatura, Vatican, Rome, 1508-11, Expulsion of Heliodorus
     and Liberation of St Peter, Stanza d'Eliodoro, Vatican,
     Rome, 1411-14

24.  Reading Assignment: 521-534
     Raphael, Sistine Madonna, for S Sisto, Piacenza, 1513;
     Galatea, Villa Farnesina, Rome, 1513;  Tapestry Cartoons,
     for veilum, Sistine Chapel, Rome, 1515-16; Transfiguration,
     for Narbonne Cathedral, kept at Tempietto, 1517; Andrea del
     Sarto, Madonna of the Harpies, for S Francesco in Via
     Penolini, Florence, 1517

25.  DISCUSSION # 4 (Paper plan)
     Choose ONE example by each artist to represent the High
     Renaissance, giving your reasons.  Are there any examples in
     this Section that you would reject?  Again, give your
     reasons.  So, how do you define the High Renaissance?  

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SECTION VI: Mannerism in Central Italy


26.  CHALLENGING THE CANON
     Reading Assignment: 577-578; 536-547; 631-635
     Antonio da Sangallo the Younger, Palazzo Farnese, Rome, 
     1517; Michelangelo, Project for S Lorenzo façade, Florence, 
     1517; Medici Chapel and Tombs, S Lorenzo, Florence, 1519-34; 
     Laurentian Library, S Lorenzo, Florence, 1424-34; Last 
     Judgement, Sistine Chapel, Vatican, Rome, 1536-41

27.  Reading Assignment: 547-567
     Jacopo Pontormo, Deposition, Capponi Chapel, S Felicità, 
     Florence, 1425-28; Rosso Fiorentino, Descent from the Cross, 
     for Cathedral of Volterra, 1521; Correggio, Holy Night, for 
     S Prospero, Reggio Emilia, 1522; Assumption of the Virgin,
     dome, Parma Cathedral, 1526-30; Jupiter and Io and Jupiter
     and Ganymede, for Gonzaga, Mantua, 1530s;
     AND THE MANIERA
     Parmigianino, Madonna with the Long Neck, for Church of the
     Servites, Parma, 1534;

28.  Reading Assignment: 578-581; 635-640
     Peruzzi, Palazzo Massimo alle Colonne, Rome, 1532  ; Giulio
     Romano, Palazzo del Te, Mantua, 1527-34; Michelangelo, The
     Campidoglio, Rome, 1538-64; St Peter's, Rome, 1546-64

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SECTION VII: Mannerism in Venice


29.  A NEW FUNCTION FOR THE SENSES
     Reading Assignment: 604-618
     Tintoretto, (The Fall, Sala del'Albergo, Scuola della 
     Trinità, Venice, 1548; St George, c.1551), Discovery of the
     Body of St Mark, Scuola Grande di S Marco, Venice, 1562-66;
     Work for the Scuola di S Rocco, Venice, Crucifixion, Sala
     del'Albergo, 1564, Nativity and Temptation, Sala Grande,
     1577-81; Last Supper, S Giorgio Maggiore, 1592-4

30.  Reading Assignment: 593-599
     Titian, Danaë with an Old Woman, for Philip II of Spain,
     1554; Diana and Actaeon and Diana and Callisto, 1556-9;
     Pietà, for his own tomb, Sta Maria Gloriosa dei Frari,
     Venice, 1576

31.  Reading Assignment: 619-622
     Veronese, Marriage at Cana, for refectory, S Giorgio
     Maggiore, Venice, 1563; Mystical Marriage of St Catherine,
     for S Caterina, Venice, 1570s, Feast at the House of Levi,
     refectory, SS Giovanni e Paolo, Venice, 1573; Triumph of
     Venice, Great Council Hall, Doges' Palace, Venice, 1585

32.  Reading Assignment: 623-630; 659-666
     Palladio, Villa Rotonda, nr Vicenza, 1550; S Giorgio 
     Maggiore, Venice, 1566  ; (Il Redentore, Venice, 1576);
     Teatro Olimpico, Vicenza, 1580-84; (Vignola, Il Gesù, Rome,
     1568; S Anna dei Palafrenieri, Rome, 1565)

33.  DISCUSSION # 5 (paper plan)
     Whose canon were the Central Italian Mannerists challenging? 
     Why do you think this was necessary?  Can you identify and
     explain the Maniera?  What are the Venetian Mannerists
     doing?
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FINAL EXAM: (take-home paper plan and full paper)

Do you think the concept of Classical Beauty was exhausted by the
end of the Renaissance?  Do you see anything coming in to replace
it and, if so, what new possibilities and problems does it bring
with it?

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