Fall 2020Money and Art in the Global Renaissance

4 creditsNo prerequisites

Professor Mahnaz YousefzadehMy16@nyu.edu

www.globalartmoney.wordpress.com

 

Course Description:

This course situates artistic production in the late Middle Ages and Early Modern Period in the maritime cultures of Indian and Atlantic Oceans and the Mediterranean Sea. Informed by approaches from art history, economics, and anthropology, it examines the role of cross-cultural exchange, banking, trade, finance, and patronage in shaping artistic production. Secondly, it explores in turn the ways in which works of art played a role in the evolution of commercial and political culture of the period. It will begin with an examination of the recent scholarship on the connectedness of the early modern world and the formulation of Global Renaissance. While paying particular attention to the perspective of Europe and the Islamic world, it will address cross-cultural exchange between Europe, Asia, Africa and Latin America.

Learning Outcomes:

1. Understand the global scope of the so-called “Renaissance” and early modernity; 2. Evaluate the relations between the development of banking and trade to artistic production; 3. Perform critical and historical inquiry into diverse cultural productions with the view of cross-cultural understanding.  4. Understand the relevance of humanities methods, and especially that of hermeneutics, for key sectors including economic and financial; 5. Comprehend knowledge of art historical foundations for contemporary global/transnational institutions and practices.

Teaching Methodologies:

This course brings methodologies from art history, economic history, philosophy and hermeneutics to examine the links between art, economy and politics in the global early modern world.

We will define the terms rigorously and examine the recent scholarship in the emerging field of global art history.

Group discussions of assigned texts and regular blog-posts facilitate the creation of the ethos of a classroom as a community of learners.

We will be meeting synchronously, bi-weekly, during the scheduled time on Zoom. On the Wordpress website https://globalartmoney.wordpress.com/you will find all course

material, readings, assignments, study questions and unless otherwise stated you will be sharing your blog posts.

Communication such as emails and announcements, and our bi-weekly zoom class meetings will be hosted in NYU Classes.

In a typical class meeting, I will begin with a ‘presentation’ of the material, themes, questions, and the stakes of the particular reading assignment.  The bulk of the class time is then devoted to organized group discussion, as a whole and occasionally divided into break out groups.

All Zoom classes for the semester have been scheduled and can be accessed on the NYU Classes site. 

Graded Activities:

Research assignment 40%

Midterm 20%

final 20%

discussion and blog 20%

Course Material:Course material is available on course website:www.globalartmoney.wordpress.com

Assignments and Dates:

Academic Integrity: Please read the NYUAD policies regarding academic integrity:https://students.nyuad.nyu.edu/campus-life/student-conduct/nyuad-student-conduct-policy/policies/academic-integrity/

Course Schedule:

I: Art History September 7-9. The Past or Myth of the Renaissance.

2. Burckhardt, Jacob. The Civilization of the Renaissance in Italy. 1860. The Civilization of the Renaissance in Italy – Burckhardt   .    1.1, 2.1–2. And: In the News: Jonathan Jones,   The Guardian Jacob Burckhardt: The Renaissance revisited, And pp.242-251 Woods, 1850-1870.

3. Febvre, Lucien. “How Jules Michelet Invented the Renaissance”, in A New Kind of History from the Writings of Febvre, ed. Peter Burke. New York: Harper and Row, 1973. pp. 258-67. NYU Library link: and pdf here:How Michelet invented the Renaissance

4. E . H . GOMBRICH, “Prolusion,” in Language and images of Renaissance Italy, ed. Alison Brown (Oxford, Clarendon Press, 1995)

5. Peter Burger, “Autonomy of Art in Bourgeois Society” in Theory of Avant Garde.6. Sean Roberts,   Jessica Keating in     Savoy, Daniel.   The Globalization of Renaissance Art : A

Critical Review , BRILL, 2017. 7. Christopher Woods, Chapter on Vasari, in  History of Art History Vasari.  christopher-woods-

luther8. Roxburgh, Prefacing the Image: The writing of art history in sixteenth-century Iran, (Leiden;

Boston: Brill, 2001); 1-22, 37-52, 122-144.Prefacing the Image9. Doust Mohammad, : https://iranicaonline.org/articles/dust-mohammad10. https://en.wikipedia.org/wiki/Dust_Muhammad 11. A Manuscript Made for the Safavid Prince Bahram Mirza 12. Fatvaci, Persian Aesthetics in Ottoman Albums. https://www.ias.edu/ideas/2018/fetvaci-

persian-aesthetics

2: Global Genealogies:Sep 14-16

https://globalartmoney.wordpress.com/week-1/

1. Ayesha Ramachandan, “A War of Worlds: Becoming ‘Early Modern’ and the Challenge of Comparison,” in Comparative Early Modernities: 1100-1800,  David Porter, ed.. (NY: Palgrave, 2012) 15-46.War of Worlds

2. Sean Roberts,   Jessica Keating in     Savoy, Daniel.   The Globalization of Renaissance Art : A Critical Review , BRILL, 2017.

