Programme on the Italian Renaissance

Programme on the Italian Renaissance
University of Urbino “Carlo Bo”, Italy
Programme Director: Prof. Antonio Corsaro (*)
(*) Associate Professor of Italian Literature, Department of Textual and Communication Sciences, University of Urbino
“Carlo Bo”. Professor of Renaissance Literature at the Univesity of Ferrara 1993-2001. Visiting Professorship:
Middlebury College (Vermont, USA, 1985); Dublin UCD (1988, 1998); The University of Leuven (1998, 2003); the
Centre d’Etudes Supérieurs de la Renaissance, Univ. De Tours (2007). Studies in the Renaissance Literature with
special interests in History of Culture and of Thought. Publications and conferences on the relationship between
literature, religious censorship and the print in the XVI century. He has written extensively on Michelangelo,
Machiavelli and other writers, and he is author of the monograph Percorsi dell’incredulità. Religione, amore e natura
nel primo Tasso (Rome 2003). He has published a critical edition of Ortensio Lando’s Paradoxes (Rome 2000; reissued
for the series Les Belles lettres in Paris, 2012), and the critical edition of the Literary Works of Machiavelli (Rome
2012). Email: [email protected]
Lecturers: Gianluca Montinaro, Elisa Penserini, Raffaella Santi
Modules taught:
- Italian and European Renaissance Political Thought (XVI-XVII Cent.)
- Culture and Literature in the Italian Renaissance (XV-XVI Cent.)
- Italian Renaissance Art (XV-XVI Cent.)
Italian and European Renaissance Political Thought (XVI-XVII Cent.)
Scientific fields: History of philosophy, History of political thought.
Course duration: one Semester; total of hours taught: 36. European Credits = 6 American
Credits=3
Typolgy of students: Undergraduates.
Lecturer: Dr. Raffalla Santi (*)
(*) Lecturer in the Department of Human Sciences, she received her PhD in Philosophy in 2000 from the University of
Urbino “Carlo Bo”, with a dissertation on Plato and Hegel (published as Platone, Hegel e la dialettica, Vita e Pensiero,
Milan 2000). She is a translator of Hobbes’s Leviathan (Milan 2001, 20123) and a correspondent from Italy and
reviewer for the Bulletin Hobbes (“Archives de Philosophie”, Paris). Her recent publications include the two
monographs Ragione geometrica e legge in Thomas Hobbes and Etica della lettura e scrittura filosofica in Thomas
Hobbes (Padua 2012 and 2013). She is currently working on the research project “History of Modern Natural Right”,
directed by Prof. Franco Todescan (University of Padua). Email: [email protected]
Course description. The course is intended as an introduction to the political philosophy of the
Renaissance as seen through an examination of some of the major texts and thinkers, especially in
the Italian context, but considered in European perspective. The course will analyse the main
political ideas and topics developed in Renaissance thought, such as the relationship between ethics
and politics, the theoretic foundations of buon governo, the theories of princely and republican
government, political prudence and “reason of State”, the satirical critique of power, the
relationship between politics and religion, and the birth of political science.
Course objectives. The aim is to provide students with the basic knowledge of an important section
of Western political thought, at the dawn of the theoretic developments that would lead to modern
democratic idea. Expected Learning outcomes: Students should be able to address directly a number
of primary sources, in order to examine and critically analyse the main topics in Renaissance
political thought. They should also be able to place problems and ideas in their peculiar historical
context, but also to discuss them in comparative perspective and in their relationship with more
modern views.
Course Requirements:
Activities:
Class participation
Written Paper
Oral Exam
Percentages:
20%
40%
40%
Syllabus
[Lesson durance: 2 hours]
Week 1
Lesson 1. Introduction to Political Philosophy. Readings: David Miller, Political Philosophy. A
Very Short Introduction, selections (Oxford Un. Press).
Lesson 2. Political Philosophy in Context: the Renaissance. Visual material: Ambrogio
Lorenzetti, The Allegory of Good and Bad Government (fresco in the Palazzo Pubblico of Siena).
Week 2
Lesson 3: The Rediscovery of Ancient Political Though: the Greeks. Readings: Plato, The
Republic, selections (eds. G.R.F. Ferrari & T. Griffith, CUP, Cambridge 2000); Aristotle, The
Politics, I (ed. S. Everson, CUP, Cambridge 1996).
