This course offers an introduction to early Renaissance Art in Tuscany by exploring in depth the historical, political and cultural evolution of Siena and Florence between the 14th and the early 16th centuries. This overview is not confined to works of art but will include social and patronage issues - i.e. the role of the guilds, the differences in private, civic and church patronage - that affected the style, form and content of the rich Italian artistic output, which reached a peak often nostalgically referred to by later generations as the “golden age.” Attention focuses on the way art evolved in the most important artistic centers of Tuscany and how the cities’ diversities during this period created a range of distinct styles and "schools." The course analyzes the historical and social background of the beginning of the early Renaissance during the 14th century (i.e. Giotto, Simone Martini and Lorenzetti brothers) and the impact of the Black Plague on art and patronage. It then focuses on early 15th century art in Florence and Siena (investigating Brunelleschi’s, Donatello’s and Masaccio’s achievements), and deals with the Medici’s and Pius II Piccolomini’s age at the middle of the 15th century (i.e. Leon Battista Alberti, Filippo Lippi, Botticelli, Ghirlandaio, Verrocchio and Francesco di Giorgio). Lastly, it analyzes the beginning of the ‘golden Age’ of Renaissance during the papacies of Pius III Piccolomini and Leo X Medici, specifically focusing on Pinturicchio and Raffaello Sanzio, Michelangelo Buonarroti, Leonardo da Vinci.
Prerequisites:
None. Deep interest in art history, general background in Italian Medieval and Renaissance history are helpful.
Attendance policy:
Successful progress of the program depends on the full cooperation of both students and faculty members: regular attendance and active participation in class are essential parts of the learning process. Attendance at and participation in all class meetings and field-studies are required. More than TWO unjustified absences (that are not medically excused with a written certificate of the doctor or caused by serious sudden family and/or personal occurrences, as for example death of a family member) will result in a lowering of your grade.
Learning outcomes:
By the end of the course, students are able to:
gain thorough knowledge of the Italian Renaissance Age
develop practical perception
understand the relationship between both historical and artistic events
develop the ability of focusing on primary and secondary sources.
as the Renaissance works are often still in their original physical settings, during field studies to museums and churches in Florence and Siena, students have a unique opportunity to experience the works as their original viewers did and as their creators intended.
Method of presentation:
Lectures, discussion, PowerPoint presentations, slides, CD-ROMs, thematic field visits to churches, buildings and galleries in Florence and Siena.
N.B. During field-studies students are kindly advised not to carry bulky backpacks or troublesome objects. Photography is usually allowed in parks and gardens but is in general forbidden in museums.
Field study:
Field studies take students to see master works by the artists in the original context of Florence and Siena. In Florence: Uffizi Museum, Piazza della Signoria and Loggia dei Lanzi, ‘Santa Maria del Fiore’ Cathedral, The Cathedral’s Dome, The “Opera del Duomo” Museum. In Siena: Town Hall, Cathedral, Baptistery and the “Opera del Duomo” Museum; ‘Santa Maria della Scala’ Hospital, Pinacoteca Nazionale, St. Augustin’s Church, Oratorio di San Bernardino Museum, Piccolomini Palace (National Archive), the ‘Loggia del Papa’ and the ‘Papesse’ Palace in Siena, the Loggia della Mercanzia.
Required work and form of assessment:
Active participation and class discussions (15%); written mid-term exam (20%); final 10 pages research paper and oral presentation (30%); written final exam (35%). Attendance is mandatory and punctual reading of assigned material is strongly recommended.
The written mid-term exam (2 hours in-class) will be based on the topics covered during the first half of the course and will be in the form of short compositions. Students will choose from a list of several essay questions.
The written final exam (2 hours in-class) will be based on the topics covered during the second half of the course and will be in the form of short compositions. Students will choose from a list of several essay questions.
The topic of the personal final research paper is to be chosen by students in consultation with theinstructor: written essay (about 10 pages) and a oral presentation to the class.
