Renaissance Art (16th Century)
Code: 100545 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| 2500239 Art History | OB | 3 |
Contact
- Name:
- Rafael Cornudella Carre
- Email:
- rafael.cornudella@uab.cat
Teachers
- Rafael Cornudella Carre
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
It is advisable to have taken the subject Renaissance Art (15th Century), a second degree course
Objectives and Contextualisation
Renaissance Art (16th century) is a course that belongs to subject History of Modern Art. It is a compulsory subject (6 cr.) and this is taught in the tirth year of the History of Art degree. It is the logical complement of the course Renaissance Art (15th century in Italy) which takes place in the second year of History Art degree, since they share objectives, competencies and learning outcomes. The overall objective is for students to acquire a coherent and complete knowledge of the Renaissance artistic phenomenon, specially the Italian art, reserving the elective subjects for the fourth degree course.
Competences
- Critically analysing from the acquired knowledge a work of art in its many facets: formal values, iconographic significance, artistic techniques and procedures, elaboration process and reception mechanisms.
- Interpreting a work of art in the context in which it was developed and relating it with other forms of cultural expression.
- Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
- Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
- Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.
Learning Outcomes
- Accurately defining and explaining an artistic object with the specific language of art criticism.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Applying the iconographic knowledge to the reading of artistic imagery.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Efficiently presenting knowledge in oral and written form.
- Encouraging creativity and fomenting innovative ideas.
- Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
- Explaining the reception mechanisms of a work of art.
- Identifying the artistic imagery, placing it into its cultural context.
- Reconstructing the artistic outlook of a particular cultural context.
- Working in teams, respecting the other's points of view and designing collaboration strategies.
Content
1. The situation of Italian painting and sculpture around 1470-1490 The naturalistic model of the Netherlands and the currents of the Italian Renaissance (Florence, Venice, etc.); innovation and conservatism in the last stage of the seconda maniera.
2. The main protagonists and trends of Central Italian painting and sculpture (Florence and Rome): 1.1. Leonardo da Vinci - 1.2. Michelangelo, sculptor and painter - Raphael - 1.3. Fra Bartolomeo, Andrea del Sarto and the first stages of Pontormo and Rosso- 1.4. Central Italian “Mannerist” painting: the disciples of Raphael, Rosso, Parmigianino, etc. Notions of the evolution and spread of Mannerism. 1.5. Aspects of Central Italian sculpture.
3. Painting in Venice and other northern Italian centers: 2.1. Venetian painting: Giorgione, Sebastiano del Piombo and Titian - 2.2. Lotto; Savoldo; other itineraries between Venice and Lombardy; Pordenone - 2.3. Venetian painting from 1540 to 1590: Titian (2), Tintoretto, Veronese - 2.4. Correggio - 2.5. Notions on the pictorial landscape of Lombardy, between the dynamism of naturalisms and the penetration of Mannerism - 2.6. Baroque and the alternatives to Mannerism - Conclusion: the appearance at the end of the 16th century of the first Baroque painting, as a creative synthesis of the naturalistic currents of the 16th century.
4. 16th century Italian architecture. 3.1. Bramante, from Milan to Rome; the new Vatican Basilica, project proposals and architectural debate: Rafael, Peruzzi, A. da Sangallo - 2.2. Michelangelo, architect; Rafael, architect - Five-century architecture between rule and license: the question of "Mannerism" in architecture; Palladio's classicism in the Veneto.
