ARTH 217

THE RENAISSANCE

Hans Holbein the Younger (1498–1543)

(Left) Portrait of Jane Seymour, 1537, oil and tempera on oak panel, 650 × 400 mm, Vienna: Kunsthistorisches Museum. (Centre) Portrait of Christina of Denmark, Duchess of Milan, 1538, oil on oak panel, 1791 × 826 mm, London: National Gallery.

(Right) Portrait of Anne of Cleves, c. 1539, parchment mounted on canvas, 650 x 480 mm, Paris: Musée du Louvre.

Art History School of Art History Classics and Religious Studies

Faculty of Humanities and Social Sciences Victoria University of Wellington

TRIMESTER 1 2013

4 March – 3 July 2013 Teaching dates: 4 March to 7 June 2013 Easter break: 28 March to 3 April 2013 Mid-trimester break: 22–28 April 2013

Last piece of assessment due: 7 June 2013 Study week: 10–14 June 2013

Examination/Assessment Period: 14 June to 3 July 2013

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ARTH 217 THE RENAISSANCE

Course co-ordinator Phyllis Mossman, Old Kirk 317

Tel 463 5808, E-mail phyllis.mossman@vuw.ac.nz Where Lectures are in Murphy LT220

Tutorials are in Old Kirk, Room 319

When Lectures: Tuesdays and Thursdays 3.10 – 4 pm

Weekly tutorials begin in the second week of term. They will be held on: Tuesdays 5.10-6pm Wednesdays 9-9.50am Wednesdays 10-10.50am Wednesdays 2.10-3pm Wednesdays 3.10-4pm Sign-up for tutorials will be available on S-Cubed on the first day of trimester (notified by email).

Office hours: Phyllis’s office hours are Tuesdays 4-5 pm Wednesdays 11-1pm and 4-6pm Thursdays 4-4.30pm Please feel free to just drop in during these times, or arrange an appointment for another time to suit. Please do not call just before the lectures.

Communication of additional information Art History is situated on the level 3 (ground floor) of the Old Kirk building.

Pippa Wisheart, Art History’s Administrator, has her office in OK 306 (phone 463 5800). Notices regarding the course will be posted

on the board adjacent to her office. For general information about Art History see: www.victoria.ac.nz/art-history

Also information will be placed on Blackboard and in special cases will be emailed to all class members

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Course prescription A survey of Renaissance art, 1400-1600.

Course content This survey course will study the major artists, art and architecture of Italy and Northern Europe. We will examine the impact of patrons, historical context, theoretical ideas, writing from the period and scientific and technical innovations. Key artists (from Ghiberti, Masaccio, Donatello and Jan van Eyck; through to Michelangelo, Leonardo, Titian, Dürer and Holbein) will be investigated. Patrons in European republican and courtly settings (such as the Medici, the Papacy, the rulers of Mantua and Urbino and King Henry VIII) will be discussed; as well as cross-links between Italy and the North.

Learning objectives Students who pass this course should be able to:

• show an understanding of the chronology and key artists in particular periods or areas of art history;

• develop skills in visual analysis and awareness of the materials and techniques used in the art of a particular period;

• develop the ability to analyse and interpret art within the relevant social, political and theoretical contexts;

• be introduced to some of the major themes and currents in the writing about art of a particular period or area;

• develop the ability to gather and organise relevant information and evidence from published material (i.e. secondary sources) and further their ability to construct an argument using this material;

• develop the ability to present material which is coherent and well-written and which demonstrates an understanding and application of the conventions of academic writing (including appropriate citation, referencing and documentation);

• develop skills in reading art history and becoming aware of the range of available library resources (including primary sources);

• develop the ability to contribute to group discussions

Teaching/learning summary This course will be delivered through the presentation of two one-hour long lectures per week and compulsory weekly tutorials. The tutorials will be based on the readings in the student notes. Students will be expected to come along to the tutorial sessions ready to discuss the questions raised in the course outline. In addition you will complete three pieces of work for internal assessment (two tests and one essay).

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Lecture programme 2013

1 5 March The Renaissance: nostalgia for a classical past or herald of the modern

era? 2 7 March Sculpture: guild competition in quattrocento Florence

3 12 March Donatello: invenzione e fantasia 4 14 March Architecture and theory: Brunelleschi and Alberti

5 19 March The painter’s workshop: Masaccio and Masolino 6 21 March The North: Jan van Eyck and Rogier van der Weyden

7 26 March Art and patronage at the court of Mantua (No tutorials 26 & 27 March) 28 March No lecture – Easter Break 2 April No lecture – Easter Break (No tutorials 2 & 3 April)

8 4 April Art and patronage at the court of Urbino

9 9 April Late quattrocento Florence 10 11 April Leonardo da Vinci: artist/scientist

11 16 April Hans Holbein the Younger and the art of portraiture 12 18 April Test based on lectures 2-10 and tutorials 1-3 inclusive

MID-TRIMESTER BREAK 22 April to 28 April 2013

13 30 April High Renaissance Rome: architecture 14 2 May High Renaissance Rome: Michelangelo and Julius II

15 7 May The ‘divine’ Michelangelo 16 9 May High Renaissance Rome: Raphael and the Popes

17 14 May Italian Mannerism 18 16 May Albrecht Dürer and the Renaissance in Italy and the North

Essay due 12 noon Friday 17 May 2013. (Note: midday hand- in)

19 21 May Venetian art: the Bellini family and Giorgione 20 23 May Titian: the international artist

21 28 May Tintoretto and Veronese: primary sources and rivalry 22 30 May The Renaissance villa and Palladio

23 4 June The Renaissance print (lecturer David Maskill) 24 6 June Final Test, based on whole course (includes all lectures and tutorials,

with an emphasis on lectures 11-23 and tutorials 4-9 inclusive)

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TUTORIAL PROGRAMME

Weekly tutorials are an important supplement to lectures. They provide an opportunity to deal in more depth with some of the ideas and issues raised in lectures, to get advice on preparation for tests and assignments, and they are the best context for you to ask questions about the course. Tutorials are compulsory. (You must attend a minimum of 7 out of the 9 tutorials) You will be notified if you have missed three tutorials without explanation.

The Course Handbook, cost $14, will be sold from the Memorial Theatre Foyer from 11 February to 15 March 2013, then at vicbooks, Easterfield Building. You can order student notes online at www.vicbooks.co.nz or can email an order or enquiry to enquiries@vicbooks.co.nz.

To benefit from participation in the tutorial programme, it is essential that you access the set readings from your ARTH 217 Course Handbook, undertake extra research where necessary and prepare to answer the questions for each session that are given below, so that you can contribute fully to the discussion. Note: some of the readings are lengthy; you will need to allow plenty of time for adequate preparation! 1. (Wk 11 March) A Renaissance treatise: Leon Battista Alberti’s On painting

Reading: Alberti, Leon Battista, 1404-1472, Della Pittura, (On Painting), excerpts from three books published in 1435 and 1436, n Gilbert, Creighton E and H W Janson, Italian art: 1400-1500: sources and documents, Englewood Cliffs, NJ: Prentice-Hall, 1980, pp 51-75. (see Handbook, pp 1-13).

Please prepare to discuss the following questions: (a) Who was Leon Battista Alberti (1404-1472)? Do some

additional research. A good reference book is, Turner, Jane (ed), The dictionary of art, 34 volumes, in the reference section of the library; also in Oxford Art on line, in the Library catalogue databases.

(b) Briefly summarise the main themes of each of the three books that make up On painting.

(c) What were Alberti’s attitudes to antiquity and what and how did he know about it? Give some quotes from On painting.

(d) What are the important criteria of a good painting according to Alberti (see Book Two in particular and give some quotes).

(e) What does Alberti say about the character and status of the artist?

(f) What sorts of ‘Albertian’ ideas were already being practised in Florence by the time his treatise was first published in 1435/36? Choose an example from either painting or sculpture: bring along an image and be prepared to discuss reasons for your choice.

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2. (Wk 18 March) Renaissance biographies (Note: two lengthy and important readings this week)

We shall firstly examine the biographies of three Italian Renaissance artists written by Giorgio Vasari (1511-1574), then the biographies of two Flemish artists written by Karel van Mander (1548-1606).

(1) Giorgio Vasari’s biographies of the Italian artists Pisanello of Verona, Gentile da Fabriano and Masaccio

Readings: Vasari, Giorgio, 1511-1574, ‘Biographies of Gentile da Fabriano and Pisanello of Verona’, in Hinds, A B (selection and translation), Lives of the artists, Volume II, London: Dent; & New York: Dutton, (1927) 1949, pp 17-21. (see Handbook, pp 26-28).

and Vasari, Giorgio, 1511-1574, ‘Biography of Masaccio’ in Bull,

George, (selection and translation), Lives of the artists, Volume I, London: Penguin, (1965) 1987, pp 124-132. (see Handbook, pp 29-33).

(a) Find out something additional about the biographer, Giorgio Vasari from a different source (e.g. Jane Turner (ed), The dictionary of art, in the reference section of the library, or Oxford Art on line) to share in the tutorial.

(b) Please read these biographies and become familiar with some of the specific works mentioned by identifying them in books (bring along some images to show the group).

(c) Compare Vasari’s attitude to Pisanello and Gentile da Fabriano with his attitude to Masaccio. Give evidence for your comparison.

(d) What do you think Vasari considers the important criteria of a ‘good’ artist to be? Give quotes from the biographies to support your claims.

and:

(2) Karel van Mander’s biographies of the Flemish artists Jan van Eyck and Rogier van der Weyden

Reading: van Mander, Karel , 1548-1606, ‘The lives of the illustrious Netherlandish and German painters', excerpts from Miedema, Hessel (ed), Het Schilder-boeck (The painter’s book) published 1603-1604, Doornspijk: Davaco, 1994, pp 44-70 & 85-6.

(see Handbook, pp 14-25, but concentrating on the lives of Jan van Eyck and Rogier van der Weyden). (a) Find out something about the background, career and

writing of Karel van Mander (1548-1606). Start with Jane

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Turner (ed), The dictionary of art, in the reference section of the library, or Oxford Art on line.

(b) Identify some of the works that van Mander discusses in these two biographies. Bring along some images to show the class with quotes from van Mander about these paintings.

(c) Discuss the criteria of praise used by van Mander for the van Eyck brothers and for Rogier van der Weyden. Give examples of the terms of praise he used.

(d) Be prepared to critically compare Vasari and van Mander’s approaches in terms of the criteria they used to discuss the painters selected.

