Culture, Art, and Technology (CAT) 2
Winter 2004
Agents of Change (4 credit hrs.) and Composition (2 credit hrs.)
Track A: Leonardo and Machiavelli: Nature and Art in Renaissance Italy
Lectures: Solis 107
M/W/F 11:00-11:50 AM (50 minutes each)
Prof. Jack Greenstein, Visual Arts. Art History faculty office in AAL.
Office Hrs.: Mon: 1-2
(va23@leda.ucsd.edu)
Prof. John Marino, History. H&SS 3062
Office. Hrs. Mon: 1:30-2:30, Wed: 10-10:50
(jmarino@ucsd.edu)
Course web resources
Course web page, with links to e-reserves and digital image reserves:
Course web page: http://webct.ucsd.edu
e-reserves: http://reserves.ucsd.edu/
Required study images: AAL digital image reserves: http://aal.ucsd.edu/reserves/index.html
To proxy your browser for off-campus access to e-reserves and digital image reserves, see:
http://www-no.ucsd.edu/documentation/application/squid/index.html
Books: Available at University Book Store
Masters, Roger D. Fortune is a River (PLUME/Penguin)
Machiavelli. The Prince, ed. Robert M. Adams, 2nd ed. (Norton Critical Edition)
Machiavelli. Mandragola, trans. Mera J. Flaumenhaft (Waveland Press)
Steinberg, Leo. Leonardo=s Incessant Last Supper (Zone Books)
Required handbook for writing program
Raimes, Ann. Keys for Writers: A Brief Handbook, 3rd ed. (Houghton Mifflin, 2002)
Reader: Available in printed form from Cal Copy & on-line at SSH Library e-reserves
Full citations are listed below under ACourse ReaderCContents and Assignments.”
Cal Copy is located at 3251 Holiday Ct. #103 – just off La Jolla Village Drive.
Phone: (858) 452-9949
Statement of Purpose: CAT2 is a case study of art, culture, and technology in a particular
place and time. Renaissance Florence, 1470-1530, provides the context for historical
reasoning about the extraordinary achievements of Leonardo da Vinci and Niccolò
Machiavelli who revolutionized the practice and theory of art and politics.
Syllabus of lectures and assignments
(Assignments are due on, and reading and study should be completed by, the date listed.)
I. The Expert and his World: Leonardo (1452-1519) and Machiavelli (1469-1527)
1/5
Introduction: Leonardo and Machiavelli
1/7
Face to Face Culture: City, Church, and Court
READ: Masters, pp. 1-21; “The Fat Woodcarver” in Reader.
1/9
Art and Artists in Renaissance Florence, 1: Contrapposto and Virtù
READ: Contrapposto (Alberti & Leonardo); Alberti, “Dedication”; Vasari,
“Prefaces”; & List of Art Terms in Reader
1/12
1/14
1/16
Art and Artists in Renaissance Florence, 2: Modeling and Composition
IMAGE STUDY: Study Guide on Leonardo and Renaissance Art
READ: Vasari, “Life of Leonardo da Vinci” & Kemp, “‘Your Humble Servant’”
in Reader
From the Liberal Arts to the Study of the Humanities
READ: Masters, pp. 23-73.
Slide quiz on Study Guide on Leonardo and Renaissance Art; assignment paper 1
II. Re-Thinking Naturalism
1/19 no class: Martin Luther King Day
1/21 Nature, natural philosophy and naturalism in the arts
READ: Leonardo, “Preface” & “The Science of Art” in Reader.
1/23 Constructed Perspective, a Symbolic Technology
IMAGE STUDY: Image Study: Study Guide on Constructed Perspective
READ: Constructed Perspective (Alberti & Leonardo) in Reader
1/26
1/28
1/30
2/2
2/4
Naturalism: Politics and War
READ: Masters, pp. 75-107; Machiavelli, The Prince, pp. xi-xvi & ALegations,@
pp. 75-88
Naturalism: Europe Outside Europe
READ: Vespucci=s Letter from Lisbon, 1502 in Reader; Masters, pp. 109-47.