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| 1. classroom classes (CE1, CE6, CE6, CE7) 2. seminars and practical sessions in the classroom (CE1, CE6, CE7) (CT3). 3. lectures (CE1, CE6, CE7). 4. exposition of individual or group work (CT1, CT4) | 60 | 2.4 | 1, 6, 7, 10, 11, 12, 13 |
| Type: Supervised | |||
| programmed tutorials supporting learning and working (CT1, CT3), Written and oral tests (CE1, CE6, CE7) (CT1, CT4) | 15 | 0.6 | 9, 14 |
| Type: Autonomous | |||
| 1. personal study (CE1, CE6, CE7) 2. documentary and/or bibliographic consultations (CE1, CE6, CE7) 3. preparation of course papers: research papers, reviews, text commentaries, bibliographic essays, etc. (CE1, CE6, CE7) (CT1, CT3, CT4) | 75 | 3 | 1, 6, 7, 10, 11, 13 |
Autonomous activities (50-55 %) 1. personal study (CE1, CE6, CE7) 2. documentary and/or bibliographic consultations (CE1, CE6, CE7) 3. preparation of course papers: research papers, reviews, text commentaries, bibliographic essays, etc. (CE1, CE6, CE7) (CT1, CT3, CT4)
Targeted activities (30-35 %) 1. classroom classes (CE1, CE6, CE6, CE7) 2. seminars and practical sessions in the classroom (CE1, CE6, CE7) (CT3). 3. lectures (CE1, CE6, CE7). 4. exposition of individual or group work (CT1, CT4)
Supervised activities (10 %) programmed tutorials supporting learning and working (CT1, CT3)
Assessment activities (5 %) Written and oral tests (CE1, CE6, CE7) (CT1, CT4)
If required, these activities will be adapted to virtual teaching through the various existing systems.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Essay, individual | 40% | 0 | 0 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
| Exam 1 | 30% | 0 | 0 | 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13 |
| Exam 2 | 30% | 0 | 0 | 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13 |
First written test (partial exam) 30%.
Second written test (partial exam) 30%.
Individual work 40%. The approach of the work will be facilitated at the beginning of the course.
In order to pass the course it will be necessary that the sum of the grades of the three evidences is at least a 5 (out of 10). If an evidence has been failed, it will be necessary to attend the recovery.
Other details about the format of the evidences will be communicated at the beginning or during the course with sufficient advance notice.
Single assessment:
The single assessment will consist of the same three evidences foreseen in the continuous assessment, with the same percentages. The date of the exam (first and second written exams) and the delivery of the individual work will be at the end of the course.
On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedures to be followed for reviewing all grades awarded, and the date on which such a review will take place
Students will obtain a Not assessed/Not submitted course grade unless they have submitted more than 30% of the assessment items.
In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.
Bibliography
BIBLIOGRAFIA BÀSICA
Obres generals sobre la pintura, l’escultura i l’arquitectura del Renaixement
Stephen J. Campbell & Michael W. Cole, A New History of Italian Renaissance Art, Londres, 2012
Sidney J. Freedberg, Pintura en Italia 1500-1600, Madrid, 1992 (1971)
John Pope-Hennessy, Italian High Renaissance and Baroque Sculpture, Oxford, 1986 (1963)
Ludwig H. Heydenreich & Wolfgang Lotz: Arquitectura en Italia 1400-1600, Madrid, 1991 (1974).
Christoph Luitpold Frommel, The Architecture of the Italian Renaissance, Londres, 2007
Altres obres clàssiques, obres temàtiques i d’interès general sobre l’art del Renaixement
Heinrich Wölfflin, El arte clásico, Madrid, 1985 (1899)
Heinrich Wölfflin, Conceptos fundamentales en la Historia del Arte, 1924, 1989 (1915)
Ernst H. Gombrich, Norma y forma, Madrid, 1984 (1966)
Ernst H. Gombrich, Imágenes simbólicas, Madrid, 1983 (1972)
Ernst H. Gombrich, El legado de Apeles, Madrid, 1982 (1976)
Ernst H. Gombrich, Nuevas visiones de viejos maestros, Madrid, 1987 (1986)
André Chastel, Mythe et crise de la Renaissance, 1420-1520, Ginebra, 1989 (1968-1969)
André Chastel: El Saco de Roma, 1527, Madrid, 1986 (1983)
John Shearman, Only connect: Art and the Spectator in the Italian Renaissance, Washington, 1992.
Els grans protagonistes i els corrents de la pintura i l’escultura centre-italians
Rona Goffen, Renaissance Rivals. Michelangelo, Leonardo, Raphael, Titian, New Haven i Londres, 2002
KennethClark, Leonardo da Vinci, 1939, 1988 [trad. castellana: Madrid, 2006]
Martin Kemp, Leonardo, Mèxic, 2006 (2004).
Charles de Tolnay: Miguel Angel. Escultor, pintor y arquitecto, Madrid, 1985 (1975).
John Pope-Hennessy, Raphael, Nova York, 1970 [Raffaello, Milà, 1983]
Leopold D. & Helen S. Ettlinger, Raphael, Oxford, 1987
Paul Joannides, Raphael, London, 2022
Marcia B. Hall: After Raphael. Painting in Central Italy in the Sixteenth Century, Cambridge University, 1999.
