SCHOOL OF DIVINITY, HISTORY AND PHILOSOPHY
ACADEMIC SESSION 2015-2016
HA3096/HA4096 - RENAISSANCE PAINTING IN VENICE
30 Credits / 11 Weeks
PLEASE NOTE CAREFULLY:
The full set of school regulations and procedures is contained in the
Undergraduate Student Handbook which is available online at your
MyAberdeen Organisation page. Students are expected to familiarise
themselves not only with the contents of this leaflet but also with the
contents of the Handbook. Therefore, ignorance of the contents of the
Handbook will not excuse the breach of any School regulation or procedure.
You must familiarise yourself with this important information at the earliest
opportunity.
COURSE CO-ORDINATOR
Dr Luke Uglow
Office hours by appointment
01224 273783
luke.uglow@abdn.ac.uk
Discipline Administration:
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Mrs Kathleen Brebner
50-52 College Bounds
Room CB001
01224 273733
history-art@abdn.ac.uk
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TIMETABLE
Monday 4.00-6.00pm CB203
Wednesday 11:00am-1.00pm CB203
Students can view their university timetable at
http://www.abdn.ac.uk/infohub/study/timetables-550.php
COURSE DESCRIPTION
The course will explore the principal developments in Venetian painting from
c1400 until c1600. Aiming to understand the special characteristics of painting
in Venice, this course will examine the extraordinary topographical, social,
economic and political conditions that influenced artistic production in the
city. Studies of individual artists and specific genres will be linked to major
themes such as gender, sexuality, devotional practice, religious reform and
individual self-fashioning. Students will acquire a familiarity with the works of
art, knowledge of the socio-economic and cultural conditions, and the ability
to analyse paintings in terms of contemporary literature, art-theory and
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Christian theology.
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INTENDED AIMS AND LEARNING OUTCOMES
Level 3 Aims
1. Analyse the main visual artists and their works from Venice.
2. Understand the main defining qualities of Venetian Renaissance art and its
place within the main political, social and religious contexts of its period.
3. Develop team working and presentation skills
4. Develop and refine skills of inquiry, thought, translation and
communication through the study of the History of Art.
Level 4 Aims
1. Analyse the main visual artists and their works from Venice.
2. Understand the main defining qualities of Venetian Renaissance art and its
place within the main political, social and religious contexts of its period.
3. Respond in a critical and informed manner to a formal presentation.
4. Further develop and refine skills of inquiry, thought, translation and
communication through the study of the History of Art
Level 3 Outcomes
1. Further develop skills of analysis and synthesis by frequently comparing
and contrasting works of art.
2. Critically analyse, in the period of the course, the changes in the artistic
culture of Venice.
3. Identify those features of the Venetian Renaissance tradition which are
specific to it.
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4. Informed by preliminary reading contribute to discussion and criticism of
related topics in seminars.
5. Informed by preliminary reading, reveal knowledge of background relevant
to the topic considered in seminars/tutorials.
6. Organise, deliver and discuss a seminar paper on a given topic.
7. Display knowledge and comprehension of the course through the
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organisation of answers in a written exam.
8. Present a hypothesis and draw conclusions in examination answers which
derive from the evidence presented.
9. Identify, explain and discuss selected images in a visual examination.
Level 4 Outcomes
1. Further develop skills of analysis and synthesis by frequently comparing
and contrasting works of art.
2. Critically analyse, in the period of the course, the changes in changes in the
artistic culture of Venice.
3. Identify those features of the Venetian Renaissance tradition which are
specific to it.
4. Informed by preliminary reading lead discussion and analysis of related
topics in seminars.
5. Act as a respondent to presentations, presenting a critical analysis of the
form and content
6. Informed by preliminary reading, reveal knowledge of background relevant
to the topic considered in seminars/tutorials.
7. Display knowledge and comprehension of the course through the
organisation of answers in a written exam.
8. Present a hypothesis and draw conclusions in examination answers which
derive from the evidence presented.
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9. Identify, explain and discuss selected images in a visual examination.
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SEMINAR PROGRAMME
WEEK 1: Monday, 14 September
The History of Venice and the Venetian Republic
Introduction:
To begin the course we will start by surveying the course outline, defining the
major themes, and dividing into presentation groups. Each group will be
assigned a specific week in which they will lead the tutorial discussion. The
second half of the class will be a lecture covering the general history of the
period, while describing the rise and decline of the Venetian State. The lecture
will explore the place of Venice within a theological, social and political
