Undergraduate Course: Art of Catholic Reform 1534-1610 (HIAR10123)
Course Outline
| School | Edinburgh College of Art |
College | College of Humanities and Social Science |
| Credit level (Normal year taken) | SCQF Level 10 (Year 4 Undergraduate) |
Availability | Not available to visiting students |
| SCQF Credits | 20 |
ECTS Credits | 10 |
| Summary | Each seminar will consider a group of works ¿ painting, sculpture and architecture - in the context of Catholic Reform. The case studies each week will proceed roughly chronologically. They will represent different kinds of work ¿ from altarpieces to prints, Sacred and secular art ¿ to explore the papal control of images and test its efficacy and influence. |
| Course description |
Course structure:
Weekly seminars will move through a series of roughly chronological case studies as follows:
Week 1: Introduction: from the Council of Trent to Gabriele Paleotti
Week 2: St Peter¿s and the Vatican Palaces
Week 3: Michelangelo
Week 4: The churches of the new religious orders and their decorative programmes
Week 5: Depicting martyrdom
Week 6: Innovative learning week
Week 7: The Venerable English College: traitors or martyrs?
Week 8: Prints and printmaking
Week 9: Secular art?
Week 10: The Accademia di San Luca and the art market in Rome
Week 11: Tombs and monuments
Week 12: Review ¿ art of the Catholic Reform?
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Course Delivery Information
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| Academic year 2015/16, Not available to visiting students (SS1)
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Quota: 20 |
| Course Start |
Semester 1 |
Timetable |
Timetable |
| Learning and Teaching activities (Further Info) |
Total Hours:
200
(
Seminar/Tutorial Hours 20,
Summative Assessment Hours 2,
Revision Session Hours 1,
Programme Level Learning and Teaching Hours 4,
Directed Learning and Independent Learning Hours
173 )
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| Assessment (Further Info) |
Written Exam
50 %,
Coursework
50 %,
Practical Exam
0 %
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| Additional Information (Assessment) |
1 x 2500 word essay (50%) and 1 x 2 hour examination (50%) |
| Feedback |
Not entered |
| No Exam Information |
Learning Outcomes
On completion of this course, the student will be able to:
- Students will acquire a knowledge of the relationship between art and politics in Rome in the 16th century and the impact of Rome's history and topography on its art and architecture.
- Students will be able to recognise key works of art and their significance in this period and discuss key themes and debates raised by the art of the period, and deploy this awareness in presentations and written work.
- Students will identify and exploit different kinds of primary and secondary sources to support their studies.
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Reading List
James S. Ackerman, ¿The Gesù in the light of contemporary church design¿, in Baroque Art: The Jesuit Contribution, Rudolf Wittkower and Irma B. Jaffe eds (Fordham University Press), pp.15-28 (also in Cole, Sixteenth Century Italian Art, pp.368-87)
Yoni Ascher, ¿Manifest humbleness: self-commemoration in the time of the Catholic Reform¿, Sixteenth Century Journal 35/2 (2004), pp.329-56
Gauvin Alexander Bailey, Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 (University of Toronto Press, 2003)
Michael Bury, ¿The taste for prints in Italy to c. 1600¿, Print Quarterly 2 (1985), pp.12-26.
Michael Bury, ¿On some engravings by Giorgio Ghisi commonly called ¿reproductive¿¿, Print Quarterly 10/1 (1993), pp.4-19 (also in Cole, Sixteenth Century Italian Art, pp.275-90)
Michael Bury, ¿Infringing privileges and copying in Rome, c. 1600¿, Print Quarterly 22/2 (2005), 133-8.
Louis Cellauro, ¿The Casino of Pius IV in the Vatican¿, Papers of the British School at Rome 63 (1995), pp.183-214
Michael W. Cole, Sixteenth Century Italian Art (Blackwell, 2006)
Charles Dempsey, Review of Stuart Lingo, Federico Barocci: Allure and Devotion in Late Renaissance Painting, Art Bulletin Vol. 92/3 (2010), pp.251-256
John Dillenberger, Images and Relics: Theological Perceptions and Visual Images in Sixteenth-Century Europe (Oxford University Press, 1995)
Una Roman D¿Elia, ¿Drawing Christ¿s blood: Michelangelo, Vittoria Colonna and the aesthetics of reform¿, Renaissance Quarterly 59/1 (2006), 90-129.