La qüestió del “manierisme”
Water Friedlaender, Mannerism and anti-mannerism in Italian Painting, New York, 1957
Craig Hugh Smyth: Mannerism and Maniera, Nova York, 1963.
John Shearman: Manierismo, Madrid, 1984 (1967).
Antonio Pinelli, La bella maniera. Artisti del Cinquecento tra regola e licenza, Torí, 1993.
Renato Barilli, Maniera moderna e Manierismo, Milà, 2004
La pintura a Venècia i a la Itàlia septentrional
Johannes Wilde, Venetian Art. From Bellini to Titian, Oxford, 1081 [La pintura veneciana de Bellini a Ticiano, Madrid, 1988]
David Rosand, Painting in Sixteenth-Century Venice. Titian – Veronese - Tintoretto, Cambridge, 1997 (1982)
Peter Humfrey, Painting in Renaissance Venice, Yale University, 1995
Tom Nichols, Giorgione's Ambiguity, London, 2020
David Ekserdjian, Correggio, New Haven-Londres, 1997
Diane De Grazia (ed.), Correggio and his Legacy (catàleg de l'exposició,Washington, National Gallery or Art), Washington, 1984
Andrea Bayer (ed.), Painters of Reality. The Legacy of Leonardo and Caravaggio in Lombardy (catàleg de l'exposició, TheMetropolitan Museum of Art), New Haven and London, 2004
Flavio Caroli (ed.), Il Cinquecento Lombardo.Da Leonardo a Caravaggio (catàleg de l'exposició, Milano, Palazzo Reale), Milano, 2000
Els corrents naturalistes, les tendències reformistes de finals de segle i la gènesi de la pintura “barroca”
Andrea Emiliani, Federico Barocci, Urbino 1535-1612, 2 vols., ancona, 2008
Federico Zeri, Pittura e Controriforma. L’arte senza tempo di Scipione da Gaeta, Vicenza, 1997 (1957).
Sidney J. Freedberg, Circa 1600. A Revolution of Style in Italian Painting, Cambridge, Mass.,1983
Monografies sobre l’arquitectura italiana del segle XVI
Arnaldo Bruschi, Bramante, Madrid, 1987 (1973).
Horst Bredekamp, La fabbrica di San Pietro: il principio della distruzione produttiva, Torí, 2005 (2000).
Carlo Pedretti: Leonardo architetto, Milà, 1978.
Chistoph Luitpold Frommel, Manfredo Tafuri, Stefano Ray, Raffaello architetto, Milà, 1984.
James S. Ackerman, La arquitectura de Miguel Angel, Madrid, 1997 (1960).
James S. Ackerman, Palladio, Madrid, 1987 (1966).
Lienoello Puppi, Andrea Palladio, Milà, 1999
Robert Tavernor, Palladio and Palladianism, Nova York, 1991
Fonts documentals, literatura artística, teoria i crítica de l’art i l’arquitectura
Robert Klein & Henri Zerner, Italian Art 1500-1600. Sources and Documents, New Jersey 1966; Evanston, Illinois, 1994
Joaquim Garriga (ed.), Renacimiento en Europa (Fuentes y Documentos para la Historia del Arte, IV), Barcelona, 1983
Moshe Barasch, Teorías del arte. De Platón a Winckelmann, Madrid, 1991
Moshe Barasch, Light and Color in the Italian Renaissance Theory of Art, Nova York, 1978 [Luce e colore nella teoria artistica del rinascimento, Genova, 1992]
Patricia Lee Rubin, Giorgio Vasari. Art and History, New Haven i Londres, 1995
Mario Pozzi & Enrico Mattioda, Giorgio Vasari, storico e critico, Florència, 2006
Mark W. Roskill, Dolce's Aretino and Venetian Art Theory of the Cinquecento, Toronto-Buffalo-Londres, 2000
Paolo Prodi, Ricerche sulla teorica delle arti figurative nella Riforma cattolica, Bolonya, 1962
Hanno-Walter Kruft, Historia de la teoría de la arquitectura. 1. Desde la Antigüedad hasta el siglo XVIII, Madrid, 1990
Software
The dates of the different tests will be agreed between teachers and students at the beginning ot the academic year, respecting the officially approved academic calendar.
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (PAUL) Classroom practices | 1 | Catalan | first semester | morning-mixed |
| (TE) Theory | 1 | Catalan | first semester | morning-mixed |