Lab 1: Perspective. Assignment for second paper; 1st paper due
Leonardo=s Reform of Art, I: line, color, and perspective
IMAGE STUDY: Study Guide on Leonardo=s Major Pictorial Works: Tuscan
Landscape, Baptism of Christ, Adoration of the Magi, Madonna of the
Rocks (both), Burlington House Cartoon, Madonna and Child with St.
Anne painting.
READ: Steinberg, pp. 1-53
Leonardo=s Reform of Art II: drawing, invention, narrative
IMAGE STUDY: Study Guide on Leonardo=s Major Pictorial Works: Battle
of Anghiari, Leda and the Swan, Madonna, Child and St. Anne
compositions (all), Young Woman with Disheveled Hair, Late Paintings
of St. John, Drawing of Michelangelo=s David; Young Man in a
Masquerade Costume
2/6
2/9:
2/11
2/13
READ: Steinberg, pp. 54-73; Gombrich in Reader
Lab 2: Constructing Narratives: Stories and Images
READ: Steinberg, pp. 74-111.
Last Supper I: The Subject
READ: Steinberg, pp. 112-152
Last Supper II: The Space
READ: Steinberg, pp. 152-194
Slide Quiz 2 on all material in the Digital Images Reserve Study Guides, except
for the section on La Gioconda.
2/16
2/18
2/20
No classBPresident=s Day
Lab 3: Conflict Resolution: The Question of Pre-Emptive War, 2nd paper due
Machiavelli: How to Gain and Maintain a New State
READ: Machiavelli, The Prince, pp.3-33
2/23
Machiavelli: The Art of War
READ: Machiavelli, The Prince, pp. 33-42 & Discourses, pp. 89-118
Machiavelli: A Mirror for Princes
READ: Machiavelli, The Prince, pp. 42-65 & Letters, pp. 123-31
Machiavelli: Fortune is aWoman
READ: Machiavelli, The Prince, pp. 66-72 & Berlin, pp. 206-36;
Reader: Petrarch, Italia mia, & Selection from Brose
2/25
2/27
III: The Human Body and Beyond
3/1
La Gioconda, Leonardo=s Smiling Lady
READ: Boas, “Mona Lisa” in Reader
IMAGE STUDY: Study Guide on La Gioconda and Renaissance Portraiture
3/3
La Mandragola and the Social Body
READ: Machiavelli, La Mandragola, pp. 7-55
3/5
The Play=s the Thing
READ: Masters, pp. 149-211
3/8
3/10
3/12
3rd Paper DueBQuestion period
Leonardo=s Notebooks and Anatomy Drawings
READ: Leonardo’s Notebooks. Selected Writings in Reader, Steinberg, 273-287
Conclusion
READ: Panofsky in Reader
FINAL EXAM: Thursday, March 18, 11:30 - 2:30 p.m.
COURSE REQUIREMENTS:
Grading (Total 100%)
Papers: 1st
2nd
3rd
10%
20%
20%
Final exam 30%
Quizzes
10% (5% each)
Labs & Sec 10%
Essays (papers): CAT 2 and CAT 3 are part of the UCSD writing program and each are
6 credit hour courses instead of the usual 4 credit hour courses. Sections meet twice per
week and 50% of the grade is determined by writing assignments. This enhanced writing
is associated with the content of the course in order to develop skills in writing expository
prose, analysis of ideas, formulation of theses, use of evidence, organization of
arguments, and expression of thought.
Please note: For the year 2003-2004, UCSD is requiring every first-year student to
maintain a portfolio containing copies of all completed written assignments (in every
course: not just writing courses) that have been commented on and/ or graded and
returned by instructors or TAs. The portfolio would not include exams except for essay
exams. Students must have portfolios complete and available for selection by the Writing
Director of their respective colleges at the end of the academic year. If selected, the work
in these portfolios will not be returned; keep copies for your personal files separately.
IMPORTANT NOTES re GRADES
Policy on missed exams and late assignments
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•
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Unexcused late assignments will be docked 1/3 (one-third) of a letter grade for
each day late
(e.g. A becomes A- the first day late, B+ the second day late, etc.).