* No tutorials in Weeks 25 March and 1 April because of Easter break 3. (Wk 8 April) Preparation for test (to be held on Thursday 18 April). Come prepared for a mock image attribution test and a

discussion about how to approach the test. You should have revised your lectures and tutorials by looking at the images on Blackboard from lecture 2 onwards and tutorials 1 and 2. As well you should have done some of the extra reading from the image list lecture handouts to supplement the lecture notes. The test is designed to develop your skills in visual identification and analysis. This is an attribution test based on all the works you have already seen in lectures and tutorials.

4. (Wk 15 April) Debate: the paragone between painting and sculpture

Readings: Ames-Lewis, Francis, ‘Image and text: the paragone’, in Ames-Lewis, Francis, The intellectual life of the early Renaissance artist, New Haven and London: Yale University Press, 2002 (2000), pp 141-161 & 288. (see Handbook, pp 75-86) and: da Vinci, Leonardo, 1452-1519, ‘Extracts from Leonardo's notebooks’ and ‘Letter from Leonardo to the Duke of Milan’, in Kemp, M and M Walker (eds & translation), Leonardo on Painting: an anthology of writings, New Haven and London: Yale University Press, 1989. (see Handbook, pp 51-56). and: Buonarotti, Michelangelo, 1475-1564, ‘Reply from Michelangelo to Benedetto Varchi on the relative merits of painting and sculpture’, in Gilbert, Creighton E (translation), Italian Renaissance art: sources and documents, Englewood Cliffs, NJ: Prentice-Hall, 1980. (see Handbook, p 57).

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This tutorial will take the form of a formal debate over the relative merits of painting and sculpture. This was a subject for serious discussion among the intellectuals, artists and patrons of the day.

In preparation for the debate, complete the 3 readings; ensure that you can clearly define paragone and trace its significance during the period. Then choose either position and come prepared to defend yourself. Bring along at least one picture of a sculpture or painting to illustrate your standpoint.

MID-TRIMESTER BREAK 22 April to 28 April 2013

5. (Wk 29 April) Giorgio Vasari’s view of Renaissance art as seen the Prefaces to his Lives of the artists

Reading: Vasari, Giorgio, 1511-1574, ‘Preface to Part III’, in Bull, George, (selection and translation), Lives of the artists, Volume I, London: Penguin, (1965) 1987, pp 249-254. (see Handbook, pp 34-37).

Please answer the following questions: (a) Who was Giorgio Vasari? Please add to your research from

tutorial 2. (b) How did Vasari organise the overall layout of his Lives of the

Artists? (c) What did Vasari consider to be the achievements of the

artists of the second part of the Lives compared to the artists in Part I?

(d) However, in what ways did Vasari see these artists in Part II as ‘(falling) short of complete perfection’?

(e) What happened in the third period to help artists overcome these ‘problems’ and attain ‘success’ according to Vasari? Give examples from the text.

(f) What was Vasari's attitude to Michelangelo? Cite quotes and bring along some images from Michelangelo’s oeuvre to illustrate.

(g) In what ways do you consider that Vasari's ideas might have influenced the history of art?

6. (Wk 6 May) Essay workshop (25 minutes) and a reading which should be

helpful in thinking about art historical approaches to writing your essay (25 minutes).

Bring along a draft of your essay plan and a bibliography for discussion. Please ensure that you have read Researching and

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Writing Art History Essays on Blackboard. You may like to bring this along with you. Ensure that you have read and understood Victoria University’s policy on plagiarism (see note at the end of this course outline). The essay is due at 12 noon on Friday 17 May 2013.

and:

Reading: Franceschini, Chiara, ‘The Nudes in Limbo: Michelangelo's Doni Tondo Reconsidered’, Journal of the Warburg and Courtauld Institutes, 73, 2010, pp 137-180. (see Handbook, pp 87-130). (a) What is Franceschini’s approach to Michelangelo's Doni

Tondo and what is new about this? (b) What evidence does the writer base her thesis on? (c) Find another reading of the Doni tondo painting and compare

it with this one. Bring along your alternative approach for discussion.

(d) What do you think of Franceschini’s approach and why? 7. (Wk 13 May) Mannerism (Note: two lengthy and important readings this week, so you will need

to allow plenty of time)

Readings: Handbook pp 131-146 (Cole, 2001) and pp 147-164 (Reilly, 2010).

Mannerist Sculpture: the figura sforzata See Cole, Michael, ‘The figura sforzata: modelling, power and the Mannerist body’, Art History, 24, n. 4, September 2001, pp 520-551. (see Handbook, pp 131-146). (a) Discuss the ‘Mannerist’ aspects of the sculptures of Cellini

and Giambologna. Give examples from the article. (b) What part does Michelangelo play in the discussion? (c) Discuss the significance of decorum in the comments of Gilio

da Fabriano, giving specific examples from Michelangelo and Raphael to support his argument.

(d) What does this article add to our definition of Mannerism?

and:

Mannerist painting See Reilly, Patricia L, ‘Raphael’s Fire in the Borgo and the Italian

Pictorial Vernacular’, The Art Bulletin, 92, n. 4, December 2010, pp 308-325. (see Handbook, pp 147-164). (a) What is the main thesis statement of this article? (b) What does ‘style over content’ imply in this article?

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(c) Give some examples of historical writers’ approaches to the Fire in the Borgo painting.

(d) How are Raphael’s archaeological interests implicit in this painting?

(e) Discuss Raphael’s responses to Albertian artistic principles. (f) According to Reilly, how did Raphael’s contemporary, Pietro

Bembo, influence his artistic style? (g) According to Reilly how was the painting meant to be read

in the Renaissance period? (h) What does this painting and the article add to our definition

of Mannerism? 8. (Wk 20 May) Venetian versus Central Italian painting (Note: two readings)

Readings: Hope, Charles, 'The historians of Venetian painting', in Martineau, J and C Hope (eds), The genius of Venice 1500-1600, London: Royal Academy, 1983, pp 38-40. (see Handbook, pp 165-167).

and:

Casper, Andrew R, ‘A taxonomy of images: Francesco Sansovino and the San Rocco Christ Carrying the Cross’, Word & Image, 26, n. 1, January 2010, pp 100–114. (see Handbook, pp 168-182).

(a) According to Hope, what evidence did Vasari base his views of Venetian art upon?

(b) What was Vasari’s attitude to Venetian painting? Give examples of named artists from Hope.

(c) What does disegno mean? Explain with an example. (d) What does colorito mean? Explain with an example. (e) From the Casper article, who was Francesco Sansovino

(1521–1586)? (f) Briefly describe Francesco Sansovino’s Venetia citta`

nobilissima et singolare (Venice, 1581) and outline how it is useful to our understanding of the Venetian point of difference.

(g) Vasari and Sansovino were contemporaries. Compare Sansovino’s approach to Venice with that of Vasari.

(h) What do you see as the fundamental differences between Venetian and Central Italian painting in the Renaissance?

(i) Bring along one example of a Venetian work and be prepared to explain the materials and techniques used in its execution. In what terms might Vasari have discussed this work compared with Sansovino?

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9. (Wk 27 May) Veronese and the Inquisition Reading: Chambers¸ David, Brian S Pullan and Jennifer Fletcher (eds), 'Veronese before the Inquisition 1573', in Venice: A documentary history, 1450-1630, Oxford (UK) and Cambridge, Massachusetts: B Blackwell, 1992, pp 232-6. (see Handbook, pp 61-63).

(a) Find Veronese’s painting, Feast in the house of Levi, 1573, in a book or on-line and try to identify all the aspects of the painting that were discussed by the tribunal.

(b) Find out some information about the Inquisition, make notes and bring these along to share.

(c) Why was Veronese called before the tribunal of the Inquisition?

(d) How did Veronese defend his painting against these objections?

(e) What was the final outcome? (f) What have you learned about the relationship between art

and the church at this time? * (Wk 3 June) Queen’s Birthday holiday Monday No tutorials this week: study for the final essay test on

Thursday 6 June.

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ASSESSMENT

The course is internally assessed by means of one essay and two image-based tests. The first test will relate to that part of the course preceding it. The essay and second test will allow you to range more broadly over the course content. In this way, the assessment should ensure that you have a sound knowledge of as much of the course as possible.

1. Test (worth 30%), held on Thursday 18 April at 3.10pm in Murphy LT 220. It will cover lecture and tutorial material from lectures 2-10 and tutorials 1-3 inclusive. You will be required to identify and date a series of images that you will have seen in lectures or tutorials, and to justify your identification. This test is designed to introduce you to the chronology and key artists of the Renaissance; develop your skills in visual analysis and awareness of the materials and techniques used in the art of the period. Revision images will not be provided.

2. Essay (worth 40%) length 2000-2500 words, due Friday 17 May at 12 noon

(note the time of day is not 5pm but midday! Any essays handed in later will be considered a day late and marks deducted accordingly.) The essay topic is designed to meet the course objectives of: introducing you to the chronology and key artists of the Renaissance; developing your skills in visual analysis and awareness of the materials and techniques used; developing your ability to analyse and interpret art within the relevant social, political and theoretical contexts; introducing you to some of the major themes in the writing about Renaissance art; making you aware of the range of available library resources, developing your ability to gather and organise relevant information and evidence from published material (both primary and secondary sources) and to further your ability to construct an argument using this material; developing further your ability to present material which is coherent and well-written and which demonstrates an understanding and application of the conventions of academic writing (including appropriate citation, referencing and documentation).

3. Final essay test (worth 30%) held on Thursday 6 June at 3.10 pm in Murphy

LT 220. This will cover the whole course, including all tutorial material, but will concentrate on material from lectures 11-23 and tutorials 4-9 inclusive. You will be shown two single images and one pair for comparison. Each image is accompanied by a question. You will be required to write short essay-type answers to the questions based on the images given and by discussing other works and ideas from the period. You will NOT be required to identify the images, as their identifications will be given.

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This test is designed to meet the course objectives of: introducing you to the chronology, key artists and materials and techniques of the period; developing your ability to analyse and interpret art within the social, political and theoretical contexts of the Renaissance; introducing you to some of the major themes and currents in the writing about art of the period; developing your ability to gather and organise relevant information and evidence from published material and to construct a coherent argument using this material.

Blackboard Images from each lecture, together with a brief overview, will be posted on Blackboard (by the end of each week). You are strongly advised to review the images regularly in conjunction with your lecture notes. Attendance at lectures and tutorials Lectures cover the basic course content and include material not covered elsewhere. While attendance at lectures is not compulsory, it is strongly recommended. Tutorial attendance is compulsory. You must attend a minimum of 7 out of the 9 tutorials. A good contribution to tutorials can make a difference to your grade if you are borderline. Mandatory course requirements To gain a pass in this course each student must:

a) submit one essay on or by the specified date (subject to such provisions as are stated for late submission of work)

b) sit two tests c) attend 7 out of 9 tutorials

No assignments will be accepted after Friday 7 June 2013. If you are in any doubt about your ability to meet this deadline you must see your course coordinator immediately. All requirements are strictly enforced.