context of Renaissance Italy, and evaluate ‘The Myth(s) of Venice’ paying
focusing on the visualisation in Jacopo de’ Barbari’s View of Venice (1500)
Suggested Reading:
Chambers D., and B. Pullan (ed.), Venice: A Documentary History 14501630, 1992
Muir, E., Civic Ritual in Renaissance Venice, 1981
Deborah Howard, ‘Venice as a Dolphin: Further Investigations into Jacopo
de’ Barbari’s View’, Artibus et Historiae, Vol. 18, No. 35, 1997, pp.101-111
Ferraro, J. M., Venice: History of the Floating City, 2012
Martin, J. and D. Romano (ed.), Venice Reconsidered: The History and
Civilization of an Italian City-state, 1297-1797, 2002
Humfrey (ed.), Venice and the Veneto, 2007
Queller, D., The Venetian Patriciate: Reality versus Myth, 1986
Rosand, D., Myths Of Venice: The Figuration of a State, London, 2001
Schulz, J., ‘Jacopo de' Barbari's View of Venice: Map Making, City Views
and Moralised Geography before the Year 1500’, Art Bulletin, 60, 1978,
pp.425-74
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WEEK 1: Wednesday, 16 September
The History & Historiography of Venetian Renaissance Painting
Suggested Reading:
Barolsky, P., Giotto’s father and the family of Vasari’s Lives, 1992
Barolsky, P., Why the Mona Lisa Smiles and Other Tales by Vasari, 1991
Bullen, J. B., “A Clash of Discourses: Venetian Painting in England 1750–
1850”, in Word & Image, vol. 8, no. 2, April-June, 1992, pp.109-123
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Burckhardt J., ‘The Development of the Individual’ The Civilization Of The
Renaissance In Italy, 1860 (trans. Middlemore, S., 1878), pp.52-55
De Girolami Cheney, L., Giorgio Vasari’s Prefaces: Art & Theory, 2012
Hext, K., Walter Pater: Individualism and Aesthetic Philosophy, 2013
Ladis, A., Reading Vasari, 2005
Pater, W., ‘The School of Giorgione’, Fortnightly Review, Vol.22, No.130,
October 1877, pp.526-538, or as a chapter in Walter Pater, The
Renaissance: Studies in Art and Poetry, Oxford, 1998
Rubin, P., Giorgio Vasari: Art and History, 1995
Seiler, R.M., (ed.), Walter Pater: The Critical Heritage, London, 1980
Vasari, G., ‘Preface to Part III’, ‘Giorgione’ and ‘Titian’, Lives of the Artists,
1568 (trans. Bull, G., 1986)
WEEK 2: Monday, 21 September
Devotional Images I: Church
Key Images:
Giovanni Bellini, San Giobbe Altarpiece, c1487
Giovanni Bellini, San Zaccaria Altarpiece, c1505
Giorgione, Castelfranco Altarpiece, c1505
Titian, Assunta, 1516-1518
Titian, Pesaro Altarpiece, 1519-1526
Key Reading:
Goffen, R., 'Bellini, S. Giobbe and Altar Egos', Artibus et historiae, Vol. 7,
No. 14, 1986, pp.57-70
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Suggested Reading:
Borsook E., et al. (ed.), Italian Altarpieces 1250-1550, 1994, pp.139-176
Goffen, R., Piety and Patronage in Renaissance Venice, 1986
Goffen, R., Giovanni Bellini, 1989, pp. 119-190
Hope, C., ‘Altarpieces and the Requirements of Patrons’, in Christianity and
the Renaissance, 1989
Humfrey, P., The Altarpiece in Renaissance Venice, 1993
Humfrey P., et al. (ed.), The Altarpiece in the Renaissance, 1990
Joannides, P., Titian to 1518, 2001, pp.285-298
Meilman, P., Titian and the Altarpiece in Renaissance Venice, 1999
Pignatti, T., ‘Altarpieces’, in The Genius of Venice 1500-1600, 1983, pp.2931
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Rosand, D., Painting in Sixteenth-century Venice, 1997
Rosand, D., ‘Titian’s Light as Form and Symbol’, Art Bulletin, Vol. 57, No. 1,
1975, pp.58-64
Settis, S., ‘Giorgione in Sicily – On the Dating and Composition of the
Castelfranco Altarpiece), Giorgione: Myth and Enigma, 2004, pp.133-163
WEEK 2: Wednesday 23 September
Devotional Images II: Home
Key Images:
Giovanni Bellini, Virgin and Child, 1460-1464 (Accademia Carrara)
Giovanni Bellini, Madonna degli Alberetti, 1485
Giovanni Bellini, Madonna of the Meadow, 1505
Giovanni Bellini, Dead Christ Supported by the Madonna and St John, 1460
(Brera, Milan)
Giovanni Bellini, Dead Christ Supported by Two Angels, 1480-1485
Germany
Giovanni Bellini, The Ecstasy of Saint Francis, 1475-1480
Giovanni Bellini, Saint Jerome Reading in a Landscape, c1480
Discussion Topics:
Evaluate the form and meaning of Giovanni Bellini’s images of the Virgin and
Child.
Consider Giovanni Bellini’s images of the Dead Christ within a domestic
devotional context.
Examine the domestic function of paintings of Saint Francis or Saint
Jerome.
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Key Reading:
Goffen, R., ‘Icon and Vision: Giovanni Bellini's Half-length Madonnas’,
Art Bulletin, Vol. 57, No. 4, 1975, pp. 487-518
Suggested Reading:
Belting, H., 'St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary
Life', I Tatti Studies in the Italian Renaissance, Vol. 17, No. 1, 2014, pp. 5-33
Brown, D. A., et al., Bellini, Giorgione, Titian and the Renaissance of
Venetian Painting, 2006
Bynum Walker, C., 'The Body of Christ in the Later Middle Ages: A Reply to
Leo Steinberg', Renaissance Quarterly, Vol. 39, No. 3, 1986, pp.399-439
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Goffen, R., Giovanni Bellini, 1989
Humfrey, P., The Cambridge Companion to Giovanni Bellini, 2004
Humfrey, P., Painting in Renaissance Venice, 1995
Kristeva, J., 'Motherhood according to Giovanni Bellini', in Desire and
Language: A Semiotic Approach to Literature and Art, 1980
Lugli, E., ‘Between Form and Representation: The Frick Saint Francis’, Art
History, Vol. 32, No. 1, 2009, pp. 21-51
Steinberg, L., The Sexuality of Christ in Renaissance Art and Modern
Oblivion, 1996
Ringbom, S., Icon to Narrative: The Rise of the Dramatic Close-up in