Make-up exams must be arranged as soon as possible after illness, injury, or
family emergency.
The policy on make-up finals follows UCSD policy, since there are strict
calendar deadlines established by the University for the submission of grades at
the end of a quarter.
Sudden long-term illness, injury, or family emergency may necessitate an
incomplete for the course, or withdrawal from it. Excuses and incompletes must
be negotiated with your TA and the course instructor(s) prior to the final exam.
ACADEMIC INTEGRITY
UCSD has a university-wide Policy on Integrity of Scholarship, published
annually in the Catalog (pp. 62-64 for 2002-3), online at
http://registrar.ucsd.edu/records/grdbk3.html.
All students must read and be familiar with this Policy.
Receipt of this syllabus constitutes an acknowledgment that you are
responsible for understanding and acting in accordance with UCSD
guidelines on academic integrity.
Academic stealing refers to the theft of exams or exam answers, of papers or takehome exams composed by others, and of research notes, computer files, or data
collected by others.
Academic cheating, collusion, and fraud refer to having others do your
schoolwork or allowing them to present your work as their own; using
unauthorized materials during exams; inventing data or bibliography to support a
paper, project, or exam; purchasing tests, answers, or papers from any source
whatsoever; submitting (nearly) identical papers to two classes.
Plagiarism refers to the use of another’s work without full acknowledgment,
whether by suppressing the reference, neglecting to identify direct quotations,
paraphrasing closely or at length without citing sources, spuriously identifying
quotations or data, or cutting and pasting the work of several (usually
unidentified) authors into a single undifferentiated whole.
Students with special needs:
Students with physical or learning disabilities should first work with UCSD’s Office
for Students with Disabilities to obtain current documentation, then contact instructor
and TA’s to arrange appropriate academic accommodations. This should be
accomplished as soon in the quarter as possible. To be fair to all students, no
individual accommodations will be made unless the student first presents the proper
documentation.
COURSE READER—CONTENT AND ASSIGNMENTS:
1/7 Face-to-Face Culture in Florence
Antonio Manetti, “The Fat Woodcarver,” from An Italian Renaissance Sextet:
Six Tales in Historical Context, ed. Lauro Martines, trans. Murtha Baca,
New York: Marsilio, 1994, pp. 171-212.
1/9 Art and Artists in Renaissance Florence 1
Contrapposto
Explanation by Leon Battista Alberti, 1435; from Leon-Battista Alberti,
On Painting, trans. by Cecil Grayson, London, 1972, pp. 83, 85
(Book II, para. 43).
Explanation by Leonardo, from Jean Paul Richter, ed., The Notebooks of
Leonardo da Vinci. 2 vols. New York, 1970 [reprint of The
Literary Works of Leonardo da Vinci, London, 1883]. R. 592-593
(vol. 1, pp. 295-96)
Leon Battista Alberti, “To Filippo Brunelleschi”; from Leon-Battista Alberti, On
Painting, trans. by Cecil Grayson, London, 1972, p. 33 (Dedication of
Italian edition)
Giorgio Vasari, Lives of the Artists, trans. by George Bull, Penguin Books, 1965,
(reprinted: 1987 as Lives of the Artists: Volume I)
“Preface to the Lives,” pp. 25-47 (read for overall argument)
“Preface to Part Two,” pp. 83-93
“Preface to Part Three,” pp. 249-254
1/12 Art and Artists in Renaissance Florence 2
Giorgio Vasari, “Life of Leonardo da Vinci”(ca. 1545, revised 1568), from Lives
of the Artists, trans. by George Bull, Penguin Books, 1965, (reprinted:
1987 as Lives of the Artists: Volume I), pp. 255-7.
Martin Kemp, “‘Your Humble Servant and Painter’: Towards a History of
Leonardo Da Vinci in his Contexts of Employment,” Gazette des BeauxArts, v. 140 (October 2002), pp. 181-94 (Available on-line through CDL).
