COURSE DESCRIPTION: A study of painting, sculpture, and architecture in Florence, Rome, and Venice during the sixteenth-century. Special emphasis on the formation of the High Renaissance, Mannerism, and Maniera and the role of representative artists of the period: Leonardo da Vinci, Michelangelo, Raphael, in Central Italy; Giorgione, Titian in Venice; as well as the Mannerist artists: Pontormo, Rosso, Parmigianino, Bronzino, Salviati, and Vasari in painting; Bandinelli, Giambologna, and Cellini in sculpture; Peruzzi, Vignola, and della Porta in architecture; and, women painters, such as Sofonisba Anguissola, Lavinia Fontana and Barbara Longhi will be studied.

ORGANIZATION: Although class discussion is strongly encouraged, this is primarily a lecture course based upon the visual content of art works presented by way of projected slides. Attendance is highly recommended for every class meeting. Students are responsible for the content of all lectures and assigned reading materials. Examinations are based on specific material covered in class and on the required readings.

REQUIRED READINGS:
-Cheney, L. Readings in Italian Mannerism. London: Peter Lang, 1997,
-S. J. Freedberg, Painting In Italy 1500-1600. Baltimore: Penguin Books, 1995.
-S. J. Freedberg, Circa 1600. Cambridge, MA: Harvard University Press, 1989.
-Bondanella, J., Vasari's Lives of the Artists. New York: Oxford University Press, 1992.

SUGGESTED READINGS:
-Blunt, A. Artistic Theories in Italy 1400-1600. New Haven, CT: Yale University Press, 1992.
-K. Clark, Leonardo da Vinci. Baltimore: Penguin Books, 1980.
-S. J. Freedberg, High Renaissance in Rome and Florence. New York: Harper
& Row, 1990.
-W. Friedlaender, Mannerism and Anti-Mannerism. New York: Columbia University Press, 1990.
-F. Hartt, History of Italian Renaissance Art. New York: H. A.
Abrams, Inc., 1980.
-H. Hibbard, Michelangelo. New York: Harper & Row, 1980.
-A. Luchs, The World of the Florentine Renaissance Artists. Princeton: Princeton University Press, 1980.
-P. Partner, Renaissance Rome: 1500-1550. California: University of California Press, 1980.

EXAMINATION: There will be three fifty-minute examinations TBA (tentative as final exam). Examination missed without prior excuse from the instructor or excuse for medical or other emergencies obtained from the Dean of the College or the Dean of Students cannot be made up.

PAPER: There will be a short paper due on TBA. All late papers will be penalized or not accepted. The paper should be approximately four to five pages long, double spaced and typed with xeroxed illustrations. The computerized typing must be as follow: accepted fonts New York, Geneva, Courier, Palatino and Bookman; only 12 points in character; double space between paragraph, double space between lines; page margins one (1) inch all around. Papers written in any other format are not acceptable. The written assignment will be graded on form as well as content so that spelling, punctuation, grammar, and syntax are to be considered with some care. TBA you are to submit a statement concerning your intended paper topic. All work done outside of class must be type written or computer printed, double spaced. Suggested topics will be given at the beginning of the semester, along with a general instruction sheet for typing the paper. The purpose of this brief written assignment it is to verbalize your visual awareness based on the association with and application to historical art works and advertising or multicultural mass media.

NOTE ON PLAGIARISM: Be careful never to copy directly or directly adapt from another author's ideas without crediting the source. Any unacknowledged copying will receive an F (Failure) for the course.

GUIDELINES FOR WRITTEN ASSIGNMENT: The written assignment will be graded on form as well as content so that spelling, punctuation, grammar, and syntax are to be considered with some care. Prior to completing your research, you should consult at least 8, post 1960 sources (books and articles). Although you may read survey texts (such a as those of Janson, Hartt, or Gardner), these do not count among the acceptable sources. You may develop a good bibliography for any topic you choose from the books and articles at the library. Also, The Encyclopedia of World Art and The Oxford Companion to Art may be useful. The Art Index (an annual index of periodical literature on art) is very helpful. In your paper define the limits of the topic you are considering, clarify the issues surrounding the topic with respect to the relationship between Italian Baroque, comment on the scholarly problems involved, and offer some original incite into the topic. Be sure to read critically. you will find little agreement among various authors. Presentation instructions and suggested topics will be given at the beginning of the semester along with a general instruction sheet for form of term papers.

HANDOUTS: A series of xeroxed materials will be given out throughout the course in order to help you with your reading and writing assignments.

EVALUATION: The final exam will count 20% of your final semester grade. The paper will also count 20% of your final semester grade, and the two quizzes with the mid-term examinations will count 50% of your final semester grade. Before mid-semester evaluation and final evaluation I will look at your notebook to see if you have taken notes in class this observation will count 10% of your final grade.
MUSEUM VISITS: Students are individually responsible for visiting the Boston Museum of Fine Arts, the Isabella Stewart Gardner Museum (both in Boston) and the Fogg Art Museum (Cambridge).

OPTIONAL MUSEUM VISITS: Probably during the semester the Art History Club will sponsor some field trips to the Boston Museums. Also, there will be scheduled one or two trips to New York City, Worcester and Hartford, CT., in order to visit some major exhibitions or museums. You will not be penalized for not participating in these trips.

OFFICE HOURS: Monday between 3:00-6:00 P.M. Also, other times by appointment. My office is in Coburn Hall, Room 201.

TIME TABLE FOR EXAMINATION:
TBA - Examination I and First Quiz. This will be based on slide identifications, slide comparisons and attribution problem as well as essays. A brief quiz. It consists of identifying visual material presented in class or included in your required assignments. You will be asked to identify the name of the artist, the title of the work, the style and given an approximate date of the work. See handout.
TBA - Examination II and Second Quiz II as above.
TBA - Notification of paper topic.
TBA - PAPER DUE. No extension without penalty.
TBA - Examination III or Final Exam (as Exam I or II, Tentative Date).

