Italian Renaissance Painting:
The Sixteenth Century
Professor David Rosand
|
Autumn
2000 |
Office: 906 Schermerhorn
Hall |
Style and meaning in painting
of the High and Late Renaissance, with attention to the figure of the artist,
technique and studio practice, Renaissance art theory and the development
of a critical vocabulary, as well as to the religious, social, and political
contexts of artistic production. Emphasis on major figures in Florence,
Rome, and Venice--especially Leonardo da Vinci, Michelangelo, Raphael, Giorgione,
Titian, Veronese, Tintoretto.
For Assignments, Readings, and additonal information,
click on the underlined text
Syllabus | Course Readings
and Reserve List | Additional
Bibliography (1) | Assignments
*NEW ADDITIONS | Section
Assignments | PAPER
ASSIGNMENT
| Introduction:
Pictorial styles, media, and technique, historiographic assumptions
and labels (High Renaissance and Mannerism), historical and social conditions of production |
(midterm) |
|
| Leonardo
da Vinci |
Titian:
Early altarpieces, allegory and mythology |
|
| Republican Florence: Leonardo, Michelangelo, Raphael | The
North Italian courts: Giulio Romano, Correggio, Parmigianino |
|
| Rome of Pope Julius II | Mannerism and Maniera: Critical concepts and historiographic problems; Bronzino, Salviati, Vasari |
|
| Michelangelo: The Sistine Chapel ceiling | Michelangelo: The Last Judgment and the Pauline Chapel |
|
Raphael: The Vatican Stanze |
Art and the Council of Trent | |
Painting in Florence: Fra Bartolommeo, Andrea del Sarto, Pontormo, Rosso Fiorentino |
Titian: Mythological poesie, late religious work |
|
| Venetian painting
in the later 16th century: Tintoretto, Veronese, Bassano |