ARLT 100: Biography and the Renaissance Artist
1
Fall 2010
Dr. Eunice Howe
Dept. of Art History
ARLT 100: Biography and the Renaissance Artist
COURSE SYLLABUS
Time: Mondays and Wednesdays, 3:30-4:50 PM
Place: VKC 201
Class number: 35262R
Prof. Eunice D. Howe
Office hours: Tuesdays, 2-5 PM. Make appointments after class, or by e-mail.
VKC 351, mc 0047
(213) 740-4552 (Do not leave messages at another phone number)
E-mail:
Course Description:
It is assumed that an artist’s biography provides a means of understanding his or her art, enabling us to draw parallels between word and image. Biographers of artists and sometimes artists themselves tell us about events that find expression in their works, and on the other hand we tend to believe that works of art reflect what sources tell us about the life of the artist. It seems logical therefore that the more we know about the artist’s biography, the more accurate our understanding of the work.
Keep in mind that biographical narrative is a representation in its own right, not a retelling of “truth.” First, we must ask: how can we relate what we are told about an artist (especially one who lived five hundred years ago) to what he or she produced? Secondly, what is the value of biographical accounts? Is it possible to arrive at valid interpretations without them?
Ultimately, we will find that biography can complicate our understanding of art, but that it enriches our experience of art in the process.
This course examines over-arching themes in biographical narratives. It explores art production in Early Modern (Renaissance) Italy, c.1300- c.1600, through the works of celebrated artists, from Giotto to Caravaggio, in addition to exceptional women artists. We discuss the life and work of Michelangelo in depth--an artist who fashions his own image through literature and art. Benvenuto Cellini further demonstrates the art of self-presentation in his autobiography. The life of Leonardo, over-simplified by his biographers, remains as illusive as his art. We rely on primary sources, particularly Giorgio Vasari’s (1511-74) Lives of the Artists, but also consider secondary sources that are informed by psychoanalysis, literary criticism and post-modern theory.
Excerpts from films on artists’ biographies are shown periodically throughout the semester, including but not limited to Hieronymous Bosch, Leonardo and Michelangelo. We consider how film-makers have used biographical source material in the representation of the artist, and the role played by the work of art itself. When possible, we compare directorial approaches, for instance those of Derek Jarman and Simon Schama on Caravaggio.
Course Requirements:
Attendance and participation (including in-class assignments)--10 % of grade
Papers Assignments--40% of grade
Two short essays of 4 pages--10% each
Due Wed, Sept. 15
Due Wed, Oct. 20
Essay of 7-8 pages: 20%
Due Wed, Dec. 1
Group Report with written component —20% of grade
Weeks 11-13
Nov. 1- 3
Nov. 8-10
Nov. 15-17
Mid-term exam–10% of grade—Monday, Oct. 4
Final exam–20% of grade–-Monday, Dec. 13, 2-4 PM
Students need to schedule individual conferences with me during Weeks 11-13.
Due dates for papers and exams are firm. You will be marked down one grade, i.e. B to B-, for each day that an assignment is turned in late. In the event of illness, you must provide a note from your doctor. In the event of a personal or family emergency, you also must provide written documentation.
Blackboard
This course makes extensive use of Blackboard. Course material, assignments and announcements can be found on Blackboard. You can find slide lists and reproductions of works discussed in class that are useful in preparing for exams. Finally, required reading assignments are posted there. If you are unfamiliar with using Blackboard, see me.
Student Conduct
Arrive on time. Do not leave early. No eating in class. No talking. Cell phones and beepers must be turned off.
Computers are allowed for note-taking only. If I find that you are using your lap-top for other purposes, you will not be allowed to bring it to class thereafter.
Complete the reading assignments before class and come to class prepared. Turn in your assignments on time. Late papers will be marked down (see above).
Do not underestimate the importance of attendance. If you miss class, you will fall behind and your grade will suffer. On the other hand, if you have perfect attendance (no late arrivals or early departures) you stand a good chance of receiving a straight A.
“Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. (213) 740-0776 (voice)
(213) 740-6948 (TTD). A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me as early in the semester as possible.