Expected workload ARTH 217 is a 20-point course. One point typically equates to 10 hours of work. The University recommends that 200 hours inclusive of lectures and tutorials, be given to a 20-point course in order to maintain satisfactory progress, i.e. 16 hours/week. The 200 hours should be spread evenly over the 12 week trimester and breaks. Please make sure you can set aside at least this amount of time throughout the course. Extensions, late penalties and second opinions Art History has a policy that extensions will not be granted. If you have medical or other problems preventing you from meeting a deadline you must contact your course coordinator at the earliest opportunity. Without prior arrangements having been agreed to, late essays will be penalised by the deduction of two percentage points for each day beyond the due date. The reasons exceptions will not be made

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are that we cannot privilege some students over others; we must adhere to a defined programme of marking; and the results must be furnished to Student & Academic Services on time. It is also important that we ensure that you keep up with the course.

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ESSAY TOPICS

You are required to submit one essay for this course. As it is worth 40% of the final grade you are encouraged to discuss your essay plan with your tutor and attend the essay workshop tutorial after having done some pre-planning. Where possible, use and cite both primary and secondary sources in your research. Due Friday 17 May 12 noon (note the time!) Length 2000-2500 words. Choose one essay topic from the following:

1. Examine the career and artistic achievements of one Renaissance artist who is mentioned in one or more primary sources (for example, Vasari’s Vite, or van Mander’s Schilder-boeck). Make your selection from the list below:

Brunelleschi

Antonio Pollaiuolo

Fra Filippo Lippi

Jan van Eyck

Hans Holbein the Younger

Using both primary and secondary texts in your discussion, analyse this artist’s career by concentrating on training, workshop practice, technical expertise, specific commissions and relationships with patrons. Critically compare the relative usefulness of the specific primary versus secondary sources utilised in your study.

2. Examine one of the following major Renaissance projects:

The sculptural programme for Or San Michele, Florence

Raphael’s tapestry cartoons and the finished tapestries by Pieter van Aelst

Alberti’s Tempio Malatestiano at Rimini (San Francesco)

Investigate the conditions of production (i.e. location, patronage, contract/s, materials and workshop practice) and the contexts for this project to be viewed/utilised. Evaluate how the project met these demands and to what extent it was typical of others in the period.

3. Discuss the largely one-way relationship between Northern and Italian art during the fifteenth century, using specific artists and their works to support your argument.

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4. Federico da Montefeltro (1422-82) the Duke of Urbino, was made famous by Baldassare Castiglione’s The Book of the Courtier (published 1528). What were Federico’s achievements in the arts arena and to what extent does he epitomise the ideal of the Renaissance art patron?

5. A case study of painting and the politics of persecution in fifteenth-century Mantua.

Read the following article in your Student Handbook, pp 64-74: Katz, Dana E, ‘Painting and the politics of persecution: representing the Jew in fifteenth-century Mantua’, Art History, 23, n. 4, November 2000, pp 475-495. Discuss the art historical and political background to Mantegna’s Madonna della Vittoria and the anonymous Madonna and Child with saints and Norsa family altarpieces. Compare Katz’s reading of Mantegna’s altarpiece with an alternative interpretation of the work from a different text. How would you categorise the art historical approach of Katz and how does this compare with the approach in your chosen text?

6. Choose one of the following artworks and write a comprehensive iconographical analysis of it. Compare this analysis with one other clearly identified art historical approach to this work. What do you think these two approaches add to the art historical discussions and what do they leave out?

Piero della Francesca’s The Flagellation of Christ, late 1450s/early-mid 1460, oil and tempera on panel, 584 x 815 mm, Urbino: Galleria Nazionale delle Marche

Michelangelo, et al, The Tomb of Pope Julius II, installed in San Pietro in Vincoli, Rome in 1545 (unfinished)

Sandro Botticelli’s Primavera, c.1482?, tempera on panel, 2030 x 3140 mm, Florence: Uffizi Gallery

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The following criteria are used in marking essays. They assess your ability to: • identify the requirements of, and possibilities inherent in, a topic • formulate and develop a coherent argument • present an appropriate range of visual and written evidence • show originality and independence of thought • write with fluency of style and correctness of mechanics • accurate referencing of written sources and properly documented works of art in

your text

IMPORTANT INSTRUCTIONS:

You must pay attention to setting out, correct spelling and grammar. You should type your essay, presenting it double-spaced, with a generous left-hand margin. Always proofread your essays carefully, or get a friend to do so, as poorly presented material can be very distracting for a marker. Word length should be strictly observed. Essays that either exceed the word limit dramatically or are significantly short will not be marked, but will be returned to you for resubmission. Researching and Writing Art History Essays, the department’s handbook which sets out standard practice, is available for viewing on Blackboard. This is essential reading for the satisfactory completion of all art history assignments and, together with a special tutorial workshop on essay writing, will provide you with clear guidelines to ensure you meet our standards for the writing of assignments. In particular, it notes that your essay must be your own individual work and that quoted passages must be properly acknowledged. Failure to do this could result in a claim of plagiarism. (See Victoria University of Wellington’s policy on plagiarism at the end of this course outline).

Make sure you keep a copy of your essays before placing them in the Art History assignment box in the foyer of Old Kirk, Level 3 (ground floor) by 12 noon on the due date. Late essays should be handed in to your lecturer or to the programme administrator. Essays will be marked by your lecturer. A second opinion may be requested in the final assessment of any piece of written work.

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READING LIST

This is a selection of titles on Renaissance Art. Italian art is dealt with first, then Northern art. You should find here all that you need for your essays and general reading. Also you will find many more titles of interest in the History and Philosophy sections of the Library. The Architecture and Design Library at 139 Vivian St has significant holdings on the architecture of the Renaissance, which you may take out. Also, Te Aka Matua Te Papa Library (Te Papa, level 4, open by appointment, see www.tepapa.govt.nz) and Wellington City Library (Civic Square) have European art history sections. Set Text Course Handbook $14. All undergraduate textbooks and student notes will be sold from the Memorial Theatre Foyer from 11 February to 15 March 2013, while postgraduate textbooks and student notes will be available from vicbooks’ new store, Ground Floor Easterfield Building, Kelburn Parade. After week two of the trimester all undergraduate textbooks and student notes will be sold from vicbooks, Easterfield Building. Customers can order textbooks and student notes online at www.vicbooks.co.nz or can email an order or enquiry to enquiries@vicbooks.co.nz. Books can be couriered to customers or they can be picked up from nominated collection points at each campus. Customers will be contacted when they are available. Opening hours are 8.00 am – 6.00 pm, Monday – Friday during term time (closing at 5.00 pm in the holidays). Phone: 463 5515. Books on Closed Reserve or on 3-day loan are typed in bold. Recommended Reading (all held in the Reserve section of the library). John T Paoletti and Gary M Radke, Art in Renaissance Italy, London: Laurence King,

(1997) 2011 edition. Giorgio Vasari, Lives of the artists, volume 1, George Bull (trans of the 2nd ed, 1568),

Harmondsworth: Penguin, 1965, 1987 edition James Snyder, Northern Renaissance Art, New York: Abrams, 1985. Several copies

available in the library.

REFERENCE BOOKS

Campbell, Gordon, The Oxford dictionary of the Renaissance, Oxford & New York: Oxford University Press, 2003.

_________________, Renaissance art and architecture, Oxford; New York: Oxford University Press, 2004. Arch & Des Library - Reference

Frazier, Nancy, The Penguin concise dictionary of art history, New York: Penguin Reference, 1999.

Gowing, Lawrence (ed), Biographical encyclopaedia of artists, New York: Facts on File, 2005.

Hale, John R (ed), A concise dictionary of the Italian Renaissance, London: Thames & Hudson, (1981) 1992.

Hall, James, Dictionary of subjects and symbols in art, London: J Murray, (1974) 1979. Kemp, Martin, The Oxford history of Western art, Oxford: Oxford University Press, 2002. Turner, Jane (ed), The Dictionary of Art, 34 volumes, London: Macmillan, 1996. (and see

Oxford Art On-line Library database)

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ITALIAN ART

PRIMARY SOURCES AND DOCUMENTS

Alberti, Leon Battista and Rocco Sinisgalli (ed. and trans), On Painting: A New Translation and Critical Edition, Cambridge: Cambridge University Press, 2011.

Alberti, Leon Battista, Della Pittura (On painting), (1436), M Kemp (ed) and Cecil Grayson (translation), London: Phaidon, 1991.

Alberti, Leon Battista, On painting and On sculpture, (the Latin texts of De pictura and De statua (by) Leon Battista Alberti), edited with translations, introduction and notes by Cecil Grayson, London: Phaidon, 1972.

Alberti, Leon Battista, On the art of building in ten books (De re aedificatoria), (1485), Joseph Rykwert et al (trans), Cambridge Mass: MIT Press, 1988.

Castiglione, Baldassare, The book of the courtier (1528), George Bull (trans), Baltimore: Penguin, 1959, 1967 and 1974 editions.

Castiglione, Baldassare, The book of the courtier, translated from the Italian by Sir Thomas Hoby, London: Dent, (1528) 1974.

Cellini, Benvenuto, The autobiography of Benvenuto Cellini, George Bull (translation and introduction), Harmondsworth: Penguin Books, 1956.

Cellini, Benvenuto, The treatises of Benvenuto Cellini on goldsmithing and sculpture, C R Ashbee (trans), New York: Dover Publications, 1967.

Cennini, Cennino, The book of the art of Cennino Cennini: a contemporary practical treatise on quattrocento painting, C J Herringham (translation), London: George Allen & Unwin, 1930.

Chambers, David, et al (eds), Venice: a documentary history 1450-1630, Oxford & Cambridge Mass: Blackwell, 1992.

Condivi, Ascanio, The life of Michelangelo (1553), Alice Sedgwick Wohl (trans), Baton Rouge: Louisiana State University Press, 1976.

Condivi, Ascanio, with an introduction by Charles Robertson, The life of Michelangelo, London: Pallas Athene, 2006.

Filarete, Antonio Averlino, Notebooks on architecture (c.1460-64), 2 volumes, J R Spencer (ed and trans), New Haven: Yale University Press, 1965.

Gilbert, Creighton E, Italian Renaissance art: 1400-1500, sources and documents, Englewood Cliffs, NJ: Prentice-Hall, 1980.

Holt, Elizabeth Gilmore (ed), A documentary history of art: Volume 1: The Middle Ages and the Renaissance; Volume 2: Michelangelo and the Mannerists, the baroque and the eighteenth century, various editions - Princeton: Princeton University Press, 1981 (1947, 1957); Garden City, New York: Doubleday, 1957.