1/21 Nature, Natural Philosophy and Naturalism in the Arts
Leonardo da Vinci, “Preface” & “The Science of Art”; from Martin Kemp, ed.,
Leonardo. On Painting, New Haven and London, 1989, pp. 9-32, 45-46.
1/23 Constructed Perspective, a Symbolic Technology
Constructed Perspective
Explanation by Leon-Battista Alberti, 1435, from Leon-Battista Alberti,
On Painting, trans. by Cecil Grayson, London, 1972, pp. 53, 55, 57
(Book I, paras. 18-21)
Explanation by Leonardo, from Martin Kemp, ed., Leonardo. On Painting,
New Haven and London, 1989, pp. 52-58
1/28 Naturalism: Europe Outside Europe
“A New World: Vespucci=s Letter from Lisbon, 1502” in J. H. Parry, ed.,
The European Reconnaissance: Selected Documents (New York: Harper
& Row, 1968), pp. 171-74 and 185-90.
2/4 Leonardo=s Reform of Art II: drawing, invention, narrative
E. H. Gombrich, “Leonardo’s Method for Working Out Compositions,” from
Norm and Form. Studies in the Art of the Renaissance, vol. 1, London
1966, pp. 58-63, 146-147, figs. 91-106.
2/27 Machiavelli: Fortune is a Woman
Kenneth R. Bartlett, “Petrarch,” from The Civilization of the Italian Renaissance.
A Sourcebook, Lexington, Massachusetts and Toronto, 1992, pp. 17-18.
Francesco Petrarch, “Italia mia,” from Selections from the Canzoniere and
Other Works, trans. Mark Musa, Oxford and New York: Oxford
University Press, 1985, no. 128, pp. 43-45.
Margaret Brose, “Petrarch’’s Beloved Body: ‘Italia mia,’” from Feminist
Approaches to the Body in Medieval Literature, ed.. by Linda Lomperis
and Sarah Stanbury, Philadelphia: University of Pennsylvania Press, 1993,
pp. 1-20.
3/1 La Gioconda, Leonardo=s Smiling LadyBJG
George Boas, “The Mona Lisa in the History of Taste,” Journal of the History of
Ideas, vol. 1, 1950, pp. 207-24.
3/10
Leonardo=s Notebooks and Anatomy Drawings
Leonardo’s Notebooks. Selected Writings
List of Sources:
Kemp = Martin Kemp, ed., Leonardo. On Painting, New Haven and
London, 1989. An anthology of writings from Leonardo’s
notebooks, selected and arranged by the editor.
OMS = Charles D. O’ Malley and J. B. de C. M. Saunders, Leonardo da
Vinci on the human body. The Anatomical, Physiological and
Embryological Drawings of Leoanrdo da Vinci. New York, 1982
[1952]. Note: Translations of Leonardo’s notes are in italics;
commentary is in Roman type.
R. = Jean Paul Richter, ed., The Notebooks of Leonardo da Vinci. 2 vols.
New York, 1970 [reprint of The Literary Works of Leonardo da
Vinci, London, 1883]. The book is a compilation of passages from
Leonardo’s manuscripts arranged and numbered by the editor.
Passages are cited by editor’s number, not page.
ANATOMY
Myology of the Shoulder (OMS, pp. 136 & 137).
Myology of shoulder (OMS, pp. 138 & 139, & 493 no. 49)
Myology of the upper extremity (OMS, pp. 154 & 155, 494 no. 57)
Genito-urinary system (OMS, pp. 456 & 457, & 505 no. 202).
Genito-urinary system (OMS pp. 460 & 461)
THEORY OF ART
On Color (Kemp pp. 70-71, 76-81)
Posture, Expression, Decorum (Kemp, pp. 144-151)
Examples of Compositions (Kemp. pp. 228-229, 232-237)
MAXIMS R. 1136-1146
PERSONALIA
Salai’s arrival and first year as Leonardo’s familiar (R. 1458)
A Dream (R. 1363)
3/12 Conclusion
Erwin Panofsky, “Artist, Scientist, Genius. Notes on the RenaissanceDämmerung” from The Renaissance: Six Essays, ed. by Wallace K.
Ferguson, New York, 1962, pp. 123-82