Research paper: the amount of 10 pages paper is not including in the calculation the following items: title, footnotes, bibliography and illustrations.
Mid-term and final exams: The exams are comprised of two sections: 1) Slides identification and/or slide comparison; 2) from two to four questions based on material considered in class, and/or required readings. The final exam is comprehensive, although greater weight is given to material covered in the second half of the course.
content:
Part I: The beginning of the Early
1. A) Lecture: The Republican Age in Florence and Siena during the early 14th century.
Introduction to the course. The role of Antiquity; Artistic Techniques. Giotto, Arnolfo di Cambio and Andrea Pisano in Florence. Nicola e Giovanni Pisano, Simone Martini, Ambrogio and Pietro Lorenzetti in Siena. Readings: Hartt-Wilkins, pp. 27-42, 64-75; Hyman, pp. 7-121; Bellosi, pp. 3-79; Tartuferi, pp. 106-123; Duby-Daval, pp. 393-459, pp. 555-561.
B) Lecture: The Black Plague and the end of the XIV Century: The Giottesque Tradition in Florence, Orcagna and Buonaiuti. The impact of the Black Death on art and patronage at the middle of the 14th century. Later Gothic Art in Tuscany: Taddeo di Bartolo, Spinello Aretino in Siena. The International Gothic in Italy: Gentile da Fabriano. Readings: Hartt-Wilkins, pp. 133-138; Hyman, 122-130.
2. A) Site Visit: The Republican Age in Siena during the early 14th century and the Civic Patronage. Visit to the Siena Town Hall (Duccio, Simone Martini, Pietro and Ambrogio Lorenzetti).
B) Lecture: Early Renaissance in Florence and the Guilds Patronage. The Beginning of Renaissance Architecture and Sculpture in Florence. Filippo Brunelleschi and Scientific Perspective, Lorenzo Ghiberti, Donatello and the evolution of Sculpture in Florence (Nanni di Banco and Luca della Robbia). Readings: Hartt-Wilkins, pp. 152-183, Duby-Daval, pp. 563- 589.
3. A) Lecture: Early Renaissance in Siena and the Religious Patronage. The Beginning of Renaissance Sculpture in Siena: Donatello, Jacopo della Quercia, the Turini, Antonio Federighi and Domenico di Niccolò dei Cori. Readings: Hartt-Wilkins, pp. 180-186, Hyman, pp. 130-132.
B) Site Visit: Early Renaissance in Siena and the Religious Patronage. Visit to the Siena Cathedral, the Baptistery and the “Opera del Duomo” Museum, the Loggia della Mercanzia.
4. A) Lecture: Early Renaissance in Florence and the Cosimo the Elder Medici’s Patronage. Masaccio and the evolution of Painting in Florence (Fra’ Angelico, Paolo Uccello, Domenico Veneziano, Andrea del Castagno, Piero della Francesca). Readings: Hartt-Wilkins, pp. 214-221; 252-289.
B) Lecture: Siena during the early 15th century and the civic patronage: Early Renaissance Painting in Siena: Sassetta, Domenico di Bartolo, Matteo di Giovanni, Vecchietta, Giovanni di Paolo, Sano di Pietro. St. Bernardino’s role in the early Renaissance Siena. Preparation for the mid-term exam: review of the program, questions and discussion. Readings: Hyman, pp. 136-198; Hartt-Wilkins, pp. 350-367.
Part II: The Early Renaissance
5. A) Mid-term Exam. Readings: Review readings.
B) Site Visit: Visit to the “Sta. Maria della Scala” Hospital. Looking: S. Pietro a Ovile Church (Matteo di Giovanni, Giovanni di Paolo, Domenico di Niccolò dei Cori); SS. Annunziata Church (Risen Christ by Vecchietta).