Fifteenth-century Devotional Painting, 1984
Rosand, D., Painting in Sixteenth-Century Venice: Titian, Veronese,
Tintoretto, 1997
WEEK 3: Monday, 28 September
Narrative Painting I: Jacopo Bellini and the Scuola di San Marco
Key Images:
Jacopo Bellini, Flagellation, c1450 (Louvre)
Jacopo Bellini, Road to Calvary, c1450 (Louvre)
Gentile Bellini, St. Mark Preaching in Alexandria, 1504–7
Palma Vecchio, Storm at Sea, c1528
Paris Bordone, Presentation of the Ring to the Doges of Venice, 1534
Key Reading:
Humfrey, ‘The Bellinesque Life of St. Mark Cycle for the Scuola Grande di San
Marco in Venice in Its Original Arrangement’, Zeitschrift für Kunstgeschichte,
Vol. 48, No. 2, 1985, pp.225-242
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Suggested Reading:
Collins, H. F., Gentile Bellini: A Monograph and Catalogue of Works, 1996
Degenhart B., et al. (ed.), Jacopo Bellini, the Louvre Album of Drawings,
1984
Eisler, C., The Genius of Jacopo Bellini: The Complete Paintings and
Drawings, 1988
Fortini Brown, P., Venetian Narrative Painting in the Age of Carpaccio,
1988
Fortini Brown, P., The Renaissance in Venice, 1997
Pacht, O., Venetian Painting in the 15th Century: Jacopo, Gentile and
Giovanni Bellini and Andrea Mantegna, 2003
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Sohm, P. L., ‘Palma Vecchio's Sea Storm: A Political Allegory’, Canadian Art
Review, Vol. 6, No. 2, 1979-80, pp. 85-96
WEEK 3: Wednesday, 30 September
Narrative Painting II: Carpaccio
Key Images:
Carpaccio, The Healing of the Madman, c1496
Gentile Bellini, Procession of the True Cross, c1496
Carpaccio, Arrival of the Ambassadors, 1497-1498
Carpaccio, The Dream of Saint Ursula, 1495
Carpaccio, St George and the Dragon, 1502
Carpaccio, St Augustine in his Study, 1502
Discussion Topics:
What were the Scuola di San Giovanni Evangelista, the Scuola di San
Giorgio degli Schiavoni and Scuola di Sant'Orsola?
Explain the narrative sequence in the paintings.
Discuss the civic and social function of the paintings.
Key Reading:
Elizabeth Rodini, 'Describing Narrative in Gentile Bellini's Procession in
Piazza San Marco', in Art History, Vol. 21, No. 1, 1998, pp. 26-44
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Suggested Reading:
Chambers, D., et al (ed.), Venice a Documentary History, Oxford, 1992,
pp.209-217; 280-289; 297-302; 316-321
Humfrey, P., ‘Narrative Painting in the Venetian Scuole’, in Painting in
Renaissance Venice, 1995, pp.81-89
Humfrey P. and R. MacKenney, ‘Venetian Trade Guilds as Patrons of Art in
the Renaissance’, The Burlington Magazine, Vol. 128, No. 998, May 1986,
pp.317-333
Humfrey, P., ‘Competitive Devotions: The Venetian Scuole Piccole as
Donors of Altarpieces in the Years around 1500’, in The Art Bulletin, Vol.
70, No. 3, September 1988, pp.401-423
Mason, S., Carpaccio: the major pictorial cycles, 2000
Mazzonis, Q., Spirituality, Gender and the Self in Renaissance Italy: Angela
Merici and the Company of St Ursula (1474-1540), 2007
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Nagel, A. and C. S. Wood, ‘Toward a New Model of Renaissance
Anachronism’, Art Bulletin, 87, 2005, pp.403-32
Pullan, B., 'The Scuole grandi of Venice. Some further thoughts,' in
Christianity and the Renaissance, Timothy Verdon et al (ed.), 1990, pp.272301
WEEK 4: Monday, 5 October
Portraiture I: Bellini to Giorgione
Key Images:
Giovanni Bellini, Portrait of a Young Man in Senator's Garb, c1480s
Giovanni Bellini, Portrait of Doge Leonardo Loredan, 1501
Giorgione, Portrait of a Young Man, c1508 (Berlin)
Giorgione, Self-Portrait as David, c1507
Giorgione, The Warrior (Gerolamo Marcello?), c1505
Key Reading:
Rona Goffen, Giovanni Bellini, 1989, pp. 191-221
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Suggested Reading:
Burke, P., 'The Presentation of Self in the Renaissance Portrait', The
Historical Anthropology of Early Modern Italy, Cambridge 1987, pp.150-67
Campbell L., et al. (ed.), Renaissance Faces, 2008
Campbell, L., Renaissance Portraits, 1990
Ferino-Pagden, S., et al. (ed.), Giorgione: Myth and Enigma, 2004
Goffen, R., “Crossing the Alps”, in Renaissance Venice and the North :
crosscurrents in the time of Durer, Bellini and Titian, pp.114-131
Humfrey, P., ‘Fifteenth-century Portraiture’, in Painting in Renaissance
Venice, 1995, pp.100ff
Moretti, L., ‘Portraits’, in The Genius of Venice 1500-1600, 1983, pp.32-34
Pope-Hennessy, J., The Portrait in the Renaissance, 1966
Thomson de Grummond, N., 'VV and Related Inscriptions in Giorgione,
Titian, and Dürer', in Art Bulletin, Vol. 57, No. 3, September, 1975, pp.346356
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WEEK 4: Wednesday, 7 October
Portraiture II: Titian
Key Images:
Titian, Portrait of Gerolamo (?) Barbarigo, c1510
Titian, Portrait of a Lady ('La Schiavona'), c1510-12
Titian, Portrait of a Young Man in a Red Cap, c1511
Titian, Portrait of a Young Man, 1515-20 (London)
Titian, Portrait of Giovanni Bellini (?), c1511-12 (Copenhagen)
Titian, Man with a Glove, 1520 (Louvre)
Titian, Portrait of Laura Dianti, c1520–25
Titian, Portraits of Charles V, 1533 and 1548 (Madrid), 1548 (Munich),
Titian, Doge Andrea Gritti, 1546/1548
Titian, Portraits of Pietro Aretino, 1545 (Florence) and 1548 (Frick)
Titian, Pope Paul III and His Grandsons, (1545–46)
Titian, The Vendramin Family, begun c1540-3, completed c1550-60
Titian, Portrait of Jacopo Strada, 1567-68
Titian, Self-Portraits, c1560-62 (Berlin) and 1567 (Madrid)
Discussion Topics:
What was new about Titians early portraits?
