New Course Proposal for:Caravaggio, 'the man who came to destroy painting,?
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Course Proposal Details for - Caravaggio, 'the man who came to destroy painting,? (Course code not
assigned)
School
Edinburgh College of Art
Course Description
¿Caravaggio came into the world to destroy painting¿ (Nicolas Poussin as reported
by André Félibien).
This course will situate Caravaggio¿s controversial painting within the historical
parameters of its making, while at the same time addressing the complex critical
legacy that his work invoked. We will consider the varying critical fortune of his
major works within his lifetime in order to understand the paradoxical reception
this artist received. If his paintings stimulated a European-wide following among
artists and patrons, they also provoked vehement criticism as well as outright
rejection. Poussin¿s description of Caravaggio as an iconoclastic artist, spoken
against a recent background of religious iconoclasm in Northern Europe, resonates
with the art-critical debates of the times. Against the didactic precepts of
Europe¿s emerging art academies dedicated to the principles of disegno,
Caravaggio painted large canvases without recourse to preparatory drawings.
According to his own statements he worked without reference to the canons of
ancient sculpture or High Renaissance art, instead painting an unmediated art of
natural observation directly transposed onto canvas. Thus he claimed to work
outside the history of art. The course will both consider and challenge this claim.
We will begin with Caravaggio¿s revolutionary early genre scenes, which forged
new subject matter for painting. We will study the shocking immediacy of his
religious art, which rendered biblical stories in a visual language of the quotidian.
We will analyse both the means, and the effects, of his painting methods,
considering his use and choice of models as well as his extempore technique
brought to light by twentieth-century scientific probings of his paint surfaces.
Finally, we will study the writings of his critics to understand the traditions of art
against which Caravaggio pitted his work.
Normal Year Taken
Year 3 Undergraduate
Course Level (PG/UG)
UG
Visiting Student
Availability
Available to all students
SCQF Credits
20
Credit Level (SCQF)
SCQF Level 10
Home Subject Area
History of Art
Other Subject Area
Course Organiser
Genevieve Warwick
Course Secretary
Sue Cavanagh
% not taught by this
institution
Collaboration
Information (School /
Institution)
Total contact teaching
hours
22
Any costs to be met by
students
Pre-requisites
Students must have a pass in either History of Art 2 OR Architectural History 2A
and 2B
Co-requisites
Prohibited Combinations
Visting Student Prerequisites
Keywords
Fee Code (if invoiced at
course level)
Proposer
Sue Cavanagh
Default Mode of Study
Classes & Assessment incl. centrally arranged exam
Default delivery period
Semester 1
Marking Scheme to be
employed
Common Marking Scheme - UG Honours Mark/Grade
Taught in Gaidhlig?
No
Course Type
Standard
Summary of Intended
Learning Outcomes/L01
The aims of the component are:
to acquire a sound knowledge of Caravaggio's oeuvre and biography through an
understanding of his life and works in historical context.
Learning Outcome 2
to develop historical, critical, and visual skills in the examination and description
of the art of this period by using different types of historical source material ¿
visual, scientific, critical, and historical ¿ in a reflective manner.
Learning Outcome 3
to access relevant bibliography, analyse scholarly debate within the field, and
organise acquired knowledge and understanding within a coherent argument.
Learning Outcome 4
Learning Outcome 5
Special Arrangements
Components of
Assessment
1 x 2000 word essay (50%) and 1 x 2 hour examination (50%)
Exam Information
Diet: 1st sitting
Diet Month: April and May
Exam Paper Name: Caravaggio, 'the man who came to destroy painting'?
Duration in hours and mins: 2 hours, 0 minutes
Stationary Requirements: 16 sides
Syllabus
1. Overview
2. Caravaggio¿s Biographies: Mancini / Baglione / Bellori
3. Caravaggio¿s Working Processes: conservation histories
4. Painting the Streets: Gypsies and Cardsharps
5. Painting to Please: Music Paintings
6. Painting Faith: Contarelli Chapel, S Luigi dei Francesi
7. Painting Faith: Cerasi Chapel, S Maria del Popolo
8. Painting Faith: Death of the Virgin / Entombment, S Maria in Vