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Art History 202 SURVEY OF WESTERN ART: MEDIEVAL & RENAISSANCE

Winter Quarter 2017 MTW 11:30–12:20 Anderson Hall 223

Professor Ivan Drpić (drpic@uw.edu) Office: Art Building, Room 365 Office hours: Tuesdays 2:00–4:00 and by appointment Course website: https://canvas.uw.edu/courses/1097104 Teaching Assistant: Katherine Coty (cotyk@uw.edu) TA’s office: Art Building, Room 311 TA’s office hours: Mondays and Tuesdays 1:00–2:00 Sections Section AA – Thursday, 9:30–10:20, Art Building, Room 003 Section AB – Thursday, 10:30–11:20, Art Building, Room 003 Section AC – Thursday, 12:30–1:20, Art Building, Room 003 Section AD – Thursday, 1:30–2:20, Art Building, Room 003 COURSE DESCRIPTION & OBJECTIVES This course surveys the visual arts of the Western world from the advent of Christianity and the ensuing transformation of ancient Roman culture through the period known as the Renaissance. Focusing upon paradigmatic artworks, monuments, and sites, the course explores over one thousand years of artistic production across Western Europe and much of the Mediterranean Basin. We will examine a variety of artistic media and genres, from bronze statuary and sparkling gold mosaics to portable devotional pictures, ivory carvings, and lavishly illustrated hand-written books. We will investigate this rich and often challenging material in its original contexts and ask how art was made, where it was displayed, and what kinds of messages it was intended to communicate in the periods and cultures under consideration. Among the larger issues to be addressed are craftsmanship and materiality; artistic patronage and the role of the artist; Greco-Roman antiquity and its enduring presence in the European imagination; cross-cultural exchange; the relationship between word and image; and the role of artworks as instruments and active participants in religious rituals and devotion. By successfully completing this course, you will gain familiarity with the visual arts of the Western world between ca. 300 and ca. 1500. You will deepen your understanding of the values, ideals, and attitudes that conditioned the production and reception of art in cultures very different from our own. Beyond the historical focus of the course, you will develop the skills of visual analysis and critical reading, master the basic concepts and vocabulary that art historians use to describe, analyze, and interpret artworks, and achieve heightened awareness of the intersection of art, society, and human experience at large. Finally, this course will help you develop the

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ability to express yourself and effectively communicate your ideas and arguments through writing. COURSE MATERIALS The required textbook for the course is Fred S. Kleiner, Gardner’s Art through the Ages: A Global History, 15th edition (Boston, MA: Wadsworth, 2015) (hereafter GARDNER). This year the entire textbook is available online through the course website, which both makes it possible for us to configure a textbook tailored to this course, and saves you a significant amount of money. The following chapters or parts of chapters will be assigned: Chapter 8: Late Antiquity Chapter 9: Byzantium Chapter 11: Early Medieval Europe Chapter 12: Romanesque Europe Chapter 13: Gothic Europe Chapter 14: Late Medieval Italy Chapter 20: Late Medieval and Early Renaissance Northern Europe Chapter 21: The Renaissance in Quattrocento Italy Chapter 22: Renaissance and Mannerism in Cinquecento Italy In GARDNER, you will also read the introductory chapter, What is Art History?, which will be discussed in section. A selection of additional readings, including some exemplary works of art-historical scholarship, has been assigned to supplement GARDNER. These readings will often be the focus of section discussions. They are all available electronically in PDF through the course website (under Files/ADDITIONAL READINGS). REQUIREMENTS AND GRADING Your grade for the course will be assessed based on the following components: Midterm Exam 20 % Final Paper 20 % Final Exam 20 % Section assignments & participation

40 %

20 % (2 short papers) 10 % (2 quizzes) 10 % (participation)

Lectures: The lectures will roughly follow the chronological order in GARDNER, but in content they may differ from the textbook. The lectures will often include information that is not covered in GARDNER and other assigned readings, or may offer interpretations that differ from the ones presented in the readings. You are responsible for the content of all lectures. Your regular attendance is therefore essential for your success in this course. Please note that all the PowerPoints I will show in lectures will be available through the course website (under Files/LECTURE POWERPOINTS).

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Exams: There will be a midterm and a final exam. The midterm exam is scheduled for Monday, February 6, and will take place in class (11:30–12:20, Anderson Hall 223). The final exam is scheduled for Wednesday, March 15, 2:30–4:20, and will take place in Anderson Hall 223. Detailed descriptions of both exams will be provided in due course. Study Images: For the midterm and final exams, you will be responsible for a selection of study images of exemplary works of art and architecture. Most of these works are illustrated in GARDNER. You will need to identify each work according to artist (if known), title, date, and (if required) medium and location. The study images will be available electronically through the course website (under Files/STUDY IMAGES). Final Paper: A five-page final paper is due on Thursday, March 9, by 9:00am on Canvas. A detailed description of this assignment will be provided in due course. Sections: The sections will provide a forum for discussion and review of the material covered in the course. Some sections will introduce you to basic tools of art history such as visual analysis and iconography. Others will focus on the assigned readings. Separate sections will be devoted to midterm and final exam reviews, to a review of medieval architecture, and to the best strategies to improve your writing and prepare for the final paper. Two short two-page papers will be assigned during the quarter: one will consist of a visual analysis of an artwork, while the other will be a critical response to a scholarly article. You will be asked to produce two drafts of each paper; the second draft should incorporate the feedback provided by your TA. In addition, two quizzes will be given in Weeks 3 and 8. Your preparation for and active participation in all section meetings is vital. Any absences must be discussed with your TA. COURSE POLICIES All course requirements must be fulfilled for a passing grade. There will be no make-up exams. An exception will be granted only in case of a documented emergency. Papers are due as scheduled. Late submissions will be accepted only in case of a documented emergency or by prior agreement with your Teaching Assistant. Otherwise, a deduction of 0.5 per day late (weekends included) will apply to the grade. Please arrive to class on time and turn off your phone in advance. Students who display disruptive behavior, such as speaking on the phone, or make offensive and disrespectful remarks will be asked to leave the class. For additional policies and procedures of UW School of Art + Art History + Design, see page 8 of the syllabus. Please also refer to the Director’s letter about academic misconduct attached at the end of the syllabus.

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COURSE SCHEDULE* Week One Tuesday, Jan 3: Introduction Wednesday, Jan 4: Christianity and the Transformation of Ancient Art I Reading: GARDNER, Chapter 8: Late Antiquity, sections from “Romans, Jews, and Christians” to “Santa Costanza.” In Section: Introduction to Art History & Visual Analysis

• Reading: GARDNER, Introduction: What is Art History? Week Two Monday, Jan 9: Christianity and the Transformation of Ancient Art II Reading: GARDNER, Chapter 8: Late Antiquity, sections from “Luxury Arts” to “Problems and Solutions: Picturing the Spiritual World.” Tuesday, Jan 10: Early Byzantium: The Art of the New Rome Reading: GARDNER, Chapter 9: Byzantium, sections from “Church and State United” to “Gospel Books.” Wednesday, Jan 11: The Icon Reading: GARDNER, Chapter 9: Byzantium, sections from “Icons” to “Iconoclasm,” from “Ivory Carving and Painting” to “The Third Rome”; Anna Kartsonis, “The Responding Icon,” in Heaven on Earth: Art and the Church in Byzantium, ed. Linda Safran (University Park, PA: Pennsylvania State University Press, 1998), pp. 58–80.

