CURRICULUM PROPOSAL COVER SHEET
TITLE OF PROPOSAL: Painted Chambers of the Renaissance
INITIATING DEPARTMENT/UNIT: History/Art History Program
DATE OF DEPT/UNIT ACTION Approved Sept. 3, 2002
CONTACT PERSON: Dr. Dunn PHONE: ext. 4016 EMAIL: dunnj1@scranton.edu
CHECK ONE:
NEW PROGRAM ____
NEW MINOR ____
CHANGE IN PROGRAM REQUIREMENTS ____
NEW COURSE X
DELETE COURSE ____
CHANGE COURSE ____
CHANGE COURSE TITLE _____
CHANGE COURSE REQUISITES _____
CHECK ONE:
UNDERGRADUATE X
GRADUATE ___
HOME DEANS’ CONFERENCE: CAS X CHEHR__SOM__DHC__GRAD__
TO BE CONSIDERED BY ABOVE DEANS’ CONFERENCE IN 9 month 02 year
BRIEF DESCRIPTION OF PROPOSAL:
SEE ATTACHED
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BOARD?
INSTRUCTIONS:
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SEND ONE COPY TO THE HOME DEANS’ CONFERENCE CURRICULUM
COMMITTEE AND ONE TO THE FACULTY SENATE CURRICULUM COMM~ITEE
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WILL TRACK THE PROGRESS OF THE PROPOSAL’S REVIEW.
Course Approval Form
(To be used to propose new courses or make changes to existing courses)
Attach the following:
1.
A brief course description;
2.
A sample syllabus which includes:
a. student learning objectives and how they will be assessed;
b. an outline of topics to be addressed in the course;
c. assignments for readings, papers, oral projects, examinations, etc. and their relationship to 2.a.
3.
Rationale for the course, including how it fits with the existing curriculum; prerequisites (if any) and
rationale; and course level and rational.
4.
List of resources needed for the course: library, laboratory equipment other special materials or
facilities; and
5.
A brief description of the evaluation procedures that will be used to determine the extent to which
student outcomes (given in 2.a) have been achieved. Indicate ways in which results of the evaluation
will be used not only to grade students but also to modify how the course is taught.
Initiator (Contact Person): Josephine M. Dunn
Department(s): History (Art and Music Program)
Suggested Course Number / Prefix: ARTH 316
Course Title (for Catalog): Painted Chambers of the Renaissance
Credit Hours: 3
Catalog Copy/Course Description (50 word limit)
SEE SYLLABUS
Frequency of Offering:
Every Year _________
Anticipated Initial Offering: Year 2004
Every Other Year X
Semester Spring
Will this course replace an existing course (or courses?) _______ Yes
If so, list course(s) to be replaced:
X
No
Purpose of Course (Check all that apply)
Major Requirement ________
Major Elective _______
Cognate
________
Other Elective
X
Other (specify)
Art History Minor – may also be at later date as Grad History Elective
General Education _______
(Must be reviewed by Conference Committee on
Please indicate the proposed category(ies):
Writing Intensive ______
Cultural Diversity _____
Humanities ______
Social/Behavioral Sciences _____
Natural Sciences ____
Theology/Philosophy _____
Quantitative Reasoning _____
Explain how the proposed course will fulfill the indicated requirements
SEE SYLLABUS
Is this Course an Interdisciplinary Course? _______Yes _________ No
Colleges Cooperating in Offering Course:
College of Arts and Sciences:
Panuska College of Professional Studies:
Kania School of Management
Graduate School
X
______
______
______
Other, similar courses currently in the University’s course inventory:
HIST 323: The Renaissance.
ARTH 214-215: Renaissance Art, 1300-1500 – Renaissance Art, 1500-1700.
Discuss extent of overlap with existing courses:
While general topics are the same (E.G. humanism, politics) as the Hist. Course, the methodology and primary
focus is on works of Art in A 1-Semester focus (Painting, Sculpture, Architecture); for Graduate History
Students it is the exploration of other ways to think about Art as documentation; for ARTH Students, more
profound exploration of particular methodologies (E.G. Reception Theory). It is an Art History course, not a
History Course.
Course Approval Form
Signature Sheet
Date Submitted to Department:
September 3, 2002
Date of Department Decision:
Approved Sept. 3, 2002
Departmental Recommendation:
X
Approval
__________ Deny Approval
Provide Rationale for Recommendation:
Art History Program Elective
Chairperson Signature: Dr. Michael DeMichele
Date: 9/3/02
College Action: (Note if course is being offered jointly by more than one college, it must be approved by all
deans who are jointly responsible)
Date Posted on Curriculum Bulletin Board_________
Recommendation:
_______Approval ______Deny Approval
Dean’s Signature: ____________________________ Date:______________
(Attach Rationale)
General Education Review (If necessary)
Date Discussed by Conference Committee on Curriculum_______________
Recommendation: ______Approval for General Education (Check all that apply)
Writing Intensive
____
Cultural Diversity
______
Humanities
____
Social/Behavioral Sciences ______
Natural Sciences
____
Theology/Philosophy
______
Quantitative Reasoning_____
Signature:
Provost’s Action:
___________ Approve
___________Deny
Provost’s Signature: _____________________
(Attach rationale)
Date: ______________
ARTH [316]: PAINTED CHAMBERS OF THE RENAISSANCE
Submitted by:
Date:
Josephine Dunn, Ph.D.