How did Titian’s portraits change throughout his career?
Choose three examples, and discuss the representation of the sitter.
Evaluate Titian’s self-portraits.
Key Reading:
Joannides, P., Titian to 1518, 2001, pp.203-235
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Suggested Reading:
Burke, P., 'The Presentation of Self in the Renaissance Portrait', The
Historical Anthropology of Early Modern Italy, Cambridge 1987, pp.150-67
Brown, D. A., et al., Bellini, Giorgione, Titian and the Renaissance of
Venetian Painting, 2006
Campbell L., et al. (ed.), Renaissance Faces, 2008
Campbell, L., Renaissance Portraits, 1990
Cole, B., Titian and Venetian Painting, 1450-1590, 1999
Freedman, L., Titian’s Portraits through Aretino’s Lens, 1995
Humfrey, P., Titian, 2007
Ilchman, F., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, 2009
Nichols, T., Titian and the End of the Venetian Renaissance, 2013
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Rosand, D. (ed.), Titian: His World and his Legacy, 1982
Rosand, D., ‘Titian Draws Himself’, Artibus et Historiae, Vol. 30, No. 59,
2009, pp. 65-71
WEEK 5: Monday, 12 October
Eroticism I: Women in Renaissance Venice
Key Images:
Giorgione, ‘Laura’, 1506
Titian, ‘Venus of Urbino’, 1538
Key Reading:
Chojnacki, S., ‘Patrician Women in Early Renaissance Venice’, Studies in the
Renaissance, Vol. 21, 1974, pp.176-203
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Suggested Reading:
Bayer, A., (ed.), Art and Love in Renaissance Italy, 2008
Cropper, E., ‘On Beautiful Women, Parmigianino, “il petrarchismo” and the
Vernacular Style’, Art Bulletin, 58, 1976, pp. 374-94
Chojnacka, M., Working Women of Early Modern Venice, 2001
Chojnacki, S., Women and Men in Renaissance Venice: Twelve Essays on
Patrician Society, 2000
Feld, M. (ed.), The Courtesan’s Arts: Cross-Cultural Perspectives, 2006
Ginzburg, ‘Titian, Ovid, and Sixteenth-century Codes for Erotic Illustration’,
in Titian’s Venus of Urbino, 1997
Ruggiero, G., The Boundaries of Eros: Sex Crime and Sexuality in
Renaissance Venice, 1985
Rosenthal, M.P., ‘Venetian Women Writers and their Discontents, in
Sexuality and Gender in Early Modern Europe, 1993
Rogers, M., 'The Decorum of Women's Beauty: Trissino, Firenzuola, Luigini
and the Representation of Women in 16th Century Painting', Renaissance
Studies, 2, 1988, pp. 47-88
Santore, ‘Danae: the Renaissance Courtesan’s alter ego’, Zeitschrift fur
Kunstgeschichte, 54, 1991, pp. 412-7
Yavneh, N., ‘The Ambiguity of Beauty in Tasso and Petrarch’, in Sexuality
and Gender in Early Modern Europe, 1993
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WEEK 5: Wednesday, 14 October
Eroticism II: Sleeping Venuses and Beautiful Women
Key Images:
Beautiful Women:
Giorgione, ‘Laura’, 1506
Titian, Flora, 1515-1517
Palma Vecchio, A Blonde Women, c1520
Palma Vecchio, La Bella, c1518-1520
Titian, Violante, c1510-1515
Titian, Penitent Magdalene, 1533
Titian, La Bella, 1536
Titian, Women in a Fur Coat, 1536
Sleeping Venuses:
Giorgione, Sleeping Venus, c1510
Palma Vecchio, Venus, 1520 (Courtauld)
Girolamo da Treviso, Sleeping Venus, 1523
Titian, Venus of Urbino, 1538
Titian, Danae, (Naples, Aspley House, Prado, St Petersburg)
Titian, Venus and Organist and Little Dog, 1550
Discussion Topics:
Who are these women? Are they portraits?
Are these images pornographic? What other function might they have?
Compare Giorgione’s Sleeping Venus (c1510) and Titian’s Venus of Urbino
(1538).
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Key Reading:
Junkerman, A. C., ‘The Lady and the Laurel: Gender and Meaning in
Giorgione's "Laura"’, Oxford Art Journal, Vol. 16, No. 1, 1993, pp. 49-58
Suggested Reading:
Bayer, A., (ed.), Art and Love in Renaissance Italy, 2008 (GoogleBooks /
metmuseum.org)
Brown, D. A., et al., Bellini, Giorgione, Titian and the Renaissance of
Venetian Painting, 2006, pp.189-236
Goffen, R., (ed.), Titian’s Women, 1997
Goffen, R., (ed.), Titian’s Venus of Urbino, 1997
Goffen, R., 'Renaissance Dreams', Renaissance Quarterly, Vol. 40, No. 4,
1987, pp.682-706
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Grabski, J., '"Victoria Amoris": Titian's "Venus of Urbino." A
Commemorative Allegory of Marital Love', Artibus et Historiae, Vol. 20, No.