*** Jan 12: Rough draft of SHORT PAPER #1 due on Canvas by 9:00am *** In Section: Introduction to Christian Iconography

• Reading: The Gospel of Luke, chapters 1–24 (available at http://www.biblegateway.com [any English translation is acceptable]); reread GARDNER, Chapter 8: Late Antiquity, sections “Early Christian Saints and Their Attributes,” “Jewish Subjects in Christian Art,” and “The Life of Jesus in Art.”

Week Three Monday, Jan 16: MARTIN LUTHER KING DAY – No lecture Tuesday, Jan 17: Sacred Spaces: The Byzantine Church Reading: GARDNER, Chapter 9: Byzantium, sections from “Middle Byzantine Art” to “Monreale.”

* All scheduled lectures and assignments are subject to change.

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Wednesday, Jan 18: Monks and Books: Insular Art Reading: GARDNER, Chapter 11: Early Medieval Europe, sections from “The Psalms of David in Ninth-Century France” to “High Crosses.” In Section: Experiencing Byzantine Art

• Reading: Liz James, “Senses and Sensibility in Byzantium,” Art History 27.4 (2004): 522–537.

• QUIZ #1 Week Four Monday, Jan 23: Charlemagne, the Carolingians, and the Empire Reading: GARDNER, Chapter 11: Early Medieval Europe, sections from “Carolingian Empire” to “Corvey.” Tuesday, Jan 24: Ca. 1000: Ottonian Art Reading: GARDNER, Chapter 11: Early Medieval Europe, sections from “Ottonian Empire” to “Uta Codex.” Wednesday, Jan 25: The White Cloak of Churches: Romanesque Art I Reading: GARDNER, Chapter 12: Romanesque Europe, sections from “The Door to Salvation” to “Vézelay.”

*** Jan 26: Final draft of SHORT PAPER #1 due on Canvas by 9:00am *** In Section: Sacred Images and Relics in the Medieval West

• Reading: Ellert Dahl, “Heavenly Images: The Statue of Sainte-Foy of Conques and the Signification of the Medieval ‘Cult-Image’ in the West,” Acta ad archaeologiam et artium historiam pertinentia 7 (1978): 175–191.

Week Five Monday, Jan 30: The White Cloak of Churches: Romanesque Art II Reading: GARDNER, Chapter 12: Romanesque Europe, sections “Holy Roman Empire” to “Milan,” from “Italy” to “Durham.” Tuesday, Jan 31: Metalwork, Embroidery, and Other “Minor” Arts, 1050–1200 Reading: GARDNER, Chapter 12: Romanesque Europe, sections from “Codex Colbertinus” to “Morgan Madonna,” from “Romanesque Countesses, Queens, and Nuns” to “Saint Alexander,” from “Bury Bible” to “Embroidery and Tapestry”; Chapter 13: Gothic Europe, section “Nicholas of Verdun.” Wednesday, Feb 1: The Age of the Cathedrals I Reading: GARDNER, Chapter 13: Gothic Europe, sections from “‘Modern Architecture’ in the Gothic Age” to “House of Jacques Coeur.”

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*** Feb 2: Rough draft of SHORT PAPER #2 due on Canvas by 9:00am *** In Section: Midterm Review Week Six Monday, Feb 6: MIDTERM EXAM Tuesday, Feb 7: The Age of the Cathedrals II Reading: GARDNER, Chapter 13: Gothic Europe, sections from “Opus Francigenum Outside France” to “Chapel of Henry VII,” from “Strasbourg Cathedral” to “Heinrich and Peter Parler.” Wednesday, Feb 8: The Late Medieval Art of Devotion Reading: Michael Camille, “New Visions of God,” in Gothic Art: Glorious Visions (New York: Harry N. Abrams, 1996), pp. 103–130. In Section: Writing Workshop Week Seven Monday, Feb 13: Piety and Pleasure: Courtly Art Reading: GARDNER, Chapter 13: Gothic Europe, sections from “Gothic Book Production” to “Castle of Love”; Chapter 20: Late Medieval and Early Renaissance Northern Europe, section “Limbourg Brothers.” Tuesday, Feb 14: Merchants and Friars: Late Medieval Italy I Reading: GARDNER, Chapter 14: Late Medieval Italy, sections from “Late Medieval or Proto-Renaissance?” to “Lamentation.” Wednesday, Feb 15: Merchants and Friars: Late Medieval Italy II Reading: GARDNER, Chapter 14: Late Medieval Italy, sections from “Siena” to “Doge’s Palace.”