“Students who violate university standards of Academic Integrity are subject to disciplinary sanctions, including failure in the course and suspension from the university. Since dishonesty in any form harms the individual, other students and the university, policies on academic integrity will be strictly enforced.”
Reading Assignments
Texts for Purchase at USC Bookstore:
Ernst Kris and Otto Kurz, Legend, Myth and Magic in the Image of the Artist, New Haven,
Yale University Press, 1979. (paperback)
Giorgio Vasari, The Lives of the Artists, trans. Julia and Peter Bondanella, Oxford,
Oxford University Press, 1991. (paperback)
Texts posted on Blackboard:
Adams, Laurie Schneider, “Biography and Autobiography,” in The Methodologies
of Art, pp. 101-32,
Barolsky, Paul, “Who was Vasari?” in Why Mona Lisa Smiles and other Tales by Vasari,
pp. 3-12; “Vasari and Cellini: Parallel Lives?” in Giotto's Father and the Family
of Vasari's Lives, pp. 117-34.
Barthes, Roland, “The Death of the Author,” in Image-Music-Text.
Blunt, Anthony, “Michelangelo,” in Artistic Theory in Italy, 1450-1600, pp. 58-81.
Buonarotti, Michelangelo, Sonnets 39 and 89.
Carrier, David, “Caravaggio: The Construction of an Artistic Personality,” in Principles of
Art History Writing, pp. 49-79.
Cellini, The Life of Benvenuto Cellini written by himself, trans. by John Addington
Symonds, pp. 267-83, 356-67.
Chadwick, Whitney, Women Art and Society, 3nd ed. rev. and expanded, pp. 76-100.
Condivi, Ascanio, The Life of Michelangelo, trans. by Alice Sedgwick Wohl, pp. 1-58.
Foucault, Michel, “What is an Author?” (1969) in Language, Counter-Memory and
Practice, Ithaca, N.Y., 1977, pp. 113-38.
Freud, Sigmund, "Leonardo da Vinci and a Memory of His Childhood" (1910)
Friedlaender, Walter, Caravaggio Studies, Princeton, 1955, pp. xxiii-xxviii, 119-21, 130-36.
Hughes, Anthony, Michelangelo, London, Phaidon, 1997, pp. 104-44.
Hyde Minor, Vernon, “Psychoanalysis and Art History,” in Art History’s History, 2nd ed.,
pp. 194-203.
Norman, Diana ed., “Giotto and the Rise of Painting,” in Siena, Florence and Padua: Art,
Society and Religion 1280-1400, I, pp. 72-93.
Turner, A. Richard, Inventing Leonardo, pp. 2-6, 55-68.
Walker, John A., “The Agony and the Ecstasy (1965),” “Caravaggio,” in Art and Artists
on Screen, Manchester, UK, 1993, pp. 48-69.
White, Hayden, “The Fictions of Factual Representation,” in Tropics of Discourse,
Baltimore, 1978, pp. 121-30.
SCHEDULE OF TOPICS AND READINGS
Note that I reserve the right to make revisions and/or additions.
Weekly assignments are listed below. At the end of each lecture, I will specify the readings that need to be completed before the next class. You must read the assignments before each class. ** = texts for the course, i.e. Kris/Kurtz and Vasari
Additional Readings, also posted on Blackboard, will be assigned in conjunction with Group Reports.
Week 1 IntroductionAug. 23-25
Monday—Introduction: The Art of Biography
Wednesday—Film: Picasso and Guernica (Simon Schama, “Power of Art,” BBC, 2006)
Week 2 Biography as MythAug. 30-Sept. 1
Discussion–– Myth-making and the role of the myth-maker. Giorgio Vasari.
Reading Assignment:
**Kris and Kurz, Legend, Myth and Magic, Chaps. 1-4.
Adams, “Biography and Autobiography”
Barolsky, “Who was Vasari?”
Week 3 The Life of Giotto(Sept. 6—Labor Day—no class), Sept. 8
Discussion–Giorgio Vasari’s account of Giotto’s life and works.