LECTURE, ASSIGNMENT AND EXAMINATION SCHEDULE:
TBA - Introduction: scope of the course
Hartt, 11-23; Bondanella on Vasari, The Lives of the Artists.
Prefaces, I, II, and III. Lives of Leonardo, Michelangelo, and Raphael.

TBA - The formation of the High Renaissance: Leonardo da Vinci
Freedberg, High Renaissance (section on Leonardo); Blunt, Art Theories (section on Leonardo)
Recommended: Hartt, 276-81, 387-411; Clark, Leonardo Da Vinci; Partner, Renaissance Rome: 1500-1550. Gombrich's article in Norm and Form, pp. 57-64. Leonardo's Treatises on Painting; Wolfflin, Classical Art, pp. 3-38.
For Illustrations of High Renaissance paintings see: Bernard Berenson, Italian Pictures of the Renaissance, Central Italian and North Italian Schools, Florentine School, and Venetian School.

TBA - The Heritage of the High Renaissance in Florence and Rome: Michelangelo
Freedberg, High Renaissance (section on Michelangelo); Blunt, Art Theories (section of Michelangelo)
Recommended: Ackerman, Michelangelo; Hibbard, Michelangelo; Hartt, 411-22, 435-44, 422-59; Wolfflin, Classical Art, pp. 38-72; C. De Tolnay, Michelangelo, Vols. I-V; Hartt, Michelangelo, Vol. II, Pope-Hennessy, Italian High Renaissance and Baroque Sculpture Section on Michelangelo, Vol. III; C. Seymour, The Sistine Chapel and David's A Search for Identity.

TBA - The Heritage of the High Renaissance in Rome: Raphael
Freedberg, High Renaissance (section on Raphael)
Recommended: J. Pope-Hennessy, Raphael; Hartt, 422-26, 459-81, Gombrich's Raphael on Norm and Form; L. Dussler, Raphael; Wolfflin, Classical Art, pp. 3-104.

TBA - After the High Renaissance - Italian Art, Politics and Religion
Mannerism: Definition, Meaning, and Response
Recommended: Friedlaender, Mannerism and Anti-Mannerism; Craig H. Smyth, Mannerism and Maniera; John Shearman, Mannerism.

TBA - Florentine Painting: Fra Bartolomeo and Andrea del Sarto
Freedberg, Italian Art 1500-1600 (Section on these painters) and Vasari's Lives on Fra Bartolomeo and Andrea del Sarto.

TBA - Florentine Painting: Pontormo
Freedberg, Italian Art 1500-1600 (Section) and Vasari's on Pontormo.
Recommended: Pontormo's His Diary; Hartt 495-509.

TBA - Florentine Painting: Rosso
Freedberg, Italian Art 1500-1600 (Section) and Vasari's on Rosso.
Recommended: Hartt, 508-510; Eugene Carroll, Rosso.

TBA - Rome and North of Italy: Giulio Romano
Freedberg, Italian Art 1500-1600 (Section) and Vasari's on Giulio.

TBA - Examination I/Quiz I

TBA - North Italian Painting: Correggio
Freedberg, Italian Art 1500-1600 (Section) and Vasari's on Correggio.

TBA - North Italian Painting: Parmigianino
Freedberg, Italian Art 1500-1600 (Section) and Vasari's on Parmigianino
Recommended: Hartt, 511-521; Freedberg, Parmigianino; L. Popham, Drawings of Parmigianino, Vols. I-III.

TBA - North Italian Painting: Lotto and Giorgione
Freedberg, Italian Art 1500-1600 (Section) and Vasari's on Lotto.
Recommended: Pignatti, Giorgione; John Wilde, Venetian Art from Bellini to Titian.

TBA - Venetian Painting: Titian
Freedberg, Italian Art 1500-1600 (Section) and Vasari's on Giorgione and Tititan.
Recommended: Hartt, 528-32, 551; Panofsky, Titian.

TBA - Notify me of your paper topic.

TBA - Roman Architecture after 1530: Peruzzi, Sangallo, Michelangelo, Vignola
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.
Recommended: Acherman on Michelangelo's Architecture

TBA - Florentine Architecture after 1530: Ammanti and Vasari
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.

TBA - Venetian Architecture after 1530: Sansovino, Sanmichele, Palladio
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.
Recommended: N. Pevsner's article on Mannerist Architecture.

TBA - Florentine Sculpture after Michelangelo: Bandinelli, Cellini, & Giambologna
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.
Recommended: Hartt, 521-33, 569, 573

TBA - Examination II/Quiz II

TBA - Florentine Painting after 1530: Bronzino
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.
Recommended: McComb, Bronzino; Hartt, 588-596

TBA - Florentine Painting after 1530: Perino del Vaga and Salviati
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.
Recommended: Iris Cheney, Salviati

TBA - Florentine Painting after 1530: Vasari and His School
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.
Recommended: Patricia Rubin, Vasari.

TBA - Women Painters: Sofonisba Anguissola, Lavinia Fontana & Barbara Longhi
For reading assignment: handouts to be given in class.
Recommended: Perlinghieri, Sofonosisba; L. Cheney's articles on Women Artists.

TBA - Venetian Painting after 1530: Mannerism/Maniera
Veronese, Tintoretto and El Greco
Freedberg, Italian Art 1500-1600 (Section) and Vasari's Lives.
Recommended: Hartt, 553-60 and 560-69.

TBA - Towards the Baroque
Freedberg, Circa 1600.

TBA - PAPER DUE. NO EXTENSION.

TBA - Examination III or Final Examination (Tentative Date)