Leonardo da Vinci, Martin Kemp & Margaret Walker (eds and translation), Leonardo on painting: an anthology of writings with a selection of documents relating to his career as an artist, New Haven and London: Yale University Press, 1989.

Leonardo da Vinci (1452-1519), Leonardo da Vinci's notebooks, arranged and translated into English with introductions by Edward McCurdy, New York: Empire State Book Company, 1923.

Manetti, A, The life of Brunelleschi, Catherine Enggass (trans) and introduction by Howard Saalman, University Park, Pennsylvania: Pennsylvannia State University Press, 1970.

Michelangelo Buonarroti and Giorgio Vasari, Poems and letters: selections, with the 1550 Vasari Life, translated with an introduction and notes by Anthony Mortimer, London: Penguin, 2007.

20

Michelangelo Buonarroti, Complete poems and selected letters of Michelangelo, C Gilbert (trans), 3rd ed, Princeton: Princeton University Press, 1980.

Palladio, Andrea (1508-1580) The four books of architecture (Quattro libri dell' architettura), Isaac Ware (translation), New York: Dover, 1965. (& shelf)

Palladio, Andrea, (1508-1580), Palladio’s Rome: a translation of Andrea Palladio’s two guidebooks to Rome, translation by Vaughan Hart and Peter Hicks, New Haven: Yale University Press, 2006.

Ridolfi, Carlo (1594-1658), The life of Tintoretto, and of his children Domenico and Marietta, Translated by Catherine Enggass and Robert Enggass, University Park and London: The Pennsylvania State University Press, 1984.

Vasari, Giorgio, Lives of the artists, Volumes I-IV, Allen Banks Hinds translation, London: Dent; New York: Dutton, 1927 (1949 printing).

Vasari, Giorgio, Lives of the artists: Volumes I & 2 (2nd ed, 1568), George Bull (trans), Harmondsworth: Penguin, (1965), 1987. (& shelf)

Vasari, Giorgio, and Frank Sadowski (ed), Life of Michelangelo, translated by Gaston du C de Vere, New York: Alba House, 2003.

Vasari, Giorgio, Lives of the artists, volumes 1 & 2, Gaston du C de Vere (translation), New York: A Knopf and London: Everyman’s, 1996 (1912).

Vasari, Giorgio, On Technique: being the introduction to the 3 arts of design: architecture, sculpture and painting, prefixed to the Lives of the most excellent painters, sculptors and architects, L S Maclehose and G Baldwin Brown (trans), New York: Dover, 1960 (1907).

Vasari, Giorgio and Robert H. Getscher, An annotated and illustrated version of Giorgio Vasari’s history of Italian and northern prints from his’ Lives of the artists’, 1550 & 1568, Lewiston, NY: Edwin Mellen Press, 2003.

Vasari, Giorgio, with an introduction by David Hemsoll, The life of Michel Angelo, London: Pallas Athene, 2006.

Vasari, Giorgio (1511-1574), and Frank Sadowski (ed), Life of Michelangelo, translated by Gaston du C de Vere, New York: Alba House, 2003.

Vespasiano da Bisticci, Renaissance Princes, Popes and Prelates: The Vespasiano Memoirs: Lives of illustrious men of the XV Century, W George and E Waters (trans), New York and London: Harper & Row, (1926) 1963.

Wittkower, Rudolf and Margot (eds and trans), The divine Michelangelo. The Florentine Academy’s homage on his death in 1564: a facsimile edition of ‘Esequie del divino Michelangelo Buonarroti’ Florence 1564, London: Phaidon Press Ltd, 1964.

GENERAL STUDIES/THEMES/THEORIES

Acidini, Cristina, et al, The Medici, Michelangelo, and the art of late Renaissance Florence, New Haven; London: Yale University Press, 2002.

Aikema, Bernard and Beverly Louise Brown (eds), Renaissance Venice and the north: crosscurrents in the time of Dürer, Bellini and Titian, London: Thames and Hudson, 1999.

Alexander-Skipnes, Ingrid (ed), Cultural Exchange between the Low Countries and Italy (1400-1600), Turnhout, Belgium: Brepols Publishers, 2007.

Ames-Lewis, Francis, The intellectual life of the early Renaissance artist, New Haven: Yale University Press, 2000.

--------------------------, and Mary Ruth Rogers (eds), Concepts of beauty in Renaissance art, Aldershot, Hants, England; Brookfield, Vt., USA: Ashgate, 1998.

21

Ames-Lewis, Francis and Paul Joannides (eds), Reactions to the master: Michelangelo’s effect on art and artists in the sixteenth century, Aldershot, England and Burlington, USA: Ashgate Publishing Company, 2003.

Andrews, Lew, Story and space in Renaissance art: the rebirth of continuous narrative, Cambridge; New York: Cambridge University Press, 1995.

Barkan, Leonard, Unearthing the past: archaeology and aesthetics in the making of Renaissance culture, New Haven; London: Yale University Press, 2001.

Barker, Emma, Nick Webb and Kim Woods (eds), The changing status of the artist, New Haven: Yale University Press in association with the Open University, 1999.

Boase, T S R, Giorgio Vasari: the man and the book, Princeton: Princeton University Press, 1979. Bober, Phyllis Pray, Ruth Rubenstein and Susan Woodford, Renaissance Artists and

Antique Sculpture; A Handbook of Sources, Oxford: Oxford University Press, 1986. Bober, Phyllis Pray and Ruth Rubinstein, Renaissance Artists and Antique Sculpture: A

Handbook of Sources, London: Harvey Miller Publishers, (1986) second edition 2010. Brown, David Allan, Sylvia Ferino-Pagden et al (eds), Bellini, Giorgione, Titian and the

Renaissance of Venetian Painting, National Gallery of Art, Washington and Kunsthistorisches Museum, Vienna in association with Yale University Press, New Haven and London, 2006.

Brown, Patricia Fortini, Venetian narrative painting in the age of Carpaccio, New Haven: Yale University Press, 1988.

----------------, Venice and antiquity: the Venetian sense of the past, New Haven: Yale University Press, 1996.

----------------, The Renaissance in Venice, London: Weidenfeld and Nicolson, 1997. Burke, Peter, The European Renaissance: centres and peripheries, Oxford, England; Malden,

Mass: Blackwell Publishers, 1998. -----------------, The Renaissance, Basingstoke: Macmillan, 1987. -----------------, Culture and society in Renaissance Italy, 1420-1540, Cambridge: Polity, 1987. Campbell, Gordon, Renaissance art and architecture, Oxford: Oxford University Press, 2004. Campbell, Lorne, Renaissance portraits, New Haven: Yale University Press, 1990. Campbell, Lorne, Philip Attwood, et al, Renaissance faces: Van Eyck to Titian, London:

National Gallery Company; New Haven: Distributed by Yale University Press, 2008.

Campbell, Stephen J, Artists at court: image-making and identity, 1300-1550, Boston: Isabella Stewart Gardner Museum; (Chicago): Distributed, University of Chicago Press, 2004.

Campbell, Stephen J and Michael W Cole, Italian Renaissance art, New York: Thames & Hudson, 2012.

Chambers, David Sanderson, Renaissance Cardinals and their worldly problems, Aldershot, Hampshire; Brookfield, Vt: Variorum, 1997.

Chambers, David Sanderson, Patrons and artists in the Italian Renaissance, London: Macmillan, 1970.

--------------------, and J Martineau (eds), The splendours of the Gonzaga, Exhibition Catalogue, London: Victoria and Albert Museum, 1981.

Christiansen, Keith and Stefan Weppelmann (eds), The Renaissance portrait: from Donatello to Bellini, New York: Metropolitan Museum of Art; New Haven: Distributed by Yale University Press, 2011.

Clough, Cecil H, The Duchy of Urbino in the Renaissance, London: Variorum Reprints, 1981. Cole, Alison, Art of the Italian Renaissance courts: virtue and magnificence, London:

Weidenfeld & Nicolson 1995.

22

---------------, Perspective- a visual guide to the theory and techniques from the Renaissance to pop art, London: Harper and Collins, 1992.

Cole, Bruce, Italian Art 1250-1550: The relation of Renaissance art to life and society, New York: Harper & Row, 1987.

----------------, The Renaissance artist at work. New York: Harper & Row, 1983. Cole, Michael W (ed), Sixteenth-century Italian art, Malden, MA: Blackwell Pub, 2006. Edgerton, Samuel Y, The Renaissance rediscovery of linear perspective, New York: Basic

Books, 1975. -----------------------, The heritage of Giotto’s geometry, Ithaca: Cornell University Press, 1991. -----------------------, The mirror, the window, and the telescope: how Renaissance linear perspective

changed our vision of the universe, Ithaca: Cornell University Press, 2009. Farago, Claire J (ed), Reframing the Renaissance: visual culture in Europe and Latin

America, 1450-1650, New Haven: Yale University Press, 1995. Field, Judith V, The invention of infinity: mathematics and art in the Renaissance, Oxford and

New York: Oxford University Press, 1997. Furlotti, Barbara and Guido Rebecchini, Art of Mantua: power and patronage in the

Renaissance, translated from the Italian by A. Lawrence Jenkens, Los Angeles: John Paul Getty Museum, 2008.

Fusco, Laurie and Gino Corti, Lorenzo de’ Medici: collector and antiquarian, New York and Cambridge: Cambridge University Press, 2007 reprint (2006).

Goldthwaite, Richard A, Wealth and the demand for art in Italy 1300-1600, Baltimore: Johns Hopkins University Press, 1993.

---------------, Private wealth in Renaissance Florence; a study of four families, Princeton: Princeton University Press, 1968.

---------------, The building of Renaissance Florence: an economic and social history, Baltimore: Johns Hopkins University Press, 1980.

Graham-Dixon, Andrew, Renaissance, London: BBC Worldwide Ltd, 1999. Greenhalgh, Michael, The Classical Tradition in Art, London: Duckworth; Dallas:

distributed by Southwest Book Services, 1978. Hale, John R, Renaissance Europe, 1480-1520, Oxford, UK; Malden, Mass.: Blackwell, (2nd ed),

2000. Haskell, Francis and Nicholas Penny, Taste and the antique: the lure of classical

sculpture, 1500-1900, New Haven: Yale University Press, 1981. Hauser, Arnold, Mannerism: The crisis of the Renaissance and the origins of modern art, 2 vols,

London: Routledge & Kegan Paul, 1965. Hollingsworth, Mary, Patronage in Renaissance Italy from 1400 to the Early 16th Century,

London: John Murray, 1994. ------------------, Patronage in Sixteenth Century Italy, London: John Murray, 1996. Holmes, George, Renaissance, London: Weidenfeld & Nicolson, 1996 & London: Phoenix

Illustrated, Orion, 1998. Humfrey, Peter and Martin Kemp (eds), The Altarpiece in the Renaissance, Cambridge:

Cambridge University Press, 1990. Huse, N and W Wolters, The Art of Renaissance Venice: Architecture, Painting and Sculpture,

Chicago: University of Chicago Press, 1990. Ilchman, Frederick A, Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, Exhibition

Catalogue of Boston Museum of Fine Arts, Boston, 2009. Jardine, Lisa, Worldly goods: a new history of the Renaissance, London: Macmillan, 1996. Jestaz, Bertrand, Art of the Renaissance, I Mark Paris (translation), New York: Abrams, 1995.

