2008/09 Undergraduate Module Catalogue
ARTF3048 Venice and the Boundaries of Renaissance Art
20 creditsClass Size: 20
Module manager: Dr Eva Frojmovic
Email: E.Frojmovic@leeds.ac.uk
Taught: Semester 2 (Jan to Jun) View Timetable
Year running 2008/09
Pre-requisite qualifications
ARTF2000 or any level two ARTF coded moduleThis module is approved as an Elective
Module summary
This module interrogates some of the received notions surrounding the alleged conceptual opposition between Florence/Rome and Venice, such as the primacy of drawing and subject matter (Florence) vs. colour and 'pure painting' (Venice). We will cover public, semi-private and private spaces of artistic practice, and women's patronage. In the public sphere, we will look at the Palazzo Ducale (Titian, Veronese and Tintoretto), the Marciana Library and the Arsenal (Sansovino). Among the semi-private spaces, we will look at church patronage, and at the aristocratic confraternities, the Scuole. Finally, we will reconstruct the emerging private space of the patrician collections. We will trace the beginnings of a novel concept of 'art' in a new kind of panel painting as practiced by Antonello da Messina, Giovanni Bellini, Giorgione and Titian, including consideration of the problematic role of the female nude in the pastoral genre. We will reconsider the chronological boundaries of the Renaissance, and also open up its geographical, religious, and ethnic boundaries, by including study of the visiting and resident strangers in Venice: German merchants and artists (Durer); the Jewish ghetto; Venetian ties and tensions with the Ottoman Empire.Assessment: 1 x 1 hour exam (50%) and 1 x 2-3,000 word essay (50%)Objectives
By the end of this module, students should have an expanded and more complex notion of the boundaries of Renaissance art and of the role of Venice during the Renaissance and after. Students should be able to distinguish between the different spaces of artistic production and consumption, including state projects such as the Ducal Palace, family chapels, Scuole, private collections. Students should have acquired a clear grasp of important debates surrounding the notions of Renaissance art: debates about the importance of colour and 'pure painting' vs drawing and subject matter (i.e. did Venetian artists neglect subject matter and drawing and privilege 'pure painting'?), the role of ideology in Venetian public art (i.e. the limits to the search for meaning), the emergence of the modern concept of secular art. Across the array, the module offers detailed engagement, suitable to final year students, with one major art historical period and location from a critical and comparative angle.Skills outcomes
Verbal and written fluency in constructing a logical and coherent argument.
Use of audio visual aids
Participation in group discussions
Co-ordination and dissemination of a range of historical, contextual visual information
Using bibliographies and databases
Syllabus
This module will offer in-depth exploration of a major centre of artistic theory and practice during the Renaissance. We will interrogate some of the received notions surrounding the alleged conceptual opposition between Florence/Rome and Venice, such as the primacy of drawing and subject matter (Florence) vs. colour and 'pure painting' (Venice). The module will cover public, semi-private and private spaces of artistic practice, and include attention to women's patronage. In the public sphere, we will look at the Palazzo Ducale (Titian, Veronese and Tintoretto), the Marciana Library and the Arsenal (Sansovino). Among the semi-private spaces, we will look at church patronage, and at the aristocratic confraternities, the Scuole. Finally, we will reconstruct the emerging private space of the patrician collections. We will trace the beginnings of a novel concept of 'art' in a new kind of panel painting as practiced by Antonello da Messina, Giovanni Bellini, Giorgione and Titian, including consideration of the problematic role of the female nude in the pastoral genre. We will reconsider the chronological boundaries of the Renaissance, and also open up its geographical, religious, and ethnic boundaries, by including study of the visiting and resident strangers in Venice: German merchants and artists (Durer); the Jewish ghetto; Venetian ties and tensions with the Ottoman Empire.
Teaching methods
Delivery type | Number | Length hours | Student hours |
Lecture | 11 | 2.00 | 22.00 |
Private study hours | 178.00 | ||
Total Contact hours | 22.00 | ||
Total hours (100hr per 10 credits) | 200.00 |
Private study
110 hours - class preparation including reading and researching textual and visual materials20 hours - presentation preparation
48 hours - essay preparation
Opportunities for Formative Feedback
- student presentations- attendance at seminars/lectures
- contribution to class discussions
Methods of assessment
Coursework
Assessment type | Notes | % of formal assessment |
Essay | 1 x 2,000-3,000 word essay | 50.00 |
Total percentage (Assessment Coursework) | 50.00 |
Normally resits will be assessed by the same methodology as the first attempt, unless otherwise stated
Exams
Exam type | Exam duration | % of formal assessment |
Standard exam (closed essays, MCQs etc) | 1 hr 00 mins | 50.00 |
Total percentage (Assessment Exams) | 50.00 |
Normally resits will be assessed by the same methodology as the first attempt, unless otherwise stated
Reading list
The reading list is available from the Library websiteLast updated: 29/05/2009
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- Undergraduate module catalogue
- Taught Postgraduate module catalogue
- Undergraduate programme catalogue
- Taught Postgraduate programme catalogue
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