Lesson 4: The Rediscovery of Ancient Political Though: the Romans. Readings: Cicero, On
duties, book I (eds. M.T. Griffin & E.M. Atkins, Cambridge Un. Press); Seneca, Moral and
Political Essays, selected passages (eds. J. Cooper & J. Procope, Cambridge Un. Press).
Week 3
Lesson 5: The Theory of Princely Government at the Dawn of Humanism. Readings: Dante,
Monarchy, book I, selections (ed. P. Shaw, Cambridge Un. Press); Petrarch, How a Ruler Ought to
Govern His State - Epistle n. 1, Book XIV of Rerum Senilium (ed. B.G. Kohl, in The Earthly
Republic. Italian Humanists on Government and Society, ed. by B.G. Kohl & R.G. Witt,
Manchester Un. Press, 1978, pp. 35-78).
Lesson 6: The Theory of Princely Government in the Renaissance. Readings: Giovanni
Pontano, On the Prince (ed. N. Webb, in Cambridge Translations of Renaissance Philosophical
Texts. Vol. 2: Political Philosophy, ed. by Jill Kraye, CUP, Cambridge 1997, pp. 69-85); Il Platina
(Bartolomeo Sacchi), On the Prince, selections (ibid., pp. 89-104).
Week 4
Lesson 7: The Theory of Republican Government. Readings: Leonardo Bruni, Panegyric to the
City of Florence (ed. B.G. Kohl, in The Earthly Republic. Italian Humanists on Government and
Society, ed. by B.G. Kohl & R.G. Witt, Manchester Un. Press, 1978, pp. 135-175).
Lesson 8: The Theory of Republican Government. Readings: George of Trebizond, Preface to
his Translation of Plato’s Laws (ed. J. Monfasani, in Cambridge Translations of Renaissance
Philosophical Texts. Vol. 2: Political Philosophy, ed. by Jill Kraye, CUP, Cambridge 1997, pp.
129-133); Francesco Guicciardini, How the Popular Government Should be Reformed (ed. R. Price,
ibid., pp. 201-232).
Week 5
Lesson 9: Machiavelli: Il Principe. Readings: Niccolò Machiavelli, The Prince, chapters 15-23
(eds. Q. Skinner & R. Price, Cambridge Un. Press).
Lesson 10: Machiavelli: The Discorsi. Readings: Niccolò Machiavelli, The Discourses, selections
(ed. L.J. Walker, 2 vols., Routledge, London, 1950).
Week 6
Lesson 11: The theory of Princely Government in Late Renaissance. Readings: Stefano Guazzo,
The civile conversation, Book II – selections (ed. E. Sullivan, London-New York 1925); Id., On
King’s Prudence - the first of the Dialoghi piacevoli (selected passages in English translation).
Lesson 12: Reasoning on the “Reason of State”. Readings: Giovanni Botero, The Reason of State
- selections (eds. P.J. Waley & D.P. Waley, London 1966); Id., A Treatise, concerning the Causes
of the Magnificencie and Greatness of Cities – selections (translator Robert Peterson, London
1606).
Week 7
Lesson 13: Colonial and Expansion Mentality. Readings: Francis Bacon, Of the true Greatness of
Kingdoms and Estates (The Essays or Counsels, Civil and Moral in The Major Works, ed. by Brian
Vickers, OUP, Oxford, 1996, pp. 397-403).
Lesson 14: Irony and the Critique of Power in Late Renaissance. Readings: Traiano Boccalini,
News from the Parnassus: The Policall Touchstone, taken from Mount Parnassus – selections
(translator T. Scott, n.p. 1622).
Week 8
Lesson 15: The concept of “Sovereignty”. Readings: Jean Bodin, The Six Bookes of a
Commoweale, selections (translator Richard Knolles, London 1606; reproduction edited by K.D.
McRae, Harvard Un. Press, Cambridge (MA) 1962).