*** Feb 16: Final draft of SHORT PAPER #2 due on Canvas by 9:00am *** In Section: Review of Medieval Architecture Week Eight Monday, Feb 20: PRESIDENTS’ DAY – No lecture Tuesday, Feb 21: The Rise of Painting in the Burgundian Netherlands Reading: GARDNER, Chapter 20: Late Medieval and Early Renaissance Northern Europe, sections from “Rogier van der Weyden and Saint Luke” to “The Artist’s Profession in Flanders.” Wednesday, Feb 22: Art in the North between the Middle Ages and the Renaissance

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Reading: GARDNER, Chapter 20: Late Medieval and Early Renaissance Northern Europe, sections from “Later Flemish Painters” to “Hans Memling,” from “Mary of Burgundy” to “Engraving and Etching.” In Section: Netherlandish Portraiture and the Problem of Interpretation

• Reading: Erwin Panofsky, “Jan van Eyck’s Arnolfini Portrait,” The Burlington Magazine for Connoisseurs 64 (1934): 117–127; Jan Baptist Bedaux, “The Reality of Symbols: The Question of Disguised Symbolism in Jan van Eyck’s Arnolfini Portrait,” Simiolus 16.1 (1986): 5–28.

• QUIZ #2 Week Nine Monday, Feb 27: The Lure of Antiquity: Quattrocento Italy I Reading: GARDNER, Chapter 21: The Renaissance in Quattrocento Italy, sections from “The Medici, Botticelli, and Classical Antiquity” to “Bartolommeo Colleoni.” Tuesday, Feb 28: Perspective and Nature: Quattrocento Italy II Reading: GARDNER, Chapter 21: The Renaissance in Quattrocento Italy, sections from “Gentile da Fabriano” to “Engraving.” Wednesday, Mar 1: Cathedrals and Courts: Quattrocento Italy III Reading: GARDNER, Chapter 21: The Renaissance in Quattrocento Italy, sections from “Architecture” to “Milan.” In Section: Renaissance Art Between Theory and Practice

• Reading: Alexander Nagel, “Leonardo and Sfumato,” RES 24 (1993): 7–20. Week Ten Monday, Mar 6: The High Renaissance I Reading: GARDNER, Chapter 22: Renaissance and Mannerism in Cinquecento Italy, sections from “Michelangelo in the Service of Julius II” to “Architecture and Sculpture,” from “Michelangelo” to “Tomb of Giuliano de’ Medici.” Tuesday, Mar 7: The High Renaissance II Reading: GARDNER, Chapter 22: Renaissance and Mannerism in Cinquecento Italy, sections from “Raphael” to “Galatea,” from “Sistine Chapel Ceiling” to “Palazzo Farnese.” Wednesday, Mar 8: Conclusion: A Look Back and a Look Forward

*** Mar 9: FINAL PAPER due on Canvas by 9:00am ***

In Section: Final Exam Review Wednesday, Mar 15: FINAL EXAM (2:30–4:20, Anderson Hall 223)

