Painting in Renaissance Venice: Practice and Reception

AHVS20162 Painting in Renaissance Venice: Practice and Reception 20 Semester 2 Undergraduate Level 2 Anthony Gerbino Unit coordinator Art History and Visual Studies 1 FHEQ level (Framework for Higher Education Qualifications) ' Middle part of Bachelors ' European Credit Transfer & Accumulation System Rating : 10.0 The course will explore the principal developments in sixteenth-century Venetian painting. Studies of individual artists and specific genres will be linked to major themes such as gender, sexuality, devotional practice, religious reform, contemporary literature and individual self-fashioning. Aiming to understand the special characteristics of painting in Venice, this course will examine the social, economic, political and topographical conditions that influenced artistic production in the city. This course will also investigate the reception of Renaissance Venetian painting from the sixteenth century to the present day by evaluating a variety of art historical methods. The course will explore the principal developments in sixteenth-century Venetian painting. Studies of individual artists and specific genres will be linked to major themes such as gender, sexuality, devotional practice, religious reform, contemporary literature and individual self-fashioning. Aiming to understand the special characteristics of painting in Venice, this course will examine the social, economic, political and topographical conditions that influenced artistic production in the city. This course will also investigate the reception of Renaissance Venetian painting from the sixteenth century to the present day by evaluating a variety of art historical methods. This course aims to introduce students to the principal painters working in sixteenth-century Venice, to understand the defining qualities of Venetian Renaissance painting and to place the works within their political, social, cultural and religious context. A subsidiary aim is to encourage students to think critically about the practice of art history and how the discipline has changed through time. Engaging with the major theoretical debates encountered in the reception of Venetian painting, the course intends to appraise the methods art historians employ in their response to images. By the end of this course students will be able to:<ul> <li> Identify and analyse the principal artists, styles, techniques and genres associated with painting in sixteenth-century Venice.</li> <li> Display detailed knowledge of the contexts which shape Renaissance Venetian painting.</li> <li> Explain and critique theories in the reception of Venetian painting from the sixteenth to twenty-first centuries.</li></ul> By the end of this course students will be able to:<ul> <li> Discuss a variety of issues surrounding the study of paintings from Renaissance Venice.</li> <li> Analyse the significance of social, economic, political and cultural contexts for our understanding of painting in Renaissance Venice.</li> <li> Show awareness of, and comment knowledgeably on, debates surrounding art objects in sixteenth-century Italy.</li> <li> Reflect upon different approaches art historians might adopt in the study of a given painting.</li></ul> By the end of this course students will be able to:<ul> <li> Critically evaluate the practice of painting in Renaissance Venice.</li> <li> Apply knowledge of social, economic and cultural contexts within analysis of paintings.</li> <li> Analyse a variety of primary source relevant material. </li> <li> Evaluate and respond critically to art historical texts and methods.</li> <li> Form a structured, sustained and persuasive argument.</li> <li> Appraise the value of different art historical methodologies in the analysis of paintings.</li></ul> By the end of this course students will be able to:<ul> <li> Present research and analysis using written and visual means.</li> <li> Respond to issues by constructing a structured and analytical response.</li> <li> Respond in a critical and informed manner to a class discussion</li> <li> Discuss and evaluate the views of different scholars.</li> <li> Carry out supervised research.</li> <li> Utilise traditional and digital resources in carrying out research.</li></ul> By the end of this course students will be able to:<ul> <li> Demonstrate an understanding of cultural difference.</li> <li> Reflect critically on their approach to set tasks.</li> <li> Evaluate written and visual sources.</li> <li> Present coherent arguments in written work.</li> <li> Manage time effectively in order to complete assignments.</li> <li> Present written work professionally and supported by images.</li> <li> Respond to feedback in order to improve research and understanding.</li></ul> Analytical skills - Reflect on discussions and assignments enabling future improvement. Analyse visual and verbal communication to a high level. Group/team working Work as part of a team and leading and participating in discussion. Project management Manage their time and work to deadlines. Written communication Present written material in a professional format. <ol> <li> History and Historiography: Venice and Venetian Painting</li> <li> Narrative Painting: Carpaccio</li> <li> Devotional Images I: Church</li> <li> Devotional Images II: Home</li> <li> Portraiture: Bellini, Giorgione, Titian</li> <li> Gender & Eroticism: Images of Women</li> <li> Pastoral Painting: The Giorgionesque</li> <li> Mythological Paining: Titian</li> <li> The Counter-Reformation I: Tintoretto</li> <li> The Counter-Reformation II: Veronese</li> <li> Materiality: Titian’s Late Style</li></ol> <ul> <li> Weekly two-hour lecture</li> <li> Weekly one-hour seminar</li> <li> Set readings and key images</li> <li> Group debate and discussion</li> <li> Use of Blackboard for course readings and submission of coursework</li></ul> 1 Written exam 75% 2 Written assignment (inc essay) 25% <ul> <li> Written feedback on essays</li> <li> Additional one-to-one feedback (during consultation hour or by making an appointment)</li></ul> Y <ul> <li> Campbell, Stephen J. and Michael Wayne Cole, A New History of Italian Renaissance Art, London: Thames & Hudson, 2012</li> <li> Humfrey, Peter, Painting in Renaissance Venice, New Haven; London: Yale University Press, 1995</li> <li> Rosand, David, Myths of Venice: The Figuration of a State, Chapel Hill; London : University of North Carolina Press, 2001</li> <li> Chambers, David et al., Venice: A Documentary History, 1450-1630, Toronto: University of Toronto Press, 2001</li> <li> Rosand, David, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto, Cambridge: Cambridge University Press, 1997</li> <li> Martineau, J., and Charles Hope, The Genius of Venice: 1500-1600, London: Royal Academy of Arts, 1983</li> <li> Facchinetti, Simone et al., In the Age of Giorgione, London: Royal Academy of Arts, 2016</li> <li> Ilchman, Frederick and Linda Borean, Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, Farnham: Lund Humphries, 2009</li></ul> Lectures 22 Seminars 11 0 167