Lesson 16: The Spiritual and the Temporal: Politics and Religion. Readings: Robert
Bellarmine, On Laymen or Secular People, Chapters 1-13 - selections (in Id., On Temporal and
Spiritual Authority, ed. by Stefania Tutino, Liberty Fund, Indianapolis 2012, pp. 3-52); Paolo Sarpi,
Of the Power of Princes (selected passages in English translation).
Week 9
Lesson 17: The rise of political science (scientia civilis). Readings: Thomas Hobbes, Leviathan,
Parts I & II – selections (ed. Noel Malcolm, OUP, Oxford 2012, vol. 2).
Lesson 18: Review and Conclusion. Visual material: Engraved title-page in Hobbes’s Leviathan
(1651).
The reading material will be provided in electronic form.
Relevant secondary sources:
J.H. Burns (ed.), The Cambridge History of Political Thought 1450-1700, CUP, Cambridge 1991,
Parts I and II.
M. Hörnqvist, “Renaissance Political Philosophy”, in G. Klosko (ed.), The Oxford Handbook of the
History of Political Philosophy, OUP, Oxford 2011, pp. 206-226.
Quentin Skinner, The Foundations of Modern Political Thought, 2 vols., CUP, Cambridge 1978.
Id., Political Philosophy, Chapter 12 in Ch.B. Schmitt & Q. Skinner (eds.), The Cambridge History
of Renaissance Philosophy, CUP, Cambridge 1988, pp. 389-452.
Id., Visions of Politics, 3 vols., CUP, Cambridge 2002.
Further bibliographical references will be provided at the beginning of the course.
Culture and Literature in the Italian Renaissance (XV – XVI Cent.)
Scientific fields: History of Renaissance Culture, History of Literature
Course duration: one Semester; total of hours taught: 36. European Credits = 6 American
Credits=3
Typolgy of students: Undergraduates.
Lecturer: Dr. Gianluca Montinaro (*)
(*) Visiting professor, since 2007, in Comparative Literature and Aesthetics (Libera Università di Comunicazione
“IULM”, Milano). He received his PhD in Italian Literature in 2006, from the University of Urbino with a dissertation
on: La grazia del passato, l’onore del comando. Pensiero politico e utopia nel Rinascimento. His publications include:
Il carteggio di Guidobaldo II della Rovere e Fabio Barignani; Ludovico Agostini. Epistolario; Fra Urbino e Firenze.
Politica e diplomazia nel tramonto dei della Rovere; L’Hypnerotomachia Poliphili; Guidobaldo del Monte e Francesco
Maria II della Rovere; Martin Lutero. Il frate ribelle.
Course description. The course will consist of 18 lessons of two hours each. After a preliminary
introduction to the Renaissance period (XV and XVI centuries) in Italy and Europe we will go into
cultural, artistic, literary events of the period in the Italian peninsula – using a thematic perspective
and an interdiscipline cut- pausing in some Renaissance capitals. We’ll pay a special attention to
Urbino and Florentine areas analysing some of the foundation texts of this period (Il libro del
cortegiano; Il Galateo) outlining the ideal and cultural traits of the artistic and literary production.
Finally we will deal with the moment of the Renaissance “crisis”(that is to say the passing from the
rationalistic control of reality to the perception of the “obscurity” of History considered as a
concatenation of not predetermined events) and the definitive transition to the Modern Age and to
National States.
Course objectives. The aim is introducing students to a first approach to the complex historical and
cultural period called “the Renaissance”, considered mainly in its literary achievements.
Course Requirements:
Activities:
Class participation
Written Paper
Oral Exam
Percentages:
20%
40%
40%
Syllabus
[Lesson durance: 2 hours]
Week 1
Lesson 1.
Presentation and introduction to the course. Exposition of the didactic and examination procedures.
About the history of Renaissance.
Lesson 2.
The Renaissance: historical context. Geographical context. Period spanning. Space and time limits
of the Renaissance. Renaissance or renaissances?
Week 2
Lesson 3.
Inside the Renaissance. From the Middle Ages to the Modern Era. From Humanism to the
Renaissance. Classical Antiquity and models. The dream of a new world. The man of the
Renaissance. Causes of the phenomenon. Interpretative issues.
Lesson 4.
Italy and the Renaissance. The capitals of the Renaissance. Lords and princes. Literary and artistic
patrons. The new intellectual.
Week 3
Lesson 5.