40, 1999, pp.9-33
Joannides, P., Titian to 1518, 2001, pp.285-298
Pardo, M., ‘Artifice as Seduction in Titian’, in Sexuality and Gender in Early
Modern Europe, 1993
Rogers, M., ‘Reading the Female Body in Venetian Renaissance Art’, in New
Interpretations of Venetian Renaissance Painting, 1994, pp.77-90
Rosand, D., 'So-and-so Reclining on her Couch', Titian 500, 1993, pp.101119
Rylands, P., Palma Vecchio, 1992
Santore, C., ‘Danae: the Renaissance Courtesan’s alter ego’, Zeitschrift fur
Kunstgeschichte, 54, 1991, pp. 412-7
Steele, B. D., 'In the Flower of Their Youth: "Portraits" of Venetian Beauties
ca. 1500', The Sixteenth Century Journal, Vol. 28, No. 2, 1997, pp.481-502
Zapperi, R., 'Alessandro Farnese, Giovanni della Casa and Titian's Danae in
Naples', Journal of the Warburg and Courtauld Institutes, 54, 1991, pp.15971
WEEK 6: Monday, 19 October
Pastoral Painting I: The Giorgionesque
Key Images:
Giorgione, Trial of Moses and Judgement of Solomon, c1505
Giorgione, Adoration of the Magi, c1508
Titian, Noli me Tangere, c1514
Titian, Three Ages of Man, c1512
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Key Reading:
Rosand, D., 'Pastoral Topoi: On the Construction of Meaning in Landscape',
in The Pastoral Landscape, 1992, pp.161-177
Suggested Reading:
Anderson, J., Giorgione: The Painter of ‘Poetic Brevity’, 1997, pp. 148-160
Brown, D. A., et al., Bellini, Giorgione, Titian and the Renaissance of
Venetian Painting, 2006
Brown, D. A., ‘Giulio Campagnola: the Printmaker as Painter’, Artibus et
Historiae, Vol. 31, No. 61, 2010, pp. 83-97
Cole, B., Titian and Venetian Painting, 1450-1590, 1999
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Colonna, F., Hypnerotomachia Poliphili (The Strife of Love in a Dream),
1499/1999
Ferino-Pagden, S., et al. (ed.), Giorgione entmythisiert, 2008
Hope, C., Titian, 1980
Humfrey, P., Painting in Renaissance Venice, 1995
Joannides, P., Titian to 1518, 2001
Joannides, P., 'Titian, Giorgione and the Mystery of Paris', Artibus et
Historiae, Vol. 31, No. 61, 2010, pp.99-114
Mazzotta, A., Titian: A Fresh Look at Nature, 2012
Mellinkoff, R., 'Titian's Pastoral Scene: A Unique Rendition of Lot and His
Daughters', Renaissance Quarterly, Vol. 51, No. 3, 1998, pp. 828-863
Nichols, T., Titian and the End of the Venetian Renaissance, 2013
WEEK 6: Wednesday, 21 October
Pastoral Painting II: Iconographic Enigmas
Key Images:
Giorgione, Three Philosophers, c1508
Giorgione, The Tempest, c1509
Titian, Concert Champêtre c1510
Titian, Sacred and Profane Love, 1514
Titian, Three Ages of Man, c1512
Discussion Topics:
Evaluate interpretations of Giorgione’s Three Philosophers and The
Tempest
Evaluate interpretations of Titian’s Concert Champêtre, Sacred and Profane
Love, and Three Ages of Man
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Key Reading:
Motzkin, E., ‘The Meaning of Titian's “Concert Champêtre” in the Louvre’,
Gazette des Beaux-Arts, 116, 1990, pp.51-66
Suggested Reading:
Anderson, J., Giorgione: The Painter of ‘Poetic Brevity’, 1997, pp. 148-160
Brown, D. A., et al., Bellini, Giorgione, Titian and the Renaissance of
Venetian Painting, 2006
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Campbell, S. J., ‘Giorgione's "Tempest," "Studiolo" Culture, and the
Renaissance Lucretius’, Renaissance Quarterly, Vol. 56, No. 2, 2003, pp.
299-332
Dundas, J., ‘A Titian Enigma’, Artibus et Historiae, Vol. 6, No. 12, 1985, pp.
39-55
Ferino-Pagden, S., et al. (ed.), Giorgione: Myth and Enigma, 2004
Holberton, P., 'The "pastorale" or "fete champetre" in the Early Sixteenth
Century', in Titian 500, 1993, pp.245-62
Gilbert, C., ‘On Subject and Not-Subject in Italian Renaissance Pictures’,
The Art Bulletin, Vol. 34, No. 3, 1952, pp. 202-216
Humfrey, P., Titian and his World: Venetian Renaissance Art from Scottish
Collections, 2004
Joannides, P., Titian to 1518, 2001
Lettieri, D., 'Landscape and Lyricism in Giorgione's "Tempesta"', Artibus et
Historiae, Vol. 15, No. 30, 1994, pp. 55-70
Nagel, A. and L. Pericolo, Subject as Aporia in Early Modern Art, 2010
Settis, S., Giorgione’s "Tempest": Interpreting the Hidden Subject, 1990
Stefaniak, R., 'Of Founding Fathers and the Necessity of the Place:
Giorgione's Tempesta', Artibus et Historiae, Vol. 29, No. 58, 2008, pp. 121155
WEEK 7: Monday, 26 October
Mythological Painting I: Titian & Alfonso d’Este
Key Images:
Giovanni Bellini (and Titian), Feast of the Gods, 1514-1529
Titian, Worship of Venus, 1518
Titian, Bacchus and Ariadne, 1520-23
Titian, The Bacchanal of the Andrians, 1523–1526
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Key Reading:
Goodgal, D., 'The Camerino of Alfonso I d'Este', Art History, Vol. 1, 1978,
pp.162-190
Suggested Reading:
Bull D., and J. Plesters, The Feast of the Gods: Conservation, Examination
and Interpretation, 1989
Christiansen, K., ‘Dosso Dossi’s Aeneas frieze for Alfonso d’Este’s
camerino’, Apollo, Vol. 151, 2000, pp.36-45
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Colantonio, A., ‘Dies Acyoniae: The Invention of Bellini’s Feast of the Gods’,
Art Bulletin, Vol. 73, June 1991, pp.237-256
Hope, C., Titian, 1980
Hope, C., 'The 'Camerini d'Alabastro' of Alfonso d'Este-I', The Burlington
Magazine, Vol. 113, No. 824, 1971, pp.641-650
Hope, C., 'The 'Camerini d'Alabastro' of Alfonso d'Este-II', The Burlington
Magazine, Vol. 113, No. 825, 1971, pp.712-721
Holberton, P., 'Battista Guarino's Catullus and Titian's "Bacchus and
Ariadne”, Burlington Magazine, Vol. 128, No. 998, 1986, pp.347-350
Humfrey, P., and Lucco, M., Dosso Dossi: court painter in Renaissance
Ferrara, 1998
Murutes, H., 'Personifications of Laughter and Drunken Sleep in Titian's
Andrians', The Burlington Magazine, Vol. 115, No. 845, 1973, pp.518-525
Nalezyty, S., 'Giovanni Bellini's Feast of the Gods and Banquets of the
Ancient Ritual Calendar', The Sixteenth Century Journal, Vol. 40, 2009 pp.