3. Claire Farango, "The Global Turn" in Art History: Why, When, and How does it Matter?" in Globalization of Renaissance Art, Brill, 2017.Farago The Global Turn The Globalization of Renaissance Art] The “Global Turn” in Art History_ Why, When, and How Does It Matter_

4. Alessandra Russo, "De Tlacuilali: Renaissance Artistic Theory in the Wake of the Global Turn," in  Jill Casid, Art History in the wake of Global Turn. Art History in the Wake of the Global Turn, pp. 20-39

3. Trade Routes. Matter’s Agency

Sep. 21-23

https://globalartmoney.wordpress.com/3-trade-routes/

1.Lauren Jacobi, “Reconsidering the World System; The Agency and Material Geography of Gold”  in Globalizing the Renaissance .https://globalartmoney.files.wordpress.com/2020/01/savoy.-the-globalization-of-renaissance-art-the-globalization-of-renaissance-art.pdf

2. Gabriel Sircusano.  Mary’s Green Brilliance- The Case of the Virgin of Copacabana in Art and Trade (2015)Suggested:

Janet Abu Lughod, Before European Hegemony. Immanuel Wallerstein, Introduction to World System Analysis Fernand Braudel, “The City-Centered Economies of the Past:  Before and After Venice” pp.

89-138 and “Turkish Empire” pp. 467-484 in Civilization and Capitalism: Vol III.

4. Patronage Sep 28-30https://globalartmoney.wordpress.com/patronage/

1. Stephani Parros, Art of the Northern Renaissance: Art of the Northern Renaissance courts commerce devotion

2. Mary Hollingworth, Patronage in Renaissance Italy : from 1400 to the early sixteenth century Mary. Hollingsworth Baltimore, Md. : Johns Hopkins University Press c1994

3. Amy Landau and Theo Maarten van Lint, Armenian_Merchant_Patronage_of_New_Julf ’s Sacred Spaces. 2015.

5 .Rulers Oct. 5-7https://globalartmoney.wordpress.com/rulers/

1. Kishwar Rizvi, “Architecture and the Representations of Kingship during the reign of the Safavid Shah Abbas I,” in Every Inch a King: From Alexander to the King of Kings, eds. Charles Melville and Lynette Mitchell (Leiden: Brill) 2012. Every Inch a King] Architecture and the Representations of Kingship during the Reign of the Safavid Shah ʿAbbas I

2. Ebba Koch, “Jahangir as Francis Bacon’s Idea of King”,   Journal of Royal Asiatic Society, 2009.jahangir_as_francis_bacons_ideal_of_the_king_as_an_observer_and_investigator_of_nature.  

3. Mahnaz Yousefzadeh, "Visualizing Genealogy in Medici and Persico-Islamic Court", I Tatti Studies, 2018.Visualizing royal Genealogy

4. Melis Taner, An Illustrated Genealogy between the Ottomans and the Safavids.

5. Fatmeh Eryilmaz, Fatvaci, Picturing History at the Ottoman Court: Ottoman History  (45 minutes) Podcast.http://www.ottomanhistorypodcast.com/2016/01/ottoman-painting.html

6. Fatma Sinem Eryılmaz, The Sulaiman-nama (Suleyman-name) as an Historical Source (1)

7. Emine Fatvaci, (2020). https://press.princeton.edu/books/hardcover/9780691189154/the-album-of-the-world-emperor. Princeton University Press, 2020.

8. Emine Fatvaci, From Print to Trace: An Ottoman Imperial Portrait Book and Its Western European Models The Art Bulletin, Vol. 95, No. 2 (June 2013), pp. 243-268

9. Pedro Moura Carvalho, Mirʼat al-quds (Mirror of holiness): A Life of Christ for Emperor Akbar: A commentary on Father Jerome Xavier's text and the miniatures of Cleveland

Museum of Art, (Leiden ; Boston : Brill, 2012); 1-72; 137-148. https://brill-com.proxy.library.nyu.edu/view/title/20498

6. Bankers Oct. 12-14https://wordpress.com/page/globalartmoney.wordpress.com/36

1. Tim Parks, Medici Money2. Ludovica Sebregondi, edt., Money and Beauty: Bankers, Botticelli and the Bonfire of

Vanities3. Loren Jacobi, The Architecture of Banking in Renaissance Italy: Constructing the Spaces of

Money. 2019. https://www.cambridge.org/core/books/architecture-of-banking-in-renaissance-italy/FAC84BE6D407BB6EA336846C1810EF72

7.Ambassadors Oct. 19-21

https://wordpress.com/page/globalartmoney.wordpress.com/162

1. Holbein, The Ambassadors. holbeins-the-ambassadors-reframed , and https://www.youtube.com/watch?v=ReF2O8rzpb4

2. Gary Schwartz, “Shirleys and the Shah,” in Axel Langer ed., The Fascination of Persia. The Persian-European Dialogue in the Seventeenth Century Art and Contemporary Art of Tehran.