The case of Florence. History of a capital of culture. Lorenzo il Magnifico, Poliziano, Marsilio
Ficino, Botticelli.
Lesson 6.
The case of Urbino. The ideal court. Baldassarre Castiglione.
Week 4
Lesson 7.
Il Cortegiano: The values of the perfect man.
Lesson 8.
Ferrara and Mantua. The literature of the court: tales of love and chivalry. From Boiardo to Ariosto.
Week 5
Lesson 9.
Venice. The beginning of the book industry (Aldo Manuzio) .The esoteric dream. The freedom
myth.
Lesson 10.
Italian wars: Rome and the Borgia’s court. The republican experience of Florence. Leonardo and
Michelangelo.
Week 6
Lesson 11.
Between Principe and the princes. The broken dream of the Renaissance.
Lesson 12.
The escape towards utopia. Italian Renaissance and Europe (Erasmus, Thomas More).
Week 7
Lesson 13.
The power of religion. Martin Luther, the sack of Rome and the Council of Trento. Reformation
and Counter-Reformation. The Renaissance and Mannerism. The crisis of the Renaissance.
Lesson 14.
Classicism and the crisis of models. The problem of the language. The anti-renaissance incidents.
Aretino: the free intellectual.
Week 8
Lesson 15.
The late Renaissance. Strengths and weaknesses of Italy. The supremacy of the essay writing.
Politics.
Lesson 16.
The man of the late Renaissance: from the “dialogue” to the “conversation”. Giovanni Della Casa,
Stefano Guazzo.
Week 9
Lesson 17.
The autumn of the Renaissance: Torquato Tasso, Giovan Battista Guarini, Torquato Accetto.
Lesson 18.
From 16th century to 17th century. From the Renaissance world to the Baroque world. The late
Renaissance in Europe. The experience of the Renaissance. Towards the Modern Era.
Bibliography
The dream of Poliphilo, edited by Linda Fierz-David, London, Spring Pubns, 1987.
Baldassarre Castiglione, Il libro del Cortegiano, edited by Walter Barberis, Turin, Einaudi, 1998.
Giovanni Della Casa, Galateo, edited and translated by M.F. Rusnak, Chicago, The University of
Chicago Press, 2013.
Federico da Montefeltro and his library, edited by Marcello Simonetta, Milano, Y. Press, 2007.
L’arme e gli amori. Ariosto, Tasso and Guarini in Late Renaissance Florence, edited by
Massimiliano Rossi, Firenze, Olschki, 2004.
James Dennistoun, Memorie dei duchi di Urbino, edited by Giorgio Nonni, Urbino, Quattroventi,
2010.
Mario Domenichelli, Cavaliere e gentiluomo, Rome, Bulzoni, 2002.
Nicola Gardini, Rinascimento, Turin, Einaudi, 2010.
John Hale, The civilization of Europe in the Renaissance, New York, Maxwell MacMillan, 1994.
Walter Ingeborg, Lorenzo il Magnifico e il suo tempo, Rome, Donzelli, 2005.
Gianluca Montinaro, L’epistolario di Ludovico Agostini, Florence, Olschki, 2006.
Carlo Ossola, Dal Cortegiano all’Uomo di mondo, Turin, Einaudi, 1997.
Antonio Pinelli, La bellezza impura. Arte e politica nell’Italia del Rinascimento, Rome-Bari,
Laterza, 1998.
Franco Piperno, L’immagine del duca, Florence, Olschki, 2001.
Edouard Pommier, L’invenzione dell’arte nell’Italia del Rinascimento, Turin, Einaudi, 2007.
Quentin Skinner, Dell’interpretazione, Bologna, Il Mulino, 2001.
Quentin Skinner, Virtù rinascimentali, Bologna, Il Mulino, 2006.
Further information and material will be provided in the course of the lessons.
(The use of a “ History of Italian literature” in English, concerning 16th and 17th centuries, is
advisable).
Italian Renaissance Art (XV – XVI Cent.)