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UW SCHOOL OF ART + ART HISTORY + DESIGN POLICIES AND PROCEDURES Equal opportunity: The School of Art + Art History + Design reaffirms its policy of equal opportunity regardless of race, color, creed, religion, national origin, gender, sexual orientation, age, marital status, disability, or status as a disabled veteran or Vietnam-era veteran in accordance with UW policy and applicable federal and state statutes and regulations. Disability accommodation: If you would like to request academic accommodations due to a disability, please contact Disabled Student Services, Schmitz, Room 448, (206) 543-8924 (V/TTY) or uwdss@u.washington.edu. If you have a letter from Disabled Student Services indicating you have a disability that requires academic accommodation, please present the letter to me so we can discuss the accommodations you might need for the class. Plagiarism: Plagiarism is defined as using in your own work the creations, ideas, words, inventions, or work of someone else without formally acknowledging them through the use of quotation marks, footnotes, bibliography, or other reference. Please check with me or with your TA if you have questions about what constitutes plagiarism. Instances of plagiarism will be referred to the Vice Provost/Special Assistant to the President for Student Relations and may lead to disciplinary action. Incomplete grades: An incomplete is given only when you: have been in attendance and done satisfactory work through the eighth week of the quarter; and have furnished satisfactory proof to me that the work cannot be completed because of illness or other circumstances beyond your control. Concerns about the course: Talk with me as soon as possible. If you are not comfortable talking with me or are not satisfied with the response that you receive, you may contact the Director of Advising and Student Services, Judith Clark, Art Building, Room 104, (206) 543-0646. If you are not satisfied with the response that you receive, you may contact the Director of the School of Art + Art History + Design, Jamie Walker, Art Building, Room 102. Grade appeal procedure: If you are concerned that the grade you received for this class is incorrect, contact me to discuss the matter. If the matter is not resolved to your satisfaction, make an appointment with the Director of Academic Advising and Student Services, Judith Clark, Art Building, Room 104, (206) 543-0646. If necessary, submit a written appeal to the Director of the School of Art + Art History + Design who will take the matter under advisement and call a faculty committee to review your course work and make a final determination concerning the grade dispute. Materials fees: All art and art history classes have materials fee that are billed on your tuition statement. Information is available in Art Building, Room 104. If you drop a class in the first five days of the quarter, the fee is automatically removed from the quarterly billing. If you drop after the first five days (and before using any class materials), you must petition for a refund. The School of Art + Art History + Design cannot process any petitions received after noon on the last day of the quarter.

Office of the Director Box 353440 Seattle, WA 98195-3400 P: 206.685.2442 F: 206.685.1657 art.washington.edu

September 28, 2016 Dear Student, “Admission to the university carries with it the presumption that students will conduct themselves as responsible members of the university community. As a condition of enrollment, all students assume responsibility to observe standards of conduct that will contribute to the pursuit of academic goals and to the welfare of the university community. This includes practicing high standards of academic and professional honesty and integrity.” (See the Student Code of Conduct, Chapter 478-120 WAC) Academic misconduct that includes cheating and plagiarism is unacceptable. Borrowing, paying for, or copying the work of others and presenting it as your own dishonors your reason for seeking a degree at UW and breaks the trust that faculty have for you as a member of this academic community. It undermines your ability to learn and mature as an individual. What is Cheating?

• Copying answers from another student's test, quiz, assignment, or paper. • Using pre written notes, cell phones or any other method to secretly look at information

that helps you answer test questions. • Using a cell phone or other device to take pictures of tests and exams and send them to

another student, or text message questions and answers to another student. • Pay another student to do your homework.

What is Plagiarism? It’s cheating, too.

• Buy a term paper or essay written by someone else and turn it in as your own. • Copy word-for-word another person's opinions or thoughts from a book, magazine,

newspaper or online article and pass them on as your own work. • Borrow or copy the drawings, paintings, sculptures or designs of another student or

artist and submit them as your own. • Paraphrase or summarize someone else's opinions or thoughts and pass them on

as your own.

A grade of zero will be given to any assignment, paper, test or quiz that is found to be the result of plagiarism or cheating. If you have any questions about what constitutes cheating or plagiarism please feel free to raise the issue in class, check with your instructor during office hours, or talk with an Academic Adviser in Art 104. Sincerely,

Jamie Walker Director