745-768
Tresidder, W., 'The Cheetahs in Titian's Bacchus and Ariadne', The
Burlington Magazine, Vol. 123, No. 941, 1981, pp.481-485
San Juan, R. M., ‘The Court Lady’s Dilemma: Isabella d’Este and Art
Collecting in the Renaissance’, Oxford Art Journal, Vol. 14, No. 1, 1991,
pp.67-78
Course Document - | 2015-2016
WEEK 7: Wednesday, 28 October
Mythological Painting I: Titian & Phillip II
Key Images:
Titian, Danae, 1554 (Aspley House, London)
Titian, Venus and Adonis, 1554 (Prado, Madrid)
Titian, Diana and Acteon, 1556-1559 (Edinburgh/London)
Titian, Diana and Calisto, 1556-1559 (Edinburgh/London)
Titian, Rape of Europa, 1559-1562 (Boston)
Titian, Perseus and Andromeda, 1554-1556 (Wallace Collection)
Discussion Topics:
Discuss the significance of the nude in Titian’s poesie
What is the relationship between the textual source and the painted image
in Titian’s poesie?
Where the paintings designed as a series?
How can we ‘read’ the paintings as poems?
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Key Reading:
Lawson, J., ‘Titian's Diana Pictures the Passing of an Epoch’, i, Vol. 25, No.
49, 2004, pp. 49-63
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Suggested Reading:
Blunt, 'Titian's "Perseus"', Burlington Magazine, 105, 1963, p.281
Cavalli-Bjorkman, G., (ed.), Bacchanals by Titian and Rubens, 1987
Cocke, R., ‘Titian the second Apelles: the Death of Actaeon’, Renaissance
Studies, Vol. 13, 1999, pp. 303-11
Georgievska-Shine, A., 'Titian, "Europa", and the Seal of the "Poesie"',
Artibus et Historiae, Vol. 28, No. 56, 2007, pp.177-185
Gould, C., 'The "Perseus and Andromeda" and Titian's Poesie', The
Burlington Magazine, Vol. 952, 1963, pp.112-117
Hills, P., ‘Titian’s Veils’, Art History, vol. 29, No 5, 2006, pp.771-95
Humfrey, P., The Age of Titian: Venetian Renaissance Art from Scottish
Collections, 2004, pp.157-62
Manca, J., (ed.), Titian 500, articles by David Bull on "Feast of the Gods"
and by W. Steadman Sheard on sculptural decoration of the camerino, pp.
265-288, 301-314
Nash, J., Veiled Images, 1985
Puttfarken, T., Titian & Tragic Painting: Aristotle’s Poetics and the Rise of
the Modern Artist, 2005
Rearick, ‘Titian's Later Mythologies’, Artibus et Historiae, Vol. 17, No. 33
1996, pp.23-67
Rogers, M., 'Decorum in Lodovico Dolce and Titian's poesie', Decorum in
Renaissance Narrative Art, 1992, pp.111-120
Rosand, D., 'Ut pictor poeta: Meaning in Titian's Poesie', New Literary
History, Vol. 3, No.3, 1972, pp. 527-546
Rosand, D., ‘Titian and the Eloquence of the Brush’, Artibus et Historiae,
Vol. 2, No. 3, 1981, pp.85-96
Shapiro, M., 'Titian's "Rape of Europa", Gazette des Beaux-Arts, LXXVII,
1971, pp.109-116
Stone, D., 'The Source of Titian's "Rape of Europa"', Art Bulletin, Vol. 54,
No. l, 1972, pp.47-49
WEEK 8: Reading Week [NO CLASSES]
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WEEK 9: Monday, 9 November
Tintoretto I: Disegno e Colorito
Key Images:
Tintoretto, The Miracle of the Slave, 1548
Tintoretto, The Presentation of the Virgin, 1553-56
Tintoretto, St Mark Working Many Miracles, 1562-1568
Tintoretto, The Stealing of the Dead Body of St Mark, 1562-1566
Tintoretto, St Mark Rescuing a Saracen from Shipwreck, 1562-1566
Tintoretto, Paradise, c1588
Key Reading:
Nichols, T., ‘Tintoretto, Titian, Michelangelo’, Tintoretto: Tradition and
Identity, 1999, pp. 29-67
Course Document - | 2015-2016
Suggested Reading:
Banks, E. M. A., Tintoretto’s Religious Imagery of the 1560’s, 1994
Falomir, M., Tintoretto, 2007
Hammond, J., 'Tintoretto and the Presentation of Christ: The Altar of the
Purification in Santa Maria dei Carmini, Venice', Artibus et Historiae, Vol.