Scientific fields: History of Renaissance Art, Renaissance Visual Culture
Course duration: one Semester; hours: 36; European Credits = 6 American Credits=3
Typology of students: Undergraduates
Lecturer: Dr. Elisa Penserini (*)
(*) Teaching Assistant since the academic year 2009/2010 (the year of her Master of Art in History of Modern Art) and Support
Teaching Assistant associated with the courses of History of Modern Art and Artistic Languages of the Università degli Studi di
Urbino “Carlo Bo” (2013/2014), she received her Postgraduate Higher Specialisation Degree from the Università degli Studi of Siena
with a dissertation on the paintings realised for the Marches by Andrea di Bartolo. After an internship at the V.M.F.A. (Richmond,
VA), and a two-year experience at the Urbino Soprintendenza in the occasion of the exhibition dedicated to Urbino Renaissance
(2012), she is now concentrating on several researches among which are the collaboration to the publication of the catalogue of
engravings belonging to the Fondo Ubaldini of the Biblioteca Comunale of Urbania (2012-2014), and the supervision of the
researches pertaining to a project focused on ‘Old Masters’ exhibitions held in Italy between 1861 and 1945 (2011-2015). Her recent
publications and lectures concern the painters Andrea di Bartolo and Giovan Battista Salvi, and art exhibitions focused on the
reconnaissance of the Italian territory and artistic schools.
Course description.
The aim is introducing students to Italian Renaissance Art (XV and XVI century). The course adopts a
thematic perspective and each lesson serves as both an introduction to the major artists of the decades in
exam as well as to the functions, themes, and patronage behind their most significant works. The course
is divided in four parts and focuses on the main Italian Renaissance capitals.
The first module pertains to Florence and the dawn of the Italian Renaissance; the second concentrates
on Early Italian Renaissance and the courts envisaging a polycentric approach(Florence, Rome, Milan
and Lombardy, Naples, Siena, Venice, Padua, Ferrara, Mantua, Rimini, and Urbino); the third regards
Italian High Renaissance and focuses on the activity of artists like Michelangelo, Leonardo, Raphael,
Bellini and Titian and their stays in different cities; the course finally deals with the transition to
Mannerism. The course will be a survey of major works of art and of the culture that created them.
Course objectives.
Course Aim. The course aims to increase and deepen the students’ understanding of Italian Renaissance
Art and visual culture by providing an overview of the major artists active in the XV and XVI
centuries,and analysing the most important works of art they realised, their commissioning and the
Renaissance Italian patrons and cities they were realised for.
The course will also approach the social, religious and economic factors that fostered the birth of such
works of art in order to provide students with the most appropriate tools and means needed to
read,understand and contextualize an Italian Renaissance work of art.
Expected Learning Outcomes. Improving students’ ability to express reasoned and critical analyses
using a variety of methods and sources is the first goal of the course, that also aims to sharpen the
students’ ability to communicate their own ideas about the art of the period and widen their viewpoint
through comparison with works of art realised using different media (not only paintings, sculptures and
buildings but also textiles, furniture and prints).
Course Requirements:
Activities:
Class participation
Written Paper
Oral Exam
Percentages:
20%
40%
40%
Syllabus
[Lesson durance: 2 hours]
Week 1
Lesson 1.
Presentation of the course program, modules, study plan, bibliography, and final exam procedure.
First module: Florence and the Dawn of the Renaissance between Tradition and Innovation.
Masolino and Masaccio: the Brancacci Chapel frescoes inthe Church of Santa Maria del Carmine.
Ghiberti and Brunelleschi: the competition for the North Portal of the Florence Baptistery. Beato
Angelico and Benozzo Gozzoli: the San Marco Cloister frescoes and altarpiece, and the Procession of
the Magi in the chapel of the Medici Palace.
Notes and comparison with other works of art and artists of the same period.
Lesson 2.
Donatello and Michelozzo: from the statues for Orsanmichele and for the Dome bell tower of Florence,
to the years of their partnership and the journey to Rome. Domenico Veneziano, Piero della Francesca
and Andrea del Castagno: the Santa Lucia de’ Magnoli altarpiece and the destroyed frescoes of
Sant’Egidio. From Brunelleschi to Paolo Uccello: linear perspective and golden section between
architectural planning, control of reality and experimentalism.
Notes and comparison with other works of art and artists of the same period.
Week 2
Lesson 3.