6. A) Lecture: The Renaissance Architecture in Florence and Siena: Leon Battista Alberti and Bernardo Rossellino. The patronage of Giovanni Rucellai in Florence and Enea Silvio Piccolomini in Pienza. Readings: Murray, pp. 51-62, pp. 81-83; Hyman, pp. 164-197. Looking: Piccolomini Palace (National Archive), the ‘Loggia del Papa’ and the ‘Papesse’ Palace in Siena.
B) Lecture: The Age of Medici Family’s patronage in Florence (Piero ‘The Gouty’ and Lorenzo ‘The Magnificent’) during the second half of the 15th century: Neoplato philosophy and the Painters’ Workshops: Filippo and Filippino Lippi, Botticelli, Pollaiolo, Verrocchio, Benedetto and Giuliano da Maiano, Perugino, Pinturicchio and Ghirlandaio. Readings: Hartt-Wilkins, pp. 221-228, 317-349, Duby-Daval, pp. 606-609.
7. A) Lecture: The Civic and Religious Patronage in Siena. The Piccolomini patronage and Bernardino Pinturicchio in the Siena Cathedral. Francesco di Giorgio Martini and Neroccio di Bartolomeo Landi. Readings: Hyman, pp. 198-207, Hartt-Wilkins, pp. 412-413. Looking: The Siena Cathedral (marble decoration, ‘commesso’, on the floor).
B) Site Visit: Visit to the Piccolomini’s Library in the Siena Cathedral.
Part III: The apex of the Renaissance
8. A) Lecture: The Republican Age of Piero Soderini: Leonardo da Vinci’s investigation on Nature. Readings: Hartt-Wilkins, pp. 430-457. Looking: Pinacoteca Nazionale in Siena (Leonardesque artists).
B) Lecture: The Republican Age of Piero Soderini: The young Michelangelo Buonarroti. The Young Raphael in Florence. Readings: Hartt-Wilkins, pp. 457-468. Looking: Pinacoteca Nazionale in Siena (Michelangiolesque and Raphaellesque artists).
9. A) Site Visit: Visit to the Pinacoteca nazionale di Siena.
B) Lecture: The Piccolomini Patronage in Siena. Andrea Bregno and Michelangelo Buonarroti in the Siena Cathedral.
10. A) Site visit: Early Renaissance in Florence and the Guilds Patronage: Field trip to Florence, visit to the Uffizi Gallery, to “Santa Maria del Fiore” Cathedral, the Cathedral’s Dome, the “Opera del Duomo” Museum.
B) Lecture: The Age of Pandolfo Petrucci in Siena and Pope Julius II della Rovere in Rome: Pinturicchio and Signorelli, Raffaello and the Chigi’s Patronage in Rome. Readings: Hartt- Wilkins, pp. 468-478.
11. A) Site Visit: Visit to the Oratorio di San Bernardino Museum (Sodoma, Beccafumi, Girolamo del Pacchia) and the St. Augustin’s Church (Perugino, Francesco di Giorgio, Giacomo Cozzarelli, Sodoma).
B) Lecture: Oral presentation to the class of final research paper. Readings: Review readings.
12. Final written exam
Required readings:
Course- Packet (including selections from):
Bellosi, Luciano. Giotto. Milano: Scala, 1981.
Duby, Georges and Jean-Luc Daval. Sculpture. From Antiquity to the Middle Ages. Köln: Taschen 2006, and Sculpture. From the Fifteenth to the Twentieth Century. Köln: Taschen, 2006.
Hartt, Frederick and David G. Wilkins. History of Italian Renaissance Art, Painting Sculpture Architecture, Fouth edition, 1994, Thames and Hudson Ltd. London.
Hyman, Timothy. Sienese Painting. The Art of a City-Republic (1278-1477). London: Thames & Hudson, 2003.
Murray, Peter. The Architecture of the Italian Renaissance. New York: Schocken Books, 1986.
Tartuferi, Angelo. Giotto. Firenze: Giunti, 2000.
Recommended readings:
Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven & London: Yale University Press, 2002.
Baldassarri, Stefano Ugo and Arielle Saiber. Images of Quattrocento Florence. New Haven & London: Yale University Press, 2000.