34, No. 68, 2013, pp. 203-217
Ilchman, F., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, 2009
Lepschy, A. L., Tintoretto Observed: A Documentary Survey of Critical
Reactions from the 16th to the 20th Century, 1983
Loh, M., ‘Death, History and the Marvellous Lives of Tintoretto’, Art
History, Vol. 31, No. 5, 2008, pp. 665-690
Nichols, T., 'Tintoretto's poverty', in New Interpretations of Venetian
Renaissance Painting, 1994, pp.99-110
Rosand, D., Painting in Sixteenth-Century Venice: Titian, Veronese,
Tintoretto, 1997
Vollodi, K., ‘Tintoretto’s Time’, Art History, Vol.38, No.3, pp. 414-433
WEEK 9: Wednesday, 11 November
Tintoretto II: The Counter-Reformation
Key Images:
Tintoretto, Last Supper, 1547 (San Marcuola, Venice)
Tintoretto, Last Supper, c1570 (Santo Stefano, Venice)
Tintoretto, Last Supper, c1570 (San Polo, Venice)
Tintoretto, Last Supper, 1592-94 (San Giorgio Maggiore, Venice)
Tintoretto, The Apotheosis of St Roch, 1564 (Scuola di San Rocco)
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Tintoretto, Crucifixion, 1565 (Scuola di San Rocco)
Tintoretto, The Brazen Serpent, 1575-76 (Scuola di San Rocco)
Tintoretto, St Mary of Egypt, 1582-87 (Scuola di San Rocco)
Discussion Topics:
What was the Counter-Reformation and what were its implications for art
production?
Compare Tintoretto’s paintings of the ‘Last Supper’ and discuss their
patronage.
Describe Tintoretto’s paintings for the Scuole di San Rocco. To what extent
should this be considered a Counter-Reformation programme?
Key Reading:
Worthen, T., ‘Tintoretto's Paintings for the “Banco del Sacramento” in S.
Margherita’, Art Bulletin, 1996, Vol. 78, No.4, pp.707-731
Suggested Reading:
Banks, E. M. A., Tintoretto’s Religious Imagery of the 1560’s, 1994
Hahn, R., ‘Motion, Energy, and Revelation: Tintoretto's Last Suppers’,
TriQuarterly, Vol. 126, 2006, pp. 200-224
Hills, P., ‘Patronage and piety in Cinquecento Venice: Tintoretto and the
Scuola del Sacramento’, Art History, Vol. 6, 1983, pp.30-43
Ilchman, F., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, 2009
Lepschy, A. L., Tintoretto Observed: A Documentary Survey of Critical
Reactions from the 16th to the 20th Century, 1983
Marshall, L., ‘A Plague Saint for Venice: Tintoretto at the Chiesa di San
Rocco’, Artibus et Historiae, Vol. 33, 2012, pp. 153-187
Nichols, T., Tintoretto: Tradition and Identity, 1999
Course Document - | 2015-2016
WEEK 10: Monday 16 November
Veronese I: Villa Barbaro
Key Images:
Veronese, Temptation of St Anthony, 1552-53
Veronese, Frescoes in Villa Barbaro, 1560-1561
Veronese, Mars Undressing Venus, 1570s (National Gallery, Edinburgh)
Veronese, Mystical Marriage of St Catherine, c1575
Veronese, Crucifixion, 1580-82
Veronese, Apotheosis of Venice, 1585
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Key Reading:
Cocke, R., ‘Wit and Humour in the Work of Paolo Veronese’, Artibus et
Historiae, Vol. 11, No. 21, 1990, pp. 125-145
Suggested Reading:
Cocke, R., Paolo Veronese: Piety and Display in an Age of Religious Reform,
2001
Cocke, R., Veronese, 1980
Garton, J., ‘Paolo Veronese’s Art of Business: Painting, Investment, and the
Studio as Social Nexus’, Renaissance Quarterly, Vol. 65, No. 3, 2012,
pp.753-808
Ilchman, F., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, 2009
Rosand, D., Painting in Sixteenth-Century Venice: Titian, Veronese,
Tintoretto, 1997
Rearick, W. R., The Art of Paolo Veronese, 1528-1588, 1988
Salomon, X. F., Veronese, 2014
Course Document - | 2015-2016
WEEK 10: Wednesday, 18 November
Veronese II: The Inquisition
Key Images:
Veronese, Feast in the House of Simon, 1556-1560
Veronese, Supper in Emmaus, c1560
Veronese, Marriage at Cana, 1563
Veronese, Feast at the House of Simon, 1567-1570
Veronese, Feast at the House of Simon, 1570-1572
Veronese, Feast in the House of Gregory the Great, 1572
Veronese, Feast in the House of Levi, 1573
Veronese, Last Supper, 1585
Discussion Topics:
Why was Veronese’s painting particularly suited to images of banquets?
Describe the development of Veronese’s feast paintings.
Explain the iconography and symbolism of Veronese’s Marriage at Cana?
What was the problem with Veronese’s Feast in the House of Levi and what
do we learn from his interrogation by the inquisition?
What has changed in the Last Supper of 1585?