Practising the art craft: workshops, masters, apprentices and partners. Filippo Lippi and his patrons,
entourage and pupils - up to Botticelli’s apprenticeship and first works. Family-owned, polyvalent
workshops in Florence: the Ghirlandaio,Verrocchio, Pollaiolo, and della Robbia workshops - up to the
apprenticeships of Michelangelo and Leonardo and their first works.
Notes and comparison with other works of art and artists of the same period.
Lesson 4.
Second module: Early Italian Polycentric Renaissance and the Courts
From the Milan of Foppa to the Naples of Antonello da Messina. Brief outline about decoration and
furniture in the Italian abidance of the Quattrocento: the Battles of Paolo Uccello, the Stories of
Humanity of Piero di Cosimo, some painted cassoni given to Sassetta and Francesco di Giorgio Martini,
playing and tarot cards of Northern Italy.
Notes and comparison with other works of art and artists of the same period.
Week 3
Lesson 5.
Siena and the Renaissance: the reconstruction of some impressive narrative cycles from major altar
pieces in which local tradition and novelties are freshly introduced and mingled. From the Master of the
Osservanza to Jacopo della Quercia.
Lesson 6.
Venice, Gentile da Fabriano and two workshops in the city of the Doges: the Vivarini and the Bellini
between late Gothic splendour and new archaeological and classical awareness.
Padua, the Studio and a renewed interest in the antique world: the stay of Donatello, the workshop of
Squarcione, Nicolò Pizzolo, Andrea Mantegna and the artists working in the Ovetari Chapel of the
Church of the Eremitani.
Week 4
Lesson 7.
A dynastic masterpiece: the so-called ‘Camera picta’ in the Castle of San Giorgio and the activity of
Andrea Mantegna for the Gonzaga in Mantua.
The astrological series of the Salone dei Mesi in Palazzo Schifanoia and the Este ‘gioie’: Cosmè Tura,
Ercole de’ Roberti and Francesco del Cossa in the Este Ferrara.
Lesson 8.
Rimini, Sigismondo Pandolfo Malatesta andthe Malatestiano Temple.
At the service of the Italian Signori and Popes: Bernardo Rossellino and Pienza, Leon Battista Alberti’
works, trips, writings.
Week 5
Lesson 9.
The ‘pittura di luce’ and a foray in central Italy: Piero della Francesca, Melozzo da Forlì, Marco Zoppo,
Carlo Crivelli, Perugino, Signorelli, Spagna.
From c. 1470: Florence and Lorenzo the Magnificent. Botticelli, Leonardo, Michelangelo.
Lesson 10.
Urbino before the ‘città in forma di palazzo’ (Castiglione): the Church of San Domenico, Fra’
Carnevale, and the Barberini panels.
Federico of Montefeltro and the Urbino Ducal Palace between Luciano Laurana and Francesco di
Giorgio Martini: the Studiolo, the Ideal City, the San Bernardino altarpiece.
Week 6
Lesson 11.
Italian High Renaissance
From c. 1480: Pope Sixtus IV and the decoration of the Sistine Chapel walls, Leonardo and Bramante in
Milan, Michelangelo in Florence and Rome.
Lesson 12.
The fall of the Sforza in Milan and Medici in Florence: the Florentine Republic and the Battles of
Cascina and Anghiari by Michelangeloand Leonardo; the education and the arrival in Florence of
Raphael.
Giorgione, Giovanni Bellini, Vittore Carpaccio: the new course of Veneto painting.
Week 7
Lesson 13.
Rome and Pope Julius II: the construction site of the Basilica of Saint Peter from Bramante to
Michelangelo and the ‘Stanze’ of Raphael; the project of the tomb of Julius II and the decoration of the
Sistine Chapel by Michelangelo.
Notes on their works of art realised in the first two decades of the XVI century.
Lesson 14.
The radiant magnificence of Venice: Titian and the early activity of Tintoretto, Paolo Veronese and
Palladio.
Two masters, their fortune and the spreading of models in Renaissance Italy: Titian and Raphael. Notes
on prints and engravings, and comparison with other works of art and artists of the same period.
Week 8
Lesson 15.
Between Lombardy and Veneto, and beyond: Savoldo, Moretto, Romanino.