3. Elisa Gagliardi Mangili, I Doni di Shah Abbas il Grande alla Serenissima. Marsilio, 2016. 4. Kaya Sahin, “Courtly Connections: Anthony Sherley’s Relation of his travels (1613) in a

Global Context. ” Renaissance Quarterly 69 (2016): 80–115, 2016. 5. Christelle Baskins, “ Framing   Khoja   Sefer   in the Sala Regia of the Quirinal Palace in Rome

(1610-1617).”6. Christelle Baskins, “Locating the Caldean Embassy to Paul V in the Sala Regia Quirinale

in Rome. 7. Mahnaz Yousefzadeh, Diary of Felice Brancacci. 2019.8. Edison Ross ed., Don Juan of Persia. 1560-1604. 9. David Young Kim, “Gentile in Rome,” I Tatti Studies, 2015.

8.Collecting. Oct. 26-28https://globalartmoney.wordpress.com/6-collectors/

1. Lia Markey, Imagining Americas in Medici Florence, 2016.

2. On the Crossroads: Habsburg Collecting of Objects from the Islamic World 16th and 17th Centuries” in: Ars Orientalis, vol. 42, 2012, pp. 114-126. On_the_Crossroads_Habsburg_Collecting_

3. Stephani Porras, Art of Northern Renaissance (2018), Courts and collections . 4. Lia Clark, “Mobile Objects and Sociable Exchange in the Renaissance Court,” (2018)

and pdf. In Practices of Exchange: Merchant Bankers and the Circulation of Objects. In Collecting Art in the Italian Renaissance Court: Objects and Exchanges (pp. 59-111). Cambridge: Cambridge University Press.

5. Lia Clark, practices_of_exchange_merchant_bankers_and_the_circulation_of_objects (1)

6. David Roxburgh, “Bahram Mirza and His Collections,” in Safavid Art and Architecture ed. Sheila Canby (London, 2002): 37-42.Bahram Mirza Collection

7. Anthony Alan Shelton, “Cabinets of Transgression: Renaissance Collections and theIncorporation of the New World,” in The Cultures of Collecting (Cambridge: 1994)

8. Ingrid Anna Greenfield, A moveable continent: Collecting Africa in renaissance Italy The University of Chicago, ProQuest Dissertations Publishing, 2016.

9. Collecting and Empires

9.Magi and Astrolabes. November 2-4

1. Paul H. D. Kaplan, The Rise of the Black Magus in Western Art (Ann Arbor: UMI Research Press, 1985); Ibid., ‘Italy, 1490-1700’ in Henry Louis Gates, Jr., and David Bindman (eds.), The Image of the Black in Western Art, vol. 3, part 1 (Cambridge, MA: Harvard University Press, 2010), 93-190;

2. Joaneath Spicer (ed.), Revealing the African Presence in Renaissance Europe (Baltimore: Walters Art Museum, 2012).

3. Jonathan Nelson, L’astrologo e il suo astrolabio: l’Adorazione dei Magi di Filippino Lippi del 1496 nelson_adoration_magi-1 Download

10.Global Tobias Nov. 9-11

https://globalartmoney.wordpress.com/4-tobias/

1 Tobias in Mughal art2. THESIS-REBECCA-THIERFELDT-KU-LEUVEN3. Gauvin Alexander Bailey, Ph.D. Dissertation: Counter Reformation Symbolism and Allegory in Mughal Painting. 4. Joshua Bolton, Master's Thesis, Syracuse University, 2018. .Boulton Capstone tobias

11: Exchange: Gifts and Commodities

November 16-18https://globalartmoney.wordpress.com/exchange/

1. Anna Ballian, Mercantile Effect: Art and Exchange in the Islamicate World. https://globalartmoney.files.wordpress.com/2019/11/anna-ballian-mercentile-effect.pdf

2. Sinem Arcak Cassale, “The Persian Madonna and Child: Commodified gifts between diplomacy and armed struggle,” Art History Vol. 38.4 (Fall 2015), pp.636-651.PERSIAN MADONNA

3. Art and trade in the Dutch Golden Age Micheal North 4. Mercantile Effect Art and Exchange in the Islamicate World  17th and 18th centuries.5. Market and innovation

12; Renaissance/Early ModernNovember 23-25https://globalartmoney.wordpress.com/renaissance/

1. Response Lia Markey  in Normore, Christina. Re-Assessing the Global Turn in Medieval Art History. New ed. Arc Humanities Press, 2018. Project MUSE muse.jhu.edu/book/60216.

2. Nagel and Wood Nagel and Wood Towards a new model of Arenaissance Anachronism Nagel and Wood, “Toward a New Model of Renaissance Anachronism,” The Art Bulletin, Vol. 87, No. 3 (Sep., 2005): 403-415 Responses by Michael Cole and Claire Farago, in The Art Bulletin, Vol. 87, No. 3 (Sep., 2005): 421-424; 424-429.

3. MOBILE MEANINGS: A GLOBAL APPROACH TO A DAGGER FROM GREATER SYRIA HEATHER   BADAMO

4. Claire Farago, “_On_The_Peripatetic_Life_of_Objects_in_the_Era_of_Globalization)  in Mary Sheriff ed.,    cultural Contact and Making of the European Art

November 30-Dec 2 Student presentation Dec 7-9 Student presentation