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Key Reading:
Grasman, E., ‘On Closer Inspection – The Interrogation of Paolo Veronese’,
Artibus et Historiae, Vol. 30, No. 59, 2009, pp.125-134
Suggested Reading:
Chambers, D., et al. (ed.), Venice a Documentary History, 1992, 'Veronese
before the Inquisition 1573', pp.232-6
Cocke, R., Paolo Veronese: Piety and Display in an Age of Religious Reform,
2001
Fehl, P., 'Veronese and the Inquisition: A Study of the Subject Matter of the
so-called "Feast in the House of the Levi"’, Gazette des Beaux-Arts, Vol. 58,
1961, pp.325-54
Hanson, K. H., 'The Language of the Banquet: Reconsidering Paolo
Veronese's Wedding at Cana', Invisible Culture, 2010, pp. 32-50
Ilchman, F., Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, 2009
Rosand, D., 'Theater and Structure in the Art of Paolo Veronese', The Art
Bulletin, Vol. 55, No. 2, 1973, pp. 217-23
Rosand, D., Painting in Sixteenth-Century Venice: Titian, Veronese,
Tintoretto, 1997
Salomon, X. F., ‘“Feast in the House” of Levi by Paolo Veronese: The
Process Reopened’, Burlington Magazine, Vol. 154, No. 1313, 2012 pp.581583
Salomon, X. F., Veronese, 2014
Course Document - | 2015-2016
WEEK 11: Monday, 23 November
Titian’s Late Style: Materiality
Key Images:
Titian, The Annunciation, 1562-64
Titian, Madonna and Child, 1565-70
Titian, Venus Blindfolding Cupid, c1565
Titian, St Jerome, 1570-75
Titian, Mocking of Christ, 1570-75
Titian, Crowning with Thorns, 1572-76
Titian, Shepherd and Nymph, 1575-76
Titian, The Flaying of Marsyas, 1576
Titian, Pietà, 1576
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Key Reading:
Held, J., ‘Titian's Flaying of Marsyas: An Analysis of the Analyses’, Oxford
Art Journal, Vol. 31, No. 2, 2008, pp. 181-194
Suggested Reading:
Cranston, J., The Muddied Mirror: Materiality and Figuration in Titian's
Later Paintings, 2010
Elkins, J., ‘On Some Limits of Materiality in Art History’, Das Magazin des
Instituts für Theorie, No. 12, 2008, pp.25-30
Falomir, M., ‘"Christ Mocked", a Late "Invenzione" by Titian’, Artibus et
Historiae, Vol. 28, No. 55, 2007, pp. 53-61
Grabski, J., 'The Contribution of Collaborators in Titian's Late Works',
Artibus et Historiae, Vol. 34, pp. 285-310, 2013
Nichols, T., Titian and the End of the Venetian Renaissance, 2013
Puttfarken, T., Titian and Tragic Painting, 2005
Rosand, D., ‘Titian and the Eloquence of the Brush’, Artibus et Historiae,
Vol. 2, No. 3 1981, pp. 85-96
Woods-Marsden, J., (ed.), Titian: Materiality, Likeness, Istoria, 2007
WEEK 11: Wednesday, 25 November
Course Document - | 2015-2016
VISUAL TEST
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ASSESSMENT
Level 3:
Student performance in this course is assessed by written examination, visual
test, essays and class contribution
2 hour written examination (30%)
1 hour visual test (20%)
Two essays of 2000 words (40%)
Class Contribution based on seminar presentation (10%)
Level 4:
Student performance in this course is assessed by written examination, visual
test, essays and class contribution
2 hour written examination (30%)
1 hour visual test (20%)
Two essays of 2500 words (40%)
Class Contribution based on seminar presentation (10%)
Students who are retaking the entire course (not just the exam and resits)
must submit new essays for their course work. It is not permitted to resubmit
previous essays.
Click to view the University Level Descriptors (ANNEX A).
Course Document - | 2015-2016
Click to view the University Assessment Scale Band Descriptors (ANNEX B).
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ESSAYS
FIRST ESSAY QUESTION: DEADLINE THURSDAY, 22 OCTOBER 2015
With reference to at least THREE different authors, evaluate the scholarship
on ONE painting chosen from the list below (information on what is expected
in this assignment will be given on MyAberdeen and in class on Monday, 14
September):
1. Giovanni Bellini, San Giobbe Altarpiece, c1487
2. Giovanni Bellini, The Ecstasy of Saint Francis, 1475-1480
3. Carpaccio, The Healing of the Madman, c1496
4. Gentile Bellini, Procession of the True Cross, c1496
5. Carpaccio, St Augustine in his Study, 1502
6. Giovanni Bellini, Portrait of Doge Leonardo Loredan, 1501
7. Giorgione, ‘Laura’, 1506
8. Giorgione, Sleeping Venus, c1510
9. Titian, Sacred and Profane Love, 1514
10. Titian, Three Ages of Man, c1512
11. Titian, Assunta, 1516-1518
12. Titian, ‘Venus of Urbino’, 1538
13. Tintoretto, The Miracle of the Slave, 1548
14. Veronese, Marriage at Cana, 1563
SECOND ESSAY QUESTION: DEADLINE THURSDAY, 19 NOVEMBER 2015
1. Analyse the disegno-colorito dialectic.
2. Compare Titian’s mythological paintings for Alphonso d’Este and Phillip II
Course Document - | 2015-2016
3. With reference to their domestic context, discuss the form and significance
of Bellini’s images of the Virgin and Child.
4. Consider paintings by Giorgione, Titian and Palma Vecchio. What do they
teach us about contemporary attitudes to women?
5. Offer an iconographical interpretation of Giorgione’s Tempest OR Three
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Philosophers
6. With reference to at least three examples, discuss the treatment of the
individual in Venetian portraiture.
ASSESSMENT DEADLINES
Essay 1: Thursday, 22 October 2015
Essay 2: Thursday, 19 November 2015
SUBMISSION ARRANGEMENTS
Submit one paper copy with a completed essay cover sheet to the drop boxes
in CB008 in 50-52 College Bounds and one electronic copy to Turnitin via
MyAberdeen. Both copies to be submitted by 3.00pm on the due date.
Please note: Failure to submit both an electronic copy to TurnitinUK, and an
identical paper copy, with the digital receipt attached, will result in a
deduction of marks.
Failure to submit to TurnitinUK will result in a zero mark.
EXAMINATION
The exam will consist of EIGHT questions of which you should answer TWO.
Past exam papers can be viewed at http://www.abdn.ac.uk/library/learning-
Course Document - | 2015-2016
and-teaching/for-students/exam-papers/.
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