23

Kemp, Martin, Behind the picture: art and evidence in the Italian Renaissance, New Haven: Yale University Press, 1997.

-----------------, The science of art: optical themes in western art from Brunelleschi to Seurat, New Haven: Yale University Press, 1990.

Kent, Dale, Cosimo de’ Medici and the Florentine Renaissance: the patron’s oeuvre, New Haven and London: Yale University Press, 2000.

Kent, F W and Patricia Simons (ed), Patronage, Art and Society in Renaissance Italy, Oxford: Oxford University Press, 1987.

Levenson, Jay A, et al (eds), Circa 1492: art in the age of exploration, Exhibition catalogue, Washington DC National Gallery of Art: Yale University Press, 1991.

Levi, Anthony, Renaissance and Reformation: the intellectual genius, New Haven & London: Yale University Press, 2002.

Levey, Michael, Early Renaissance, Harmondsworth: Penguin, 1967. -------------------, High Renaissance, Harmondsworth: Penguin, 1975. -------------------, Florence: a portrait, London: Jonathan Cape, 1996. Martineau, Jane and Charles Hope (ed), The Genius of Venice 1500-1600, London:

Weidenfeld and Nicolson, 1983. North, Michael and David Ormrod (eds), Art markets in Europe, 1400-1800, Aldershot,

Brookfield: Ashgate, 1998. Partridge, Loren, The Renaissance in Rome. 1400-1600, London: Weidenfeld & Nicolson,

1996. Payne, Alina, Anne Kuttner and Rebekah Smick (eds), Antiquity and its interpreters,

Cambridge, U.K and New York: Cambridge University Press, 2000. Pope-Hennessy, John, The Portrait in the Renaissance: The A W Mellon Lectures in the Fine Arts,

1963, New York: Bollingen Foundation, 1966. Rosenberg, Charles M. (ed), The Court Cities of Northern Italy: Milan, Parma, Piacenza, Mantua,

Ferrara, Bologna, Urbino, Pesaro, and Rimini. Artistic Centers of the Italian Renaissance, Cambridge: Cambridge University Press, 2010.

Rotondi, Pasquale, The ducal palace of Urbino: its architecture and decoration, London: Tiranti, (abridged English edition of author’s Il Palazzo ducale di Urbino), 1969.

Rubin, Patricia Lee, Giorgio Vasari: Art and History, New Haven: Yale University Press, 1994.

--------------------, Alison Wright and Nicholas Penny, Renaissance Florence: the art of the 1470s, London: National Gallery Publications, 1999.

--------------------, Images and identity in fifteenth-century Florence, New Haven: Yale University Press, 2007.

Ruffini, Marco, Art without an author: Vasari’s Lives and Michelangelo’s death, New York: Fordham University Press, 2011.

Sheard, W S, Collaboration in Italian Renaissance art, New Haven: Yale University Press, 1978.

Shearman, John, Mannerism, Harmondsworth: Penguin, 1967. -------------------, Only connect: art and the spectator in the Italian Renaissance, Princeton:

Princeton University Press, 1992. Smyth, Charles H, Mannerism and maniera, Vienna: IRSA, 1992. Syson, Luke, Alessandro Angelini, Philippa Jackson, Fabrizio Nevola & Carol Plazzotta,

Hugo Chapman, Simona Di Nepi, Gabriele Fattorini, Xavier F. Salomon & Jennifer Sliwka, Renaissance Siena: Art for a City, London: National Gallery Catalogue, 2007.

24

Wackernagel, M, The World of the Florentine Renaissance Artist: Projects and Patrons, Workshop and Art Market, Alison Luchs (trans), Princeton: Princeton University Press, 1981.

Warnke, Martin, The Court Artist, on the ancestry of the modern artist, David McLintock (trans), Cambridge & NY: Cambridge University Press, 1993.

Weiss, R, The Renaissance discovery of classical antiquity, Oxford & NY: Blackwell, (1st & 2nd editions), 1969 and 1988.

Welch, Evelyn S, Art and society in Italy, 1350-1500, Oxford & New York: Oxford University Press, 1997.

Wölfflin, Heinrich, Classic Art: An Introduction to the Italian Renaissance, Peter and Linda Murray (trans), London: Phaidon, 1952 (1948).

Woods, Kim, Making Renaissance art, New Haven: Yale University Press, 2006. Woods-Marsden, Joanna, Renaissance self-portraiture: the visual construction of identity

and the social status of the artist, New Haven: Yale University Press, 1998. Zaho, Margaret Ann, Imago triumphalis: the function and significance of triumphal imagery for

Italian Renaissance rulers, New York: Peter Lang, 2004. ARCHITECTURE (some titles will be in the Architecture and Design Library at Vivian Street. See also primary sources list above for architectural treatises and biographies)

Ackerman, James, The Architecture of Michelangelo, 2 vols, London: Zwemmer, 1961; Harmondsworth: Penguin, 1970; Chicago: University of Chicago Press, (2nd ed), 1986.

---------------------, Palladio, Harmondsworth: Penguin, 1966. ---------------------, The villa, form and ideology of country houses, Princeton: Princeton University

Press, 1990. Argan, Giulio Carlo and Bruno Contardi, Michelangelo architect, Marion L Grayson (trans),

London: Thames and Hudson, 1993. Battisti, Eugenio, Filippo Brunelleschi: The Complete Work, New York: Rizzoli, 1981. Battisti, Eugenio, Filippo Brunelleschi, Milan: Electa; London: Phaidon, 2002. Beltramini, Guido and Antonio Padoan (eds), Andrea Palladio: the complete illustrated works, New

York: Universe; Martin's Press, 2001. Borsi, Franco, Leon Battista Alberti, Rudolf G. Carpanini (translation), Oxford: Phaidon,

1977. Boucher, Bruce, Andrea Palladio: the architect in his time, New York: Abbeville, 1998

(1994). Brothers, Cammy, Michelangelo, drawing, and the invention of architecture, New Haven: Yale

University Press, 2008. Bruschi, A, Bramante, London: Thames & Hudson, 1977. Cooper, Tracy E, Palladio’s Venice: architecture and society in a Renaissance Republic, New

Haven: Yale University Press, 2005. Fanelli, G, Brunelleschi, H Cassin (trans), Firenze: Scala, 1985. Furnari, M, Formal design in Renaissance architecture; from Brunelleschi to Palladio, New York:

Rizzoli, 1995. Goy, Richard J, Building Renaissance Venice: patrons, architects and builders, c. 1430-1500, New

Haven: Yale University Press, 2006. Grafton, Anthony, Leon Battista Alberti: master builder of the Italian Renaissance, New

York: Hill and Wang, 2000.

25

Hall, Marcia B, Renovation and counter-reformation: Vasari and Duke Cosimo in Santa Maria Novella and Santa Croce, 1565-1577, Oxford: Clarendon Press & New York: Oxford University Press, 1979.

Heydenreich, Ludwig Heinrich and Wolfgang Lotz, Architecture in Italy 1400-1600, (trans) Mary Hottinger Lotz, Harmondsworth: Penguin, 1974.

Heydenreich, Ludwig Heinrich, Architecture in Italy 1400-1500, revised by Paul Davies, New Haven and London: Yale University Press, 1996.

Holberton, Paul, Palladio's villas: life in the Renaissance countryside, London: Murray, 1990. Hopkins, Andrew, Italian architecture: from Michelangelo to Borromini, London: Thames &

Hudson, 2002. Howard, Deborah, Venice & the East: the impact of the Islamic world on Venetian

architecture, 1100-1500, New Haven : Yale University Press, 2000. King, Ross, Brunelleschi’s dome: the story of the great cathedral in Florence, London: Pimlico,

2001 (2000). Klotz, Heinrich, Filippo Brunelleschi: The Early Works and the Medieval Tradition, New York:

Rizzoli, 1990. Lindow, James R, The Renaissance palace in Florence: magnificence and splendour in fifteenth-

century Italy, Aldershot, England; Burlington, VT: Ashgate, 2007. Lotz, W, Architecture in Italy 1500-1600, revised by Deborah Howard, New Haven and

London: Yale University Press, 1995. MacDonald, William Lloyd and Pinto, John A, Hadrian's villa and its legacy, New Haven: Yale

University Press, 1995. McLean, Alick, Renaissance architecture in Florence and central Italy, the art of the Italian

Renaissance: architecture, sculpture painting, drawing, Germany: Konemann, 1995. Manetti, A, The life of Brunelleschi, Catherine Enggass (trans) and introduction by

Howard Saalman, Pennsylvania and London: Penn State University Press, 1970. Millon, H A (ed), Italian Renaissance architecture from Brunelleschi to Michelangelo. London:

Thames & Hudson, 1996 (1994). Murray, Peter and Linda Murray, The Oxford companion to Christian art and

architecture, Oxford & New York: Oxford University Press, 1996 & 1998. Pevsner, Nikolaus, An outline of European architecture, Harmondsworth: Penguin, 1943 (and

subsequent editions). Pedretti, Carlo, Leonardo Architect, New York: Rizzoli, 1985. Portoghesi, Paolo, Rome of the Renaissance, London: Phaidon, 1972. Puppi, Lionello, Andrea Palladio, Pearl Sanders (trans), London: Phaidon, 1975. Saalman, Howard, Filippo Brunelleschi: the cupola of Santa Maria del Fiore, London: Zwemmer,

1980. Tafuri, Manfredo and K Michael Hays Interpreting the Renaissance: princes, cities, architects,

translated by Daniel Sherer, New Haven: Yale University Press, 2006. Tavernor, Robert, On Alberti and the art of building, New Haven: Yale University Press, 1998. Thomson, David, Renaissance architecture: critics, patrons, luxury, Manchester; New York:

Manchester University Press; NY: St Martin's Press, 1993. Williams, Kim, and Giovanni Giaconi, The villas of Palladio, New York: Princeton

Architectural Press, 2003. Wittkower, Rudolf, Architectural principles in the age of humanism Chichester, West

Sussex: Academy Editions, (5th ed), 1998 (1973).

