ARTS OF THE Websites for course

RENAISSANCE
WebCT 6 (webct6.utdallas.edu) and
utdallas.edu/~stott/Renaissancearthomr.ht
Tuesday 7:00 - 9:45 m.htm

Spring 2006 To activate your UTD Unix account

https://netid.utdallas.edu

JO 4.312
UTD technical help assist@utdallas.edu
972-883-2911

All information for this course will be

available on these websites.

Only on WebCT
You will contact me and submit your written
work electronically through WebCT Mail.

Contact Information
This course will focus on aspects of Italian
Professor Deborah Stott Renaissance art and the society within which and for
which it was created. We will examine topics such
Office JO 5.604, 972-883-2782 as patronage, the role of antiquity, changes in
Office Hours Tuesday 5:30 - 6:30 concepts of art and artist, and of course style. Our
& by appointment goal will be to understand important aspects of
Renaissance art, its delights and challenges, but also
Please contact me by WebCT6 email. to engage current trends in research and
During office hours, I will be in my office and interpretation.
available on WebCT Chat.

Texts

! Michael Baxandall. Painting and Experience in Fifteenth-Century Italy. 2nd ed. NY: Oxford
University Press, 1988.
! David Alan Brown and Jane Van Nimmen. Raphael and the Beautiful Banker: The Story of the Bindo
Altoviti Portrait. New Haven: Yale University Press, 2005.
! Peter Burke. The Italian Renaissance. 2nd ed. Princeton, NJ: Princeton University Press, 1999.
! The Cambridge Companion to Masaccio. Ed. Diane Cole Ahl. Cambridge, UK and NY: Cambridge
University Press, 2002.
! Margaret A. Gallucci. Benvenuto Cellini: Sexuality, Masculinity, and Artistic Identity in Renaissance
Italy. NY: Palgrave Macmillan, 2005.
! Richard A. Goldthwaite. Wealth and the Demand for Art in Italy, 1300-1600. Baltimore, MD: Johns
Hopkins University Press, 1993 Reprint ed. 1995.
! These books will be supplemented by readings in periodicals and anthologies

Course Requirements*
*See last page for further information.

! Assigned reading and class discussion 40%

! One or two research or critical papers totaling 15 - 20 pages 60%
 HUAS 6315.501 Spring 2006 2
Syllabus

10 Jan. Introduction

17 Jan. Views of the Renaissance

Reading
Carl Landauer. “Erwin Panofsky and the Renascence of the Renaissance.” Renaissance Quarterly 46
(1994): 255-81. Periodicals and Online
Paula Findlen. “Possessing the Past: The Material World of the Italian Renaissance.” The American
Historical Review 103 (1998): 83-115. Periodicals and Online
Rona Goffen. “Mary’s Motherhood According to Leonardo and Michelangelo.” Artibus et Historiae 20
(1999): 35-60. Online

24 Jan. Discussion of Burke, Introduction, chs. 1-5

31 Jan. Discussion of Burke, chs. 6-11

7 Feb. Discussion of Baxandall

14 Feb. Discussion of The Cambridge Companion to Masaccio, Introduction, chs. 1-4

21 Feb. Discussion of The Cambridge Companion to Masaccio, chs. 5-10

28 Feb. Aspects of Quattrocento Art

Reading
William Hood. “Saint Dominic’s Manners of Praying: Gestures in Fra Angelico’s Cell Frescoes at S.
Marco.” Art Bulletin 68 (1986): 195-206. Periodicals and Online
Martin Kemp. “The Taking and Use of Evidence: With A Botticellian Case Study.” Art Journal 44
(1984): 207-15. Periodicals and Online
Richard Stapleford. “Intellect and Intuition in Botticelli’s Saint Augustine.” Art Bulletin 76 (1994):
69-80. Periodicals and Online
Christa Gardner von Teuffel. “Clerics and Contracts: Fra Angelico, Neroccio, Ghirlandaio and Others:
Legal Procedures and the Renaissance High Altarpiece.” Zeitschrift f"ur Kunstgeschichte 62
(1999): 190-208. Periodicals and Online
David Carrier. “Piero della Francesca and His Interpreters: Is There Progress in Art History?”
History and Theory 26 (1987): 150-65. Periodicals and Online