August 26, 2002
I
BRIEF COURSE DESCRIPTION
The course is an in-depth study of selected murals painted in the private homes, palaces, churches,
chapels, and civic buildings of l4& and 15& century Italy. Students will examine the ideas, values,
and historical contexts of each mural in order to understand the meaning(s) it had for Renaissance
audiences.
II
SYLLABUS FOR ARTH 316:
PAINTED CHAMBERS OF THE RENAISSANCE: SYLLABUS
I.
COURSE DESCRIPTION
Renaissance images were made, commissioned, and viewed by particular audiences, to whom the
work of art communicated and reinforced contemporary beliefs and values. This course explores the
meaning and purpose of murals produced for public and private use in private homes, churches, and
civic structures. Contemporary literature of the period will also be studied.
There is no prerequisite for ARTH 316, but background in art history and/or history is useful.
II.
TEXTBOOKS
Eve Borsook. The Mural Painters of Tuscany. New York: Oxford University Press, 1979
(2nd edition).
Alison Cole. Virtue and Magnificence: Art of the Italian Renaissance Courts. New York:
Abrams, 1995
John T. Paoletti and Gary M. Radke. Art in Renaissance Italy. New York: Prentice Hall, 2002.
Martin Wackernagel The World of the Florentine Renaissance Artist:
Projects and Patrons. Workshop and Art Market Translated by Alison Luchs.
Princeton: Princeton University Press, 1981.
Selected Primary sources include:
Leonabattista Alberti.
Della Fanuglia. (On the Family)
Leonardo Brunt
History of Florence
Giovanni Donumci
Sermons
Giovanni Boccaccro.
Decameron
Lorenzo (3hiberti
Commetarii
G. Vasari
Lives of the Eminent Artists... (1568)
III.
BRIEF LIST OF TOPICS TO BE ADDRESSED IN THE COURSE
Art of 14” and 15&-century Italy
The Renaissance City
Gendered spaces in city and church
The rise and influence of the mendicant orders Dominicans and Franciscans
15th-century guilds
Patronage: the church
Patronage: the city
Patronage: laymen and women
Family Life in Renaissance Italy
The social and economic world of the artist
Renaissance Virtues and Values
The Politics of Images
Art and the papacy
The marketing of art
The training of a Renaissance artist
IV.
GOALS AND OBJECTIVES
Goal 1: To gain factual knowledge (history, technology, artistic style, methods of critical analysis,
cultural ideas) in the History of Italian Renaissance art, students will:
Objective 1: Identify, examine and evaluate key cities and cultures of Renaissance Italy
Assesment: tests, essays, oral presentation, Research Paper, class participation
Objective 2: Examine and evaluate primary historical and literary texts integral to the study of
Italian art and society
Assessment tests, essays, oral presentation, Research Paper, oral presentation
Objective 3: Apply skills of visual analysis in order to discover the structure and meaning(s) of
a work of art (focus on mural painting)
Assessment tests, essays, Research Paper, oral presentation
Goal 2: To gain a broader understanding of intellectual-cultural activity as an expression of the
beliefs of diverse cultures at specific moments in the history of the Italian Renaissance, students will:
Objective 1: Evaluate through oral arid/or written processes of analysis and interpretation the
social, literary, religious, historical, philosophical, and aesthetic features of works
of Italian Renaissance art
Assessment: tests, essays, Research Paper, oral presentation, class participation
Goal 3: To gain skill in written and oral composition, students will
Objective 1: Write a 10-page research paper on one work of art (mural)
Assessment thesis, bibliography, content; grammar and punctuation
Objective 2: Deliver a 20-minute presentation on the topic of their research paper Assessment:
thesis, content, delivery
Objective 3: Write 5 analytical essays on primary sources (Alberti, Vasari,
Bruni, Boccaccio, Dante)
Assessment: thesis, content, grammar, punctuation
V.
COURSE REQUIREMENTS
All course requirements must be completed in order to pass the course. No exemptions on final exams
for graduating seniors.
Course requirements include:
(1)
Regular attendance and participation during scheduled classes
(2)
Two tests and the final exam
(3)
Presentation
(4)
Research Paper
(5)
Museum assignment
5%
45%
15%
25%
10%
VI.
EXAMINATIONS AND THE FINAL GRADE
During the course of the semester, three tests will be given. The third test is the
Final Exam (not cumulative). See Lecture Schedule for testing dates.
No make-up exams will be given unless “extra-ordinary” circumstances warrant it
The professor will determine if the excuse is “extra-ordinary.”
The Final Grade will be calculated according to the percentages listed above and
using the following grade scale.
A (96-100) A-(90-95)
B+ (88-889) B(84-87)
B-(80-83)
C+(78-79)
C(73 -71)
C-(70-72)
D+(68-69)
D(64-67)
D-(60-53)
F(0-59)
VII.