INTERIOR DECORATION/THE DECORATIVE AND APPLIED ARTS

26

Ajmar-Wollheim, Marta, and Flora Dennis (eds); summary catalogue edited by Elizabeth Miller, At home in Renaissance Italy, London: V & A; New York: Distributed in North America by Harry N Abrams, 2006.

Ajmar-Wollheim, Marta, Flora Dennis, and Ann Matchette (eds), Approaching the Italian Renaissance interior: sources, methodologies, debates, Malden, MA: Blackwell, 2007.

Bartrum, Giulia, German Renaissance prints: 1490-1550, London: British Museum Press, 1995. Bury, Michael, The print in Italy, 1550-1620, London: British Museum, 2001. Campbell, Thomas P, Maryan W Ainsworth, et al, Tapestry in the Renaissance: art and

magnificence, New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2002.

Currie, Elizabeth, Inside the Renaissance house, London: Victoria & Albert, 2006. Gruber, Alain (ed), The History of the Decorative Arts: The Renaissance and Mannerism in Europe,

New York: Abbeville, 1993. Lambert, Susan, Prints: art and techniques, London: V & A Publications; New York:

Distributed by Harry N Abrams, 2001. Landau, David and Peter Parshall, The Renaissance Print 1470-1550, New Haven: Yale

University Press, 1993. Lincoln, Evelyn, The invention of the Italian Renaissance printmaker, New Haven: Yale

University Press, 2000. Platzker, David and Elizabeth Wyckoff, Hard pressed: 600 years of prints and process, New

York: Hudson Hill Press, 2000. Pon, Lisa, Raphael, Dürer, and Marcantonio Raimondi: copying and the Italian Renaissance print,

New Haven: Yale University Press, 2004. Rosand, David, Drawing acts: studies in graphic expression and representation, Cambridge:

Cambridge University Press, 2002. Thornton, Peter, The Italian Renaissance Interior 1400-1600, London: Weidenfeld and Nicolson,

1991. Vasari, Giorgio and Robert H. Getscher, An annotated and illustrated version of Giorgio Vasari’s

history of Italian and northern prints from his’ Lives of the artists’, 1550 & 1568, Lewiston, NY: Edwin Mellen Press, 2003.

SCULPTURE

Bober, Phyllis Pray, Ruth Rubenstein and Susan Woodford, Renaissance Artists and Antique Sculpture; A Handbook of Sources, Oxford: Oxford University Press, 1986.

Bober, Phyllis Pray and Ruth Rubinstein, Renaissance Artists and Antique Sculpture: A Handbook of Sources, London: Harvey Miller Publishers, (1986) second edition 2010.

Boucher, Bruce (ed); with the collaboration of Peta Motture, et al, Earth and fire: Italian terracotta sculpture from Donatello to Canova, New Haven; London: Yale University Press, 2001.

Christian, Kathleen Wren and David J Drogin (eds), Patronage and Italian Renaissance Sculpture, Farnham: Ashgate Publishing Limited, 2010.

Cole, Michael W, Ambitious Form: Giambologna, Ammanati, and Danti in Florence, Princeton: Princeton University Press, 2011.

Currie, Stuart and Peta Motture (eds), The sculpted object, 1400-1700, Aldershot, Hants, England: Scolar Press; Brookfield, Vt., USA: Ashgate, 1997.

Haskell, Francis, and Nicholas Penny, Taste and the antique: the lure of classical sculpture, 1500-1900, New Haven: Yale University Press, 1981.

Olson, Roberta J M, Italian Renaissance Sculpture, London: Thames and Hudson, 1992.

27

Pope-Hennessy, John, An Introduction to Italian Sculpture, 3 vols, London: Thames and Hudson, 1970-1972.

--------------------, Italian Renaissance Sculpture, 3rd ed, Oxford: Phaidon: 1986. --------------------, Italian High Renaissance and Baroque Sculpture, 3rd ed, Oxford: Phaidon, 1986. --------------------, The Study and Criticism of Italian Sculpture, Princeton and New York:

Princeton University Press, 1980. Seymour, Charles, Sculpture in Italy 1400-1500, Harmondsworth: Penguin, 1966. PAINTING & DRAWING - GENERAL

Ames-Lewis, Francis, Drawing in Early Renaissance Italy, New Haven; London: Yale University Press, 2000, 2nd edition (1983).

Ames-Lewis, Francis, The intellectual life of the early Renaissance artist, New Haven: Yale University Press, 2000.

Bambach, Carmen C, Drawing and painting in the Italian Renaissance workshop: theory and practice, 1300-1600, Cambridge: Cambridge University Press, 1999.

Baxandall, Michael, Painting and Experience in Fifteenth Century Italy, Oxford: Oxford University Press, 1972. (and later editions)

Berenson, Bernard, The Drawings of the Florentine Painters, 3 volumes, Chicago: University of Chicago Press, 1938.

Bomford, David (ed), Rachel Billinge, et al, Underdrawings in Renaissance paintings, London: National Gallery, 2002.

Boorsch, Suzanne, and John Marciari, with contributions by Nicole Bensoussan, et al, Master drawings from the Yale University Art Gallery, New Haven, CT: Yale University Art Gallery, in association with Yale University Press, 2006.

Borsook, Eve, The Mural Painters of Tuscany, Oxford: Clarendon Press, 1980. Brown, David Allan, Sylvia Ferino-Pagden et al (eds), Bellini, Giorgione, Titian and the

Renaissance of Venetian Painting, NG of Art, Washington and Kunsthistorisches Museum, Vienna in association with Yale University Press, New Haven and London, 2006.

Brown, Patricia F, Venetian Narrative Painting in the Age of Carpaccio, New Haven: Yale University Press, 1988.

---------, The Renaissance in Venice: a world apart, London: Weidenfeld & Nicolson, 1997. Burckhardt, Jacob and Peter Humfrey (editor and trans) The altarpiece in Renaissance Italy,

Oxford: Phaidon, 1988. Campbell, Lorne, Philip Attwood, et al, Renaissance faces: Van Eyck to Titian, London:

National Gallery Company; New Haven: Distributed by Yale University Press, 2008.

Chapman, Hugo and Marzia Faietti, Fra Angelico to Leonardo: Italian Renaissance Drawings, Exhibition catalogue, London: British Museum; and Florence: Galleria degli Uffizi, Farnham: Lund Humphries, 2010.

Clayton, Martin, Raphael and his circle: drawings from Windsor Castle, London: Merrell Holberton; New York: Distributed in the USA by Rizzoli International Publications through St. Martin's Press, 1999.

Clayton, Martin, Holbein to Hockney: drawings from the Royal Collection, London: Royal Collection Enterprises Ltd, 2004.

Currie, Stuart (ed), Drawing, 1400-1600: invention and innovation, Brookfield, Vt: Ashgate, 1998.

28

Dunkerton, Jill, Susan Foister and Nicholas Penny, Dürer to Veronese: sixteenth-century painting in the National Gallery, New Haven: Yale University Press; London: National Gallery Publications Ltd, 1999.

Goffen, Rona, Piety and Patronage in Renaissance Venice: Bellini, Titian and the Franciscans, New Haven: Yale University Press, 1986.

Goldner, George R, Carmen C. Bambach, Alessandro Cecchi ... (et al), The drawings of Filippino Lippi and his circle, New York: Metropolitan Museum of Art: distributed by H.N. Abrams Inc., 1997.

Gordon, Dillian, National Gallery catalogues: the fifteenth century Italian paintings, volume I, London: National Gallery and Yale University Press, 2003.

Humfrey, Peter, Painting in Renaissance Venice, New Haven: Yale University Press, 1995. Jaffé, Michael, The Devonshire Collection of Italian Drawings, 4 vols, Oxford: Phaidon, 1994. Jacobs, Fredrika H, The living image in Renaissance art, Cambridge: Cambridge University

Press, 2005. Joannides, Paul , The drawings of Michelangelo and his followers in the Ashmolean Museum,

Cambridge: Cambridge University Press, 2006. Kempers, Bram, Painting, Power and Patronage: The Rise of the Professional Artist in the Italian

Renaissance, London: Allen Lane and Penguin, 1992. Lewine, Carol, The Sistine Chapel Walls and the Roman Liturgy, University Park: Pennsylvania

State University Press, 1993. Limentani, Caterina Virdis and Mari Pietrogiovanna, Gothic and Renaissance altarpieces,

London: Thames & Hudson, 2002. Oberhuber, Konrad, and Dean Walker, Sixteenth Century Italian Drawings from the Collection

of Jans Scholz, Washington: National Gallery of Art, 1973. Nuttall, Paula, From Flanders to Florence, the impact of Netherlandish Painting, 1400–1500,

New Haven: Yale University Press, 2004. Penny, Nicholas, The sixteenth-century Italian paintings. Vol. 1, Paintings from Brescia, Bergamo

and Cremona, London: National Gallery, 2004. Penny, Nicholas, Sixteenth-century Italian paintings. Vol. 2, Venice 1540-1600, London: National

Gallery, 2008. Rosand, David, Painting in Cinquecento Venice, New Haven: Yale University Press, 1982. Rubin, Patricia Lee, Images and identity in fifteenth-century Florence, New Haven: Yale

University Press, 2007. Thomas, Anabel, The Painter’s Practice in Renaissance Tuscany, Cambridge: Cambridge

University Press, 1995. Van Cleave, Claire, Master drawings of the Italian Renaissance, London: The British Museum

Press, 2007. Voss, Hermann, Painting of the late Renaissance in Rome and Florence, revised and translated by

Susanne Pelzel, Rev. English language ed, San Francisco: Alan Wofsy Fine Arts, 1997.

Wilde, Johannes, Venetian Art from Bellini to Titian, Oxford: Clarendon Press, 1974. White, John, The Birth and Rebirth of Pictorial Space, 3rd ed, Cambridge, Mass: Belknap Press,

1987. ITALIAN ARTISTS (see also PRIMARY SOURCES AND DOCUMENTS)

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Renaissance master, New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2005.

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Giovanni Bellini Batschmann, Oskar, Giovanni Bellini, London: Reaktion, 2008. Brown, David Alan, Sylvia Ferino-Pagde; with Jaynie Anderson , et al; technical studies

by Barbara H. Berrie, et al, Bellini, Giorgione, Titian, and the Renaissance of Venetian painting , Washington: National Gallery of Art ; Vienna: Kunsthistorisches Museum, in association with Yale University Press, New Haven and London, 2006.

Campbell, Caroline and Alan Chong; with contributions from Deborah Howard, JM Rogers and Sylvia Auld (et al), Bellini and the East, London: National Gallery Company Ltd; Boston: Isabella Stewart Gardner Museum, New Haven: Distributed by Yale University Press, 2005.