Baxandall, Michael. Painting & Experience in Fifteenth-century Italy. Oxford: Oxford University Press, 1988.
Campbell, Gordon. Renaissance Art and Architecture. Oxford: Oxford University Press, 2004.
Hale, John Rigby. Florence and the Medici. London: Phoenix Press, 2001.
Hibbert, Christopher. The Rise and the Fall of the House of Medici. London: Penguin Books, 1979.
Paoletti, John T. and Gary M. Radke. Art in Renaissance Italy. London: Laurence King, 2001.
Turner, Richard. The Renaissance in Florence. London: Everyman Art Library, 2000.
Vasari, Giorgio. The Lives of the Artists, (Peter Bondanella translation). Oxford: Oxford University Press, 1998.
Welch, Evelyn. Art in Renaissance Italy, 1350-1500. Oxford: Oxford University Press, 2000.
Brief Biography of Instructor:
Sara Pizziconi earned a MA, with Honours, in Medieval and Renaissance Studies, specializing in Art History from the University of Siena. She is a lecturer and a consultant in several academic conferences, events, seminars, congresses, exhibitions on Medieval and Renaissance ages, published articles for University department on the cultural and social issues of late medieval art, focusing on architectural elements of the fortification of XV century Tuscany. Her current research focuses on gender studies in Medieval and Renaissance society and culture and the role of women in Renaissance.
This course offers an introduction to early Renaissance Art in Tuscany by exploring in depth the historical, political and cultural evolution of Siena and Florence between the 14th and the early 16th centuries. This overview is not confined to works of art but will include social and patronage issues - i.e. the role of the guilds, the differences in private, civic and church patronage - that affected the style, form and content of the rich Italian artistic output, which reached a peak often nostalgically referred to by later generations as the “golden age.” Attention focuses on the way art evolved in the most important artistic centers of Tuscany and how the cities’ diversities during this period created a range of distinct styles and "schools." The course analyzes the historical and social background of the beginning of the early Renaissance during the 14th century (i.e. Giotto, Simone Martini and Lorenzetti brothers) and the impact of the Black Plague on art and patronage. It then focuses on early 15th century art in Florence and Siena (investigating Brunelleschi’s, Donatello’s and Masaccio’s achievements), and deals with the Medici’s and Pius II Piccolomini’s age at the middle of the 15th century (i.e. Leon Battista Alberti, Filippo Lippi, Botticelli, Ghirlandaio, Verrocchio and Francesco di Giorgio). Lastly, it analyzes the beginning of the ‘golden Age’ of Renaissance during the papacies of Pius III Piccolomini and Leo X Medici, specifically focusing on Pinturicchio and Raffaello Sanzio, Michelangelo Buonarroti, Leonardo da Vinci.
None. Deep interest in art history, general background in Italian Medieval and Renaissance history are helpful.
Successful progress of the program depends on the full cooperation of both students and faculty members: regular attendance and active participation in class are essential parts of the learning process. Attendance at and participation in all class meetings and field-studies are required. More than TWO unjustified absences (that are not medically excused with a written certificate of the doctor or caused by serious sudden family and/or personal occurrences, as for example death of a family member) will result in a lowering of your grade.
By the end of the course, students are able to:
Lectures, discussion, PowerPoint presentations, slides, CD-ROMs, thematic field visits to churches, buildings and galleries in Florence and Siena.
N.B. During field-studies students are kindly advised not to carry bulky backpacks or troublesome objects. Photography is usually allowed in parks and gardens but is in general forbidden in museums.
Field studies take students to see master works by the artists in the original context of Florence and Siena. In Florence: Uffizi Museum, Piazza della Signoria and Loggia dei Lanzi, ‘Santa Maria del Fiore’ Cathedral, The Cathedral’s Dome, The “Opera del Duomo” Museum. In Siena: Town Hall, Cathedral, Baptistery and the “Opera del Duomo” Museum; ‘Santa Maria della Scala’ Hospital, Pinacoteca Nazionale, St. Augustin’s Church, Oratorio di San Bernardino Museum, Piccolomini Palace (National Archive), the ‘Loggia del Papa’ and the ‘Papesse’ Palace in Siena, the Loggia della Mercanzia.