WRITING ASSIGNMENTS
ARTH 315 entails 6 writing assignments: 1 Research Paper, and 5 analytical essays.
The Metropolitan Museum of Art assignment constitutes one facet of the Research
Paper.
For details of the writing assignment, see below.
VIII.
ATTENDANCE POLICY
Given the media-dependent nature (slides) of art history courses, faculty strongly discourage cuts.
Classroom activity comprises 60% visual analysis, 40% note-taking and participation. Absent
students may succeed in copying a classmate’s notes, but they can not duplicate the skills of visual
analysis gained by in-class study of works of art.
FAILURE TO ATTEND CLASS REGULARLY WILL ADVERSELY AFFECT THE FINAL
GRADE.
Please note: Excused absences are a privilege, not a right. The professor alone may determine if an
absence is excused. Two absences are permitted. Absence on the day of a test; exam, presentation or
bus trip does not constitute the right to a make-up. Students are expected to be present on testing
dates unless, for extra-ordinary reasons, they have received clearance from the professor BEFORE
the test begins. Students who miss an exam receive an F on the exam, no exceptions.
IX.
ACADEMIC CODE OF HONESTY
Students will act/perform/write in accordance with the Academic Code of Honesty of the University
of Scranton. Plagiarism and cheating are grounds for failure in this course. If you are unfamiliar with
the university policy on plagiarism and cheating, please contact the Office of Student Life or your
Dean’s Office to obtain a copy of the handbook. You may also consult the Code in the Student
Handbook on line.
NOTA BENE: Students enrolled in more than one art history course may discover similar
requirements in their courses (e.g., art gallery critique, museum trip, etc). Students are required to
inform both teachers of the fact in order to avoid duplication of material. ONLY IF BOTH
TEACHERS AGREE THAT THE SAME PAPER IS ACCECPTABLE IN BOTH COURSES MAY
THE STUDENT SUBMIT THE SAME PAPER TO TWO SEPARATE TEACHERS.
Lacking permission from both teachers, the student who writes one paper for two courses commits
plagiarism, is subject to disciplinary action, and may fail one or both courses. Please make every
effort to know and understand university definitions of plagiarism and cheating. if the policy is
unclear, ASK ME.
X.
OFFICE HOURS
[TBA]
III.
RATIONALE FOR THE COURSE
It is a course that requires art historians to read and heed HISTORY in order to understand the many
contexts informing Renaissance Art; and requires historians to study and analyze ART for relevance
as “document” to historical inquiry.
There are no prerequisites for this course, although some background in art history and/or history
would be helpful.
ARTH 316: PAINTED CHAMBERS OF THE RENAAISSANCE
Writing Assignments
I.
Read selected excerpts from Leonardo Bruni’s History of Florence (class handout). Pay particular
attention to the civic ideals and images that Bruni uses to laud Florence.
ESSAY: Imagine that you are Leonardo Bruni writing to your pal, Filippo Carducci, in 15th -century
Florence. You are writing a letter from Siena, where you have just viewed Ambrogio Lorenzetti’s
frescoes in the Sala dei Nave of the Palazzo Pubblico.. You are excited/critical about the work (and the
Sienese government!) and relate it to your own
ideas about civic duty and responsibility.
5 pages
DUE: _________________
II.
Read two of Boccaccio’s novelle in the Decameron (Nastagio degli Onesti, and Patient Griselda), and 3
selected biographies from Boccaccio’s De Muleriebus Claris (On Famous Women). (class handouts)
ESSAY: Imagine that you are a 15th -century mother or father, preparing either your young daughter
(age 16, Alessandra, or your son (age 35, Palla) for marriage. Escort him/her into the master bedroom
of your home, and deliver a speech on the virtues demanded by family and society of husbands and
wives. Your speech will be based on specific panels painted by Botticelli. (images to be handed out in
class). 5 pages
DUE: ___________________
III.
Read selections from Leonbattista Alberti’s Della Famiglia (On The Family).
(class handout) In a letter addressed to your 5 children (Leonardo, Lisa, Paolo,
Margarita and Battista), discuss your plans for painting the family funerary chapel.
Your name is Giovanni Lenzi and you are a contemporary of Alberti. Identify’ the
ideas and values you wish to convey about your family to the public.
5 pages
DUE: ____________________
IV.
Read selections from Dante’s Inferno. (class handout). You are on your deathbed and your greedy
family is gathered around you. In an impassioned speech, recalling either Signorelli’s Orvieto Chapel
frescoes, or Giotto’s Arena Chapel frescoes, retail the horrors of a Renaissance hell in a final effort to
inspire your progeny to live better Christian lives.
5 pages
DUE: ____________________
V.
Read two of Vasari ‘s biographies of Renaissance artists (Le vite de’ piu eccellenti Pittori, Scultori
edAarchitettori, 1568. (Class handouts): Andrea del Castagno and Leonardo(da Vinci). Convince me,
an enterprising abbot, Fra Amadeo, of the benefits and drawbacks to hiring one of these two artists to
paint a mural of the Last Supper for my refectory.
5 pages
DUE: ______________________
VI.
RESEARCH PAPER:
10 pages
[Topic to be announced in class].