Goffen, Rona, Giovanni Bellini, New Haven: Yale University Press, 1989. ----------------, Piety and Patronage in Renaissance Venice: Bellini, Titian and the Franciscans, New

Haven: Yale University Press, 1986. Humfrey, Peter (ed), The Cambridge companion to Giovanni Bellini, Cambridge; New

York: Cambridge University Press, 2004. Robertson, Giles, Giovanni Bellini, Oxford: Clarendon Press, 1968. Tempestini, Anchise, Giovanni Bellini, catalogo completo dei dipinti, Firenze: Cantini, 1992. Walker, John, Bellini and Titian at Ferrara, London: Phaidon, 1956.

Botticelli Arasse, Daniel, and Pierluigi De Vecchi (eds), Botticelli: from Lorenzo the Magnificent to

Savonarola, Milan: Skira; London: Thames & Hudson, 2003. Deimling, Barbara, Sandro Botticelli: 1444/45-1510, Koln: Taschen, 2000. Dempsey, Charles, The Portrayal of Love: Botticelli's Primavera and Humanist Culture at

the Time of Lorenzo the Magnificent, Princeton: Princeton University Press, 1992. Lightbown, Ronald W, Sandro Botticelli: Life and Work, New York: Abbeville Press, 1989. --------------, Sandro Botticelli, 2 volumes, Berkeley: University of California Press, 1978.

Bronzino Bambach, Carmen C (ed), Janet Cox-Rearick, George R Goldner, Philippe Costamagna,

Marzia Faietti and Elizabeth Pilliod, The drawings of Bronzino, New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2010.

Brock, Maurice, Bronzino, Paris: Flammarion: London: Thames & Hudson, 2002. Cox-Rearick, Janet, Bronzino’s Chapel of Eleonora in the Palazzo Vecchio, Berkeley:

University of California Press, 1993. Falciani, Carlo and Antonio Natali (eds) Bronzino: Artist and Poet at the Court of the Medici,

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Pilliod, Elizabeth, Pontormo, Bronzino, Allori: a genealogy of Florentine art, New Haven: Yale University Press, 2001.

Benvenuto Cellini Gallucci, Margaret A and Paolo L. Rossi (editors), Benvenuto Cellini, sculptor, goldsmith,

writer, New York: Cambridge University Press, 2004. Pope-Hennessy, John, Cellini, London: Macmillan, 1985.

Donatello Avery, Charles, Donatello: the first modern sculptor, Westview, 1991. (Video, AV suite) Bennett, Bonnie A and David G Wilkins, Donatello, Oxford: Phaidon, 1984.

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Greenhalgh, Michael, Donatello and His Sources, London: Duckworth, 1982. Janson, H W, The Sculpture of Donatello, Princeton: Princeton University Press, 1957. (not held

at VUW Library) Lightbown, R W, Donatello and Michelozzo: an artistic partnership and its patrons, 2

volumes, London: Harvey Miller, 1980. Pope-Hennessy, John, Donatello: Sculptor, New York: Abbeville, 1993.

Fra Angelico Hood, William, Fra Angelico at San Marco, London: BCA, 1993. Pope-Hennessy, John, Angelico, Firenze: Scala, 1981. --------------------, Fra Angelico, Ithaca: Cornell University Press, 1974. Spike, John T, Fra Angelico, New York: Abbeville Press, 1996.

Ghiberti Krautheimer, Richard and Trude Krautheimer-Hess, Lorenzo Ghiberti, Volumes 1 and 2,

Princeton: Princeton University Press, 1970. ------------------, Ghiberti's Bronze Doors, Princeton: Princeton University Press, 1971. Paolucci, A, The origins of Renaissance art: the Baptistry doors, Florence, Francoise Pouncey Chiarini

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Lorenzo Ghiberti's Renaissance masterpiece New Haven: Yale University Press; in association with Opera di S. Maria del Fiore, Florence, 2007.

Ghirlandaio Cadogan, Jean K, Domenico Ghirlandaio: artist and artisan, New Haven: Yale University

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Giambologna Avery, Charles, Giambologna, Mt Kisco, New York: Moyer Bell, 1987. Cole, Michael W, Ambitious Form: Giambologna, Ammanati, and Danti in Florence, Princeton:

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Giorgione Anderson, Jaynie, Giorgione: the painter of ‘poetic brevity’, NY: Flammarion, 1997. Eller, Wolfgang, Giorgione: catalogue raisonné; mystery unveiled, (translation by Ingeborg

Elizabeth Pendl), Petersberg: Imhof, 2007. Brown, David Alan, Sylvia Ferino-Pagde; with Jaynie Anderson , et al; technical studies

by Barbara H. Berrie, et al, Bellini, Giorgione, Titian, and the Renaissance of Venetian painting , Washington: National Gallery of Art ; Vienna: Kunsthistorisches Museum, in association with Yale University Press, New Haven and London, 2006.

Wind, Edgar, Giorgione’s Tempestà, with comments on Giorgione’s Poetic Allegories, Oxford: Clarendon Press, 1969.

Benozzo Gozzoli (Benozzo di Lese) Luchinat, Cristina, Acidini (ed), The Chapel of the Magi: Benozzo Gozzoli's Frescoes in the

Palazzo Medici-Riccardi Florence, (trans) Eleanor Daunt, London: Thames and Hudson, 1994.

Ahl, Diane, Cole, Benozzo Gozzoli, New Haven: Yale University Press, 1996.

Leonardo da Vinci

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Atalay, Bulent, Math and the Mona Lisa: the art and science of Leonardo da Vinci, Washington, DC: Smithsonian Books, 2004.

Bambach, Carmen C (ed) et al, Leonardo da Vinci, master draftsman, New York: Metropolitan Museum of Art publication in association with the exhibition, 2003.

Clark, Kenneth, Leonardo da Vinci, an account of his development as an artist, Cambridge: Cambridge University Press, 1939; & Harmondsworth, Middlesex: Penguin, 1967.

Clayton, Martin, Leonardo da Vinci: the divine and the grotesque, London: Royal Collection, 2002. Clayton, Martin and Ron Philo, Leonardo da Vinci: the mechanics of man, London: Royal

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Farnham, England; Burlington, VT: Ashgate, 2009. Goffen, Rona, Renaissance rivals: Michelangelo, Leonardo, Raphael, Titian, New Haven:

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painting: an anthology of writings with a selection of documents relating to his career as an artist, New Haven and London: Yale University Press, 1989.

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Marani, Pietro C, Leonardo da Vinci: the complete paintings, New York: Abrams, 2000. Nicholl, Charles, Leonardo da Vinci: the flights of the mind, London: Allen Lane, 2004. Popham, Arthur, E, The Drawings of Leonardo da Vinci, London: Jonathan Cape, (1946), 1964. Radke, Gary M (ed), Leonardo da Vinci and the Art of Sculpture, Exhibition catalogue, High

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HarperCollinsPublishers, 2001. Steinberg, Leo, Leonardo's incessant Last Supper, New York: Zone Books, 2001. Syson, Luke with Larry Keith, et al, Leonardo da Vinci: painter at the court of Milan,

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White, Michael, Leonardo, the first scientist, London: Little, Brown and Company (UK), 2001 (2000).

Zöllner, Frank, Leonardo da Vinci, 1452-1519, English translation, Fiona Elliott, Koln: Taschen, 2000.

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Zwijnenberg, Robert, The writings and drawings of Leonardo da Vinci: order and chaos in early modern thought, Translated from the Dutch by Caroline A van Eck, Cambridge: Cambridge University Press, 1999.

Filippino Lippi Neilson, Katharine Bishop, Filippino Lippi, a critical study, Westport, Conn: Greenwood

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1999. Ruda, Jeffrey, Fra Filippo Lippi: life and work with a complete catalogue, London & New York:

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Mantegna Martineau, Jane and Suzanne Boorsch et al (eds), Andrea Mantegna, London: Royal Academy

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De Vecchi, Pierluigi and Gianluigi Colalucci, Michelangelo: the Vatican frescoes, New York: Abbeville Press, 1996.

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Pollaiuolo Rubin, Patricia Lee, Alison Wright & Nicholas Penny, Renaissance Florence: the art of the

1470s, London: National Gallery Publications, 1999. Wright, Alison, The Pollaiuolo brothers: the arts of Florence and Rome, New Haven: Yale

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Pontormo Cox-Rearick, Janet, Dynasty and Destiny in Medici Art: Pontormo, Leo X and the Two

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Altoviti portrait, New Haven; London: Yale University Press, 2005 Chapman, Hugo, Tom Henry and Carol Plazzotta, with contributions by Jill Dunkerton,

Arnold Nesselrath and Nicholas Penny, Raphael: from Urbino to Rome, London: National Gallery Company, 2004.

Chong, Alan, Donatella Pegazzano, & Dimitrios Zikos (editors), Raphael, Cellini & a renaissance banker: the patronage of Bindo Altoviti, Boston: Isabella Stewart Gardner Museum, 2003.

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Clayton, Martin, Raphael and his circle: drawings from Windsor Castle, London: Merrell Holberton; New York: Distributed in the USA by Rizzoli International Publications through St. Martin's Press, 1999.

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Ferino-Pagden, Sylvia, Late Titian and the sensuality of painting, Catalogue of an exhibition held at the Kunsthistorisches Museum, Vienna, Oct. 18, 2007-Jan. 6, 2008, and at the Gallerie dell'Accademia, Venice, Jan. 26-Apr. 20, 2008, Venice: Marsilio, 2008.

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White, Christopher, Later Flemish pictures in the collection of Her Majesty The Queen, London: Royal Collection Publications, 2007.

Williamson, Paul, Netherlandish sculpture 1450-1550, London: Victoria and Albert Pub., 2002. Wolff, Martha, Northern European and Spanish paintings before 1600 in the Art Institute of

Chicago: a catalogue of the collection, New Haven & London: Yale Uni. Press, 2007.

Albrecht Dürer Anzelewsky, Fedja, Dürer: His life and art, Fribourg: Office du Livre, 1980. Bartrum, Giulia, Albrecht Dürer and his legacy, London: British Museum, 2002. Berger, John, Albrecht Dürer: watercolours and drawings, Koln: Benedikt Taschen, 2000 (1994). Eichberger , Dagmar and Charles Zika (eds), Dürer and his culture, Cambridge, U.K: &

New York: Cambridge University Press, 1998.

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Hess, Daniel and Thomas Eser (eds), Early Dürer (translations by Lance Anderson et al), New York, Nuremberg: Thames & Hudson ; in association with Germanisches Nationalmuseum, 2012.