Active participation and class discussions (15%); written mid-term exam (20%); final 10 pages research paper and oral presentation (30%); written final exam (35%). Attendance is mandatory and punctual reading of assigned material is strongly recommended.
Research paper: the amount of 10 pages paper is not including in the calculation the following items: title, footnotes, bibliography and illustrations.
Mid-term and final exams: The exams are comprised of two sections: 1) Slides identification and/or slide comparison; 2) from two to four questions based on material considered in class, and/or required readings. The final exam is comprehensive, although greater weight is given to material covered in the second half of the course.
Part I: The beginning of the Early
1. A) Lecture: The Republican Age in Florence and Siena during the early 14th century.
Introduction to the course. The role of Antiquity; Artistic Techniques. Giotto, Arnolfo di Cambio and Andrea Pisano in Florence. Nicola e Giovanni Pisano, Simone Martini, Ambrogio and Pietro Lorenzetti in Siena. Readings: Hartt-Wilkins, pp. 27-42, 64-75; Hyman, pp. 7-121; Bellosi, pp. 3-79; Tartuferi, pp. 106-123; Duby-Daval, pp. 393-459, pp. 555-561.
B) Lecture: The Black Plague and the end of the XIV Century: The Giottesque Tradition in Florence, Orcagna and Buonaiuti. The impact of the Black Death on art and patronage at the middle of the 14th century. Later Gothic Art in Tuscany: Taddeo di Bartolo, Spinello Aretino in Siena. The International Gothic in Italy: Gentile da Fabriano. Readings: Hartt-Wilkins, pp. 133-138; Hyman, 122-130.
2. A) Site Visit: The Republican Age in Siena during the early 14th century and the Civic Patronage. Visit to the Siena Town Hall (Duccio, Simone Martini, Pietro and Ambrogio Lorenzetti).
B) Lecture: Early Renaissance in Florence and the Guilds Patronage. The Beginning of Renaissance Architecture and Sculpture in Florence. Filippo Brunelleschi and Scientific Perspective, Lorenzo Ghiberti, Donatello and the evolution of Sculpture in Florence (Nanni di Banco and Luca della Robbia). Readings: Hartt-Wilkins, pp. 152-183, Duby-Daval, pp. 563- 589.
3. A) Lecture: Early Renaissance in Siena and the Religious Patronage. The Beginning of Renaissance Sculpture in Siena: Donatello, Jacopo della Quercia, the Turini, Antonio Federighi and Domenico di Niccolò dei Cori. Readings: Hartt-Wilkins, pp. 180-186, Hyman, pp. 130-132.
B) Site Visit: Early Renaissance in Siena and the Religious Patronage. Visit to the Siena Cathedral, the Baptistery and the “Opera del Duomo” Museum, the Loggia della Mercanzia.
4. A) Lecture: Early Renaissance in Florence and the Cosimo the Elder Medici’s Patronage. Masaccio and the evolution of Painting in Florence (Fra’ Angelico, Paolo Uccello, Domenico Veneziano, Andrea del Castagno, Piero della Francesca). Readings: Hartt-Wilkins, pp. 214-221; 252-289.
B) Lecture: Siena during the early 15th century and the civic patronage: Early Renaissance Painting in Siena: Sassetta, Domenico di Bartolo, Matteo di Giovanni, Vecchietta, Giovanni di Paolo, Sano di Pietro. St. Bernardino’s role in the early Renaissance Siena. Preparation for the mid-term exam: review of the program, questions and discussion. Readings: Hyman, pp. 136-198; Hartt-Wilkins, pp. 350-367.