Instructions for format of Paper Assignment
Reading Assignment:
**Vasari, Lives, Introduction (pp. vii-xiv), Preface (pp.3-6), Cimabue and Giotto (pp.7-36)
Week 4 The Frescoes at AssisiSept. 13-15
PAPER DUE WEDNESDAY
Discussion– Giotto/ Non-Giotto. Who was the artist? Why does it matter?
Reading Assignment:
Norman, “Giotto and the Rise of Painting”
Week 5 Leonardo da Vinci: The Renaissance Man Sept. 20-22
Discussion–The Story of a Genius
Reading Assignment:
**Vasari, Lives, Preface to Part III (pp. 277-83), Leonardo (pp. 284-98).
Hyde Minor, “Psychoanalysis and Art History”
Turner, Inventing Leonardo
Week 6 Michelangelo: Life and Works Sept. 27-29
Monday Discussion—His “Early” and “Middle” Periods.
Wednesday—Film: “Michelangelo: Self-Portrait” (2003)
Reading Assignment:
**Vasari, The Lives, Michelangelo (pp. 414-31).
Condivi, The Life of Michelangelo
Week 7–Michelangelo: Another Perspective Oct. 4-6
MID-TERM EXAM ON MONDAY
Wednesday Discussion—Michelangelo as Author
Reading Assignment:
Blunt, “Michelangelo” (Chap. 5)
Michelangelo, Sonnets
Week 8 “Bio-Pics” Oct. 11-13
Discussion–Michelangelo: Fact or Fiction?
Monday—Film: The Agony and the Ecstacy (1965)
Wednesday—Film: Hieronymus Bosch: The Delights of Hell (2006)
Reading Assignment:
**Vasari, The Lives, Michelangelo (pp. 432-51)
Hughes, Michelangelo
Walker, “The Agony and the Ecstasy”
Week 9 Biography Reassessed : Literary Theory and Post-Structuralism Oct. 18-20
PAPER DUE ON WEDNESDAY, OCT. 20
Monday Discussion: Roland Barthes
Wednesday Discussion: Michel Foucault
Reading Assignment:
Barthes, “The Death of the Author”
Foucault, “What is an Author?”
Week 10 The Artist Who Was a Woman Oct. 25-27
Discussion—The Language of Biography : Properzia dei Rossi, Sofonisba Anguissola.
Reading Assignment:
**Vasari, The Lives pp. 339-44.
Chadwick, Women Art and Society
Week 11—Leonardo and Psychoanalysis Nov. 1-3
Monday Discussion-- Freud and Leo GROUP REPORTS
Wednesday : REPORTS
Reading Assignment:
Freud, "Leonardo da Vinci and a Memory of His Childhood" (1910)
Week 12—Benvenuto Cellini (1500-71): Autobiography and Self-Fashioning Nov. 8-10
Monday Discussion– The Life and Art of Benvenuto Cellini GROUP REPORTS
Wednesday: REPORTS
Reading Assignment:
Barolsky, “Vasari and Cellini: Parallel Lives”
Cellini, The Life of Benvenuto Cellini written by himself
Week 13— Caravaggio (1571-1610) Nov. 15-17
Monday Discussion—The Life and Art of Caravaggio GROUP REPORTS
Wednesday: REPORTS
Reading Assignment:
Carrier, “Caravaggio: The Construction of an Artistic Personality”
Week 14— Caravaggio: Interpretation of FactsNov. 22-24
Monday—Film: Caravaggio (Simon Schama, “Power of Art,” BBC, 2008)
Wednesday—Film: Caravaggio (Derek Jarman, 1986)
Reading Assignment:
Friedlaender, Caravaggio Studies
Walker, “Caravaggio”
Week 15 – Discussion and ReviewNov. 29-Dec. 1
PAPER DUE ON WEDNESDAY, DEC. 1
Reading Assignment:
White, “The Fictions of Factual Representation”
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Study Days—Saturday, Dec. 4- Wednesday, Dec. 8
FINAL EXAM---Monday, Dec. 13, 2-4 PM