Creighton E. Gilbert, Caravaggio and his Two Cardinals (Pennsylvania State University Press, 1995)
David Freedberg, The Power of Images: Studies in the History of Response (University of Chicago, 1989)
Marcia B. Hall, ¿Michelangelo¿s Last Judgment: resurrection of the body and predestination¿, The Art Bulletin 58/1 (1976), pp.85-92
Marcia B. Hall, The Sacred Image in the Age of Art (Yale, 2011)
Alexandra Hertz, ¿Cardinal Cesare Baronio¿s restoration of Ss. Nereo ed Achilleo and S. Cesareo de¿Appia¿, Art Bulletin 70 (1988), pp.590-620
Kathryn B. Hiesinger, ¿The Fregoso Monument: a study in sixteenth-century tomb monuments and Catholic Reform¿, The Burlington Magazine 118, no. 878 (1976), pp.282-93
Pamela M. Jones, ¿Art theory as ideology: Gabriele Paleotti¿s hierarchical notion of painting¿s universality and reception¿, in Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650, Claire Farago ed. (Yale, 1995), pp.127-39
Joseph Leo Koerner, The Reformation of the Image (University of Chicago Press, 2004)
Stuart Lingo, Federico Barocci: Allure and Devotion in Late Renaissance Painting (Yale, 2008)
Peter M. Lukehart, The Accademia Seminars: The Accademia di San Lucca in Rome, c. 1590-1635 (CASVA Seminar Papers 2, Yale, 2009)
Diarmid MacCulloch, Mary Laven and Eamon Duffy, ¿Recent trends in the study of Christianity in sixteenth-century europe¿, Renaissance Quarterly 59/3 (2006), pp.697-731.
Alexander Nagel, ¿Gifts for Michelangelo and Vittoria Colonna¿, (in Cole, Sixteenth Century Italian Art, pp.324-67)
Alexander Nagel, Michelangelo and the Reform of Art (Cambridge University Press, 2000)
Steven F. Ostrow, Art and Spirituality in Counter-Reformation Rome: The Sistine and Pauline Chapels in S. Maria Maggiore (Cambridge University Press, 1996)
Carol M. Richardson, ¿Durante Alberti, the Martyrs¿ Picture and the Venerable English College, Rome¿, Papers of the British School at Rome, 73 (2005), pp.223-263
Clare Robertson, Il gran cardinale¿: Alessandro Farnese, Patron of the Arts (Yale, 1992)
Melinda Schlitt, ¿Painting, criticism, and Michelangelo¿s Last Judgement in the age of the Counter-Reformation¿, in Michelagelo¿s ¿Last Judgement¿, Marcia B. Hall ed. (Cambridge University Press), pp.113-49
Livia Stoenescu, ¿Ancient prototypes reinstantiated: Zuccari¿s Encounter of Christ and Veronica of 1594,¿ Art Bulletin 93/4 (2011), pp.423-448
Charles de Tolnay, ¿Michalengelo and Vittoria Colonna¿, Michelangelo V: The Final Period (Princeton, 1960), pp.51-69 (also in Cole, Sixteenth Century Italian Art, pp.306-23)
Ian Verstegen, ¿Federico Barocci, Federico Borromeo and their Oratorian orbit¿, Renaissance Quarterly 56/1 (2003), pp.56-87
Graham Smith, The Casino of Pius IV (Princeton University Press, 1977) - review by Loren W. Partridge in The Art Bulletin 60/2 (June 1978), pp.369-372,
Rebecca Zorach (ed.), The Virtual Tourist in Renaissance Rome (University of Chicago Library, 2008)
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Additional Information
| Graduate Attributes and Skills |
Not entered |
| Keywords | Not entered |
Contacts
| Course organiser | Dr Carol Richardson
Tel: (0131 6)50 4119
Email: |
Course secretary | Mrs Sue Cavanagh
Tel: (0131 6)51 1460
Email: |
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