Part II: The Early Renaissance
5. A) Mid-term Exam. Readings: Review readings.
B) Site Visit: Visit to the “Sta. Maria della Scala” Hospital. Looking: S. Pietro a Ovile Church (Matteo di Giovanni, Giovanni di Paolo, Domenico di Niccolò dei Cori); SS. Annunziata Church (Risen Christ by Vecchietta).
6. A) Lecture: The Renaissance Architecture in Florence and Siena: Leon Battista Alberti and Bernardo Rossellino. The patronage of Giovanni Rucellai in Florence and Enea Silvio Piccolomini in Pienza. Readings: Murray, pp. 51-62, pp. 81-83; Hyman, pp. 164-197. Looking: Piccolomini Palace (National Archive), the ‘Loggia del Papa’ and the ‘Papesse’ Palace in Siena.
B) Lecture: The Age of Medici Family’s patronage in Florence (Piero ‘The Gouty’ and Lorenzo ‘The Magnificent’) during the second half of the 15th century: Neoplato philosophy and the Painters’ Workshops: Filippo and Filippino Lippi, Botticelli, Pollaiolo, Verrocchio, Benedetto and Giuliano da Maiano, Perugino, Pinturicchio and Ghirlandaio. Readings: Hartt-Wilkins, pp. 221-228, 317-349, Duby-Daval, pp. 606-609.
7. A) Lecture: The Civic and Religious Patronage in Siena. The Piccolomini patronage and Bernardino Pinturicchio in the Siena Cathedral. Francesco di Giorgio Martini and Neroccio di Bartolomeo Landi. Readings: Hyman, pp. 198-207, Hartt-Wilkins, pp. 412-413. Looking: The Siena Cathedral (marble decoration, ‘commesso’, on the floor).
B) Site Visit: Visit to the Piccolomini’s Library in the Siena Cathedral.
Part III: The apex of the Renaissance
8. A) Lecture: The Republican Age of Piero Soderini: Leonardo da Vinci’s investigation on Nature. Readings: Hartt-Wilkins, pp. 430-457. Looking: Pinacoteca Nazionale in Siena (Leonardesque artists).
B) Lecture: The Republican Age of Piero Soderini: The young Michelangelo Buonarroti. The Young Raphael in Florence. Readings: Hartt-Wilkins, pp. 457-468. Looking: Pinacoteca Nazionale in Siena (Michelangiolesque and Raphaellesque artists).
9. A) Site Visit: Visit to the Pinacoteca nazionale di Siena.
B) Lecture: The Piccolomini Patronage in Siena. Andrea Bregno and Michelangelo Buonarroti in the Siena Cathedral.
10. A) Site visit: Early Renaissance in Florence and the Guilds Patronage: Field trip to Florence, visit to the Uffizi Gallery, to “Santa Maria del Fiore” Cathedral, the Cathedral’s Dome, the “Opera del Duomo” Museum.
B) Lecture: The Age of Pandolfo Petrucci in Siena and Pope Julius II della Rovere in Rome: Pinturicchio and Signorelli, Raffaello and the Chigi’s Patronage in Rome. Readings: Hartt- Wilkins, pp. 468-478.
11. A) Site Visit: Visit to the Oratorio di San Bernardino Museum (Sodoma, Beccafumi, Girolamo del Pacchia) and the St. Augustin’s Church (Perugino, Francesco di Giorgio, Giacomo Cozzarelli, Sodoma).
B) Lecture: Oral presentation to the class of final research paper. Readings: Review readings.
12. Final written exam
Course- Packet (including selections from):
Sara Pizziconi earned a MA, with Honours, in Medieval and Renaissance Studies, specializing in Art History from the University of Siena. She is a lecturer and a consultant in several academic conferences, events, seminars, congresses, exhibitions on Medieval and Renaissance ages, published articles for University department on the cultural and social issues of late medieval art, focusing on architectural elements of the fortification of XV century Tuscany. Her current research focuses on gender studies in Medieval and Renaissance society and culture and the role of women in Renaissance.