Levey, Michael et al, Essays on Dürer, Manchester: Manchester University Press, 1973. Luber, Katherine Crawford, Albrecht Dürer and the Venetian Renaissance, Cambridge, UK;

New York: Cambridge University Press, 2005. Panofsky, Erwin, The life and art of Albrecht Dürer, Princeton: Princeton University Press,

1971. Panofsky, Erwin, Albrecht Dürer, (2 volumes), London: Oxford University Press, 1928. Panofsky, Erwin, with a new introduction by Jeffrey Chipps Smith, The life and art of

Albrecht Durer, Princeton: Princeton University Press, 2005. Pon, Lisa, Raphael, Dürer, and Marcantonio Raimondi: copying and the Italian Renaissance print,

New Haven: Yale University Press, 2004. Price, David Hotchkiss, Albrecht Dürer’s Renaissance: humanism, Reformation, and the art of

faith, Ann Arbor: University of Michigan Press, 2003. Silver, Larry S and Jeffrey Chipps Smith (eds), The essential Durer, Philadelphia: University of

Pennsylvania Press, 2010. Smith, Jeffrey Chipps, Nuremberg, a Renaissance city, 1500-1618, Published for the Archer M.

Huntington Art Gallery, the University of Texas, Austin: University of Texas Press, (1st ed), 1983.

Strauss, W L, The intaglio prints of Albrecht Dürer: engravings, etchings and drypoints, New York: Abaris Books, 3rd revised edition, 1981.

Strieder, Peter, Dürer: paintings, prints, drawings, Nancy M. Gordon and Walter L. Strauss (trans), London: Frederick Muller, 1982.

------------------, The hidden Dürer, V. Menkes (trans), Chicago: Rand McNally Co, 1976. Wellington, National Art Gallery of NZ, Albrecht Dürer: graphic works in the National

collection/ National Art Gallery of N.Z., 1975.

Hans Holbein the Younger Batschmann, Oskar & Pascal Griener, Hans Holbein, (translation by Cecilia Hurley and

Pascal Griener), London: Reaktion Books, 1997. Buck, Stephanie and Jochen Sander, Hans Holbein the Younger: painter at the court of

Henry VIII, translated from the German by Rachel Esner, New York: Thames & Hudson, 2004.

Clayton, Martin, Holbein to Hockney: drawings from the Royal Collection, London: Royal Collection Enterprises Ltd, 2004.

Foister, Susan, with contributions by Tim Batchelor, Holbein in England, London: Tate; New York: Distributed in the U.S. and Canada by Harry N. Abrams, 2006.

Foister, Susan, Holbein and England, London: Published for the Paul Mellon Centre for Studies in British Art, 2004.

Foister, Susan, Ashok Roy and Martin Wyld, Holbein's Ambassadors, London: National Gallery Publications: Distributed by Yale University Press, 1997.

Hall, Noeline, Holbein’s conversation piece: Sir Thomas More and family, Robina, Qld: Noeline Hall, 2003.

North, John, The ambassadors’ secret: Holbein and the world of the Renaissance, London: Hambledon and London, 2002.

Nuechterlein, Jeanne, Translating nature into art: Holbein, the Reformation, and Renaissance rhetoric, University Park: Pennsylvania State University Press, 2011.

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Parker, K J, The drawings of Holbein in the collection of His Majesty the King at Windsor Castle, Oxford and London: Phaidon Press, 1945.

Roberts, Jane, Holbein, London: Bloomsbury, 1988. Rowlands, John, Holbein: the paintings of Hans Holbein the Younger, Oxford: Phaidon, 1985 Strong, Roy, Holbein and Henry VIII, London: Paul Mellon Foundation; Routledge & Kegan

Paul Ltd, 1967.

Jan van Eyck Dhanens, Elisabeth, Van Eyck: the Ghent altarpiece, London: Allen Lane, 1973. --------------, Hubert and Jan van Eyck, New York: Alpine Fine Arts Collection, Ltd, 1980. Elkins, James, ‘On the Arnolfini Portrait and the Lucca Madonna: Did Jan van Eyck have a

perspectival system?’ Art Bulletin vol 73, 1991: 53-62. Graham, Jenny, Inventing van Eyck: the remaking of an Artist for the Modern Age, Oxford;

New York: Berg, 2007. Foister, Susan, Sue Jones and Delphine Cool, (eds), Investigating Jan van Eyck / papers

presented at the National Gallery (GB) March 1998, Turnhout: Brepols, 2000. Hall, Edwin, The Arnolfini Betrothal: Medieval marriage and the enigma of van Eyck’s

double portrait, Berkeley: University of California Press, 1994. Purtle, C J, The Marian paintings of Jan van Eyck, Princeton: Princeton University Press, 1982. Seidel, Linda, Jan van Eyck’s Arnolfini portrait: stories of an icon, Cambridge: Cambridge

University Press, 1993.

Memling (or Memlinc), Hans Borchert, Till-Holger, Paula Nuttall, et al, Memling and the art of portraiture, London: Thames

& Hudson, 2005.

Martin Schongauer Lehrs, Max, Martin Schongauer: the complete engravings, a catalogue raisonné, San Francisco:

Alan Wofsy Fine Arts, revised edition, 2005.

Rogier van der Weyden Campbell, Lorne, Van der Weyden, London: Oresko Books, 1979. Davies, Martin, Rogier van der Weyden; an essay, with a critical catalogue of paintings assigned to

him and to Robert Campin, London: Phaidon, 1972. Kemperdick, Stephan and Jochen Sander (eds), et al, The Master of Flémalle and Rogier van

der Weyden, an exhibition organized by the Stadel Museum, Frankfurt am Main, and the Gemaldegalerie, Staatliche Museen, Berlin, Ostfildern, Germany: Hatje Cantz, 2009.

SELECTED APPROACHES TO ART AND ART THEORY

Blunt, Anthony, Artistic theory in Italy 1450-1600, Oxford: Clarendon Press, 1962. Cole, Bruce, The informed eye: understanding masterpieces of western art,

Chicago: Ivan R. Dee, 1999. D’Alleva, Anne, How to Write Art History, London: Laurence King, 2006 _____________, Methods and Theories of Art History, London: Laurence King, 2005. Elkins, James and Robert Williams (eds), Renaissance theory, New York: Routledge, 2008. Fernie, Eric, Art history and its methods: a critical anthology, London: Phaidon

Press, 1995. Gombrich, E H, Norm and Form: Studies in the Art of the Renaissance, London: Phaidon, 3rd ed

1978.

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----------------, Symbolic Images: Studies in the Art of the Renaissance, Oxford: Phaidon, 1985. Panofsky, Erwin, Idea: A Concept in Art Theory, Colombia: University of South Carolina Press,

1968. --------------, Renaissance and Renascences in Western Art, Stockholm: Almqvist & Wiksell, 1960. --------------, Perspective as symbolic form, New York: Zone Books, 1997 ed. Schneider Adams, Laurie, The methodologies of art: an introduction, New York:

HarperCollins, 1996. ---------------------------------------------------------------------------------------------------------------------------

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WHERE TO FIND MORE DETAILED INFORMATION Find key dates, explanations of grades and other useful information at www.victoria.ac.nz/home/study. Find out how academic progress is monitored and how enrolment can be restricted at www.victoria.ac.nz/home/study/academic-progress. Most statutes and policies are available at www.victoria.ac.nz/home/about/policy, except qualification statutes, which are available via the Calendar webpage at www.victoria.ac.nz/home/study/calendar.aspx (See Section C). Other useful information for students may be found at the website of the Assistant Vice-Chancellor (Academic), at www.victoria.ac.nz/home/about/avcacademic. Academic Integrity and Plagiarism Academic integrity means that university staff and students, in their teaching and learning are expected to treat others honestly, fairly and with respect at all times. It is not acceptable to mistreat academic, intellectual or creative work that has been done by other people by representing it as your own original work.

Academic integrity is important because it is the core value on which the University’s learning, teaching and research activities are based. Victoria University’s reputation for academic integrity adds value to your qualification.

The University defines plagiarism as presenting someone else’s work as if it were your own, whether you mean to or not. ‘Someone else’s work’ means anything that is not your own idea. Even if it is presented in your own style, you must acknowledge your sources fully and appropriately. This includes:

• Material from books, journals or any other printed source • The work of other students or staff • Information from the internet • Software programs and other electronic material • Designs and ideas • The organisation or structuring of any such material

Find out more about plagiarism, how to avoid it and penalties, on the University’s website: http://www.victoria.ac.nz/home/study/plagiarism

Taping of Lectures

All students in the School of Art History, Classics and Religious Studies are welcome to use their own audio-tapes to record lectures. If you want to do this, please see your lecturer, tutor or the relevant programme administrator and complete a disclaimer form, which advises of copyright and other relevant issues. Withdrawals Information on withdrawals and refunds may be found at www.victoria.ac.nz/home/admisenrol/payments/withdrawlsrefunds

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Aegrotat pass An aegrotat pass will normally be considered only when a candidate has completed at least 30% of the course assessment. Class Representative A class representative will be elected in the first class, and that person’s name and contact details will be available to VUWSA, the Course Coordinator and the class. The class representative provides a communication channel to liaise with the Course Coordinator on behalf of students.

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WIN $500 THE CHARTWELL TRUST STUDENT ART WRITING PRIZE 2013 The Adam Art Gallery is calling for entries for the Chartwell Trust Student Art Writing Prize—an annual writing initiative focusing on visual art and culture. ELIGIBILITY The prize is open to Victoria University of Wellington students from any of the following programmes: Art History, Classics, Religious Studies, Museum and Heritage Studies, English, Film, Theatre, Media Studies and Music. PRIZE The winning entry will receive a cash prize of $500 and have their essay published on the Adam Art Gallery website www.adamartgallery.org.nz GUIDELINES/CRITERIA

• Entries should be in the form of a review or essay addressing an exhibition at the Adam Art Gallery or a work from the Victoria University of Wellington Art Collection

• Submissions should be no more than 1,500 words • Texts should be clearly labelled with author’s name, contact details, course of study

and student ID • Texts must be submitted in both hard copy form and in Microsoft Word format (A4,

single sided and 1.5 spaced) • Check www.adamartgallery.org.nz/learning-opportunities/chartwell-trust-student-

writing-prize for previous winning entries. DEADLINE Entries are now open and can be submitted anytime until the closing date. The closing date for submissions is Monday 23 September 2013. Entries should be sent to: The Chartwell Trust Student Art Writing Prize c/- Adam Art Gallery Victoria University of Wellington PO Box 600 Wellington 6140 or via email adamartgallery@vuw.ac.nz

GOOD LUCK AND ENJOY THE COURSE!