7 Mar. Spring Break

14 Mar. Discussion of Goldthwaite

21 Mar. Discussion of Brown and Van Nimmen

28 Mar. Aspects of Cinquecento Art: Michelangelo as case study

Reading
Giorgio Vasari. Vita of Michelangelo. The Lives of the Artists. Trans. Julia Conaway Bondanella and
Peter Bondanella. Oxford and NY: Oxford University Press, 1991. 414-88. Reserve and Online
Stephen J. Campbell. “Fare una cosa morta parer viva: Michelangelo, Rosso, and the (Un)Divinity of
Art.” Art Bulletin 84 (2002): 596-620. Periodicals and Online
Fredrika H. Jacobs. “(Dis)assembling: Marsyas, Michelangelo, and the Accademia del Disegno.” Art
Bulletin 84 (2002): 426-48. Periodicals and Online
Moshe Arkin. “`One of the Marys. . .’: An Interdisciplinary Analysis of Michelangelo’s Florentine Pietà.”
Art Bulletin 79 (1997): 493-517. Periodicals and Online
 HUAS 6315.501 Spring 2006 3
4 Apr. Some considerations of gender
Reading
Josephine M. Dunn. “Andrea del Castagno’s Famous Women: One Sibyl and Two Queens.” Zeitschrift
f"ur Kunstgeschichte 58 (1995): 359-80. Periodicals and Online
Linda A. Koch. “The Portrayal of Female Sainthood in Renaissance San Gimignano: Ghirlandaio's
Frescoes of Santa Fina's Legend.” Artibus et Historiae 19 (1998): 143-70. Online
Fredrika H. Jacobs. "Woman's Capacity to Create: The Unusual Case of Sofonisba Anguissola."
Renaissance Quarterly 47 (1994): 74-101. Periodicals and Online
Jozef Grabski. “Victoria Amoris: Titian’s Venus of Urbino: A Commemorative Allegory of Marital Love."
Artibus et Historiae 20 (1999): 9-33. Online

11 Apr. Discussion of Gallucci

18 Apr. TBA
 HUAS 6315.501 Spring 2006 4
Required Work
Reading and Class Participation 40%

You will be expected to have completed the reading assigned for each class and be prepared to discuss both
the authors’ claims and argumentation. Therefore, you should read critically: identify the author’s thesis and
understand how he or she has structured its development. For example, what kinds of sources does the author
use? Does he or she support assertions with evidence, and, if so, what kind? This calls for active, alert
reading, best not done just before bedtime. You may miss two classes with no deduction from the grade for
class participation, but more than two absences will reduce it.

In addition, each class member will choose two of the reading units listed below (from different classes) and
prepare to lead class discussion of them. You should not present a content summary to your class-mates.
Rather, you should try to elicit from them discussion of significant aspects of the author’s content and
argumentation. A good way to start is to determine the author’s thesis, defined both narrowly and broadly. As
you seek to understand an author’s argument, try to go beyond listing discreet items of information to a
broader and more comprehensive understanding of her or his point. In other words, leading discussion means
avoiding questions that require specific, short answers.

1. Findlen 21. Stapleford

2. Goffen 22. Gardner von Teuffel

3. Burke, ch. 3 23. Carrier

4. Burke, ch. 4 24. Goldthwaite 13-40

5. Burke, ch. 6-7 25. Goldthwaite 40-67

6. Burke, ch. 8 26. Goldthwaite 81-105

7. Burke, ch. 9 27. Goldthwaite 105-48

8. Baxandall, I 28. Goldthwaite 150-92

9. Baxandall, II 29. Goldthwaite 212-43

10. Masaccio, ch. 1 30. Campbell

11. Masaccio, ch. 2 31. Jacobs

12. Masaccio, ch. 3 32. Arkin

13. Masaccio, ch. 4 33. Dunn

14. Masaccio, ch. 5 34. Koch

15. Masaccio, ch. 6 35. Jacobs

16. Masaccio, ch. 7 36. Grabski

17. Masaccio, ch. 8 37. Gallucci, ch. 2

18. Masaccio, ch. 9 38. Gallucci, ch. 3

19. Masaccio, ch. 10 39. Gallucci, ch. 4

20. Hood 40. Gallucci, ch. 5

 HUAS 6315.501 Spring 2006 5
Written Work (15-20 pages)
Proposal (4-5 pages) Due by 14 March

You should formulate a topic related to the subject matter of this course, that is, some aspect of the
history and imagery of early modern women. I suggest that you select one of the following types of
projects:

a. A research paper in which you investigate a particular topic or question of interest to you, using
both primary and secondary sources as appropriate. Such a paper would be appropriate for future
reworking and submission to an M.A. portfolio.

b. A historiographic paper on a topic or issue, in which you analyze and compare the approaches and
conclusions of three or four different authors to a similar topic. This is similar to a review
article. An example is: Robert J. H. Janson-La Palme. “Painting and Sculpture for the Tuscan
Household,” Renaissance Quarterly, 54, 2001, 573-90, available online.

c. If you feel unprepared to undertake a long paper, you may choose to complete two papers of
about 10 pages each.

In either case, I encourage you to draw on other work that you may have done or are doing as you
develop your topic and, of course, please consult with me on approach and bibliography.

Your paper or papers should be preceded by a project proposal of about 5 pages. In this proposal, you
should present as clearly and as fully as possible your chosen topic (or topics) for the written work. It
should include your theme, proposed method of approach and at least an initial bibliography. Your
proposal must be satisfactory before you proceed on your paper.