Uneasiness and anxiety: Lorenzo Lotto restless transfers, Sebastiano del Piombo in Rome, the
decoration of Villa Imperiale in Pesaro.
Notes and comparison with other works of art and artists of the same period.
Lesson 16.
Toward Mannerism
The Sack of Rome in 1527, the School of Raphael and the ‘Clement Style’: transfers, stays and returns.
Giulio Romano, Perin del Vaga, Polidoro da Caravaggio, Primaticcio, Rosso Fiorentino, Sebastiano
Serlio,Vignola, Beccafumi and Federico Barocci.
Week 9
Lesson 17.
Andrea del Sarto, his pupils and the transition to Mannerism: notes on Bronzino, Pontormo, Rosso
Fiorentino, Jacopo Sansovino, Francesco Salviati, Daniele da Volterra.
From Emilia-Romagna and Veneto to Fontainebleau and Spain: notes on Correggio and Parmigianino;
Garofalo and Dosso Dossi; Tintoretto, Veronese and Palladio; Benvenuto Cellini, Federico and Taddeo
Zuccari; Pellegrino Tibaldi and Nicolò dell’Abate.
Lesson 18.
Toward the conclusion of the Council of Trent, the end of an era and the birth of a myth: the Vite of
Giorgio Vasari, the self-referential and inward-looking refinement of the Studiolo of Francesco I in
Florence, the international and cosmopolitan splendour of the court of Emperor Rudolf II in Prague.
Bibliography
E. Castelnuovo, “Il significato del ritratto pittorico nella società”, in Storia d'Italia, vol. 5/2, Torino,
Einaudi, 1973, pp. 1033-1094
M. Baxandall, Painting and Experience in Fifteenth-Century Italy, 2nd ed., Oxford, Oxford University
Press, 1988
H.A. Millon,V. Magnano Lampugani, The Renaissance from Brunelleschi to Michelangelo: The
Representation of Architecture, exh. cat. (Venice 1994), Milano, Bompiani, 1994
Meaning in the Visual Arts: Views from the Outside. A Centennial Commemoration of Erwin Panofsky
(1892–1968), ed. by I. Lavin,New York,Princeton, 1995
D. Rosand, Painting in Sixteenth-Century Venice. Tiziano, Veronese, Tintoretto, Cambridge, Cambridge
University Press, 1997
D. Thornton,The Scholar and His Study. Ownership and Experience in Renaissance Italy, New Haven,
Yale University Press, 1997
Looking at Italian Renaissance Sculpture, ed. by S. Blake McHam, Cambridge, Cambridge University
Press, 1998
P.L. Rubin, A. Wright, Renaissance Florence: The Art of the 1470s, London, National Gallery
Publications, 1999
Antiquity and its Interpreters, ed. by A.A. Payne,Cambridge, Cambridge University Press, 2000
L. Syson, D. Thornton,Objects of Virtue: Art in Renaissance Italy, London, British Museum Press, 2001
A. Pinelli, La Bella Maniera. Artisti del Cinquecento tra regola e licenza, Torino, Einaudi, 2003
Artists at Court: Image-Making and Identity, ed. by S.J. Campbell, Chicago, University of Chicago
Press, 2004
T. Parks, Medici Money: Banking, Metaphysics, and Art in Fifteenth-century Florence, London, Profile
Books, 2005
M. Ajmar-Wollheim, F. Dennis, At Home in Renaissance Italy, exh. cat.(London 2006/2007), London,
V&A Publications, 2006
S. Settis, Artisti e committenti fra Quattrocento e Cinquecento, Torino, Einaudi, 2010
A. Chastel, Il Sacco di Roma (1527), Torino, Einaudi, ed. 2011
All the images and further bibliography will be provided during classes.
Reference text only: Giorgio Vasari, The Lives of the Artists, trans. J. Conway Bondanella, P.
Bondanella, Oxford, Oxford University Press, 1998 (or Penguin edition translated by G. Bull).
The use of an Art History manual is strongly recommended: F. Hartt, D.G. Wilkins, History of Italian
Renaissance Art, 7th ed., New York, Prentice Hall, 2011; or J. Paoletti, G. Radke, Art in Renaissance
Italy, 3rd ed., New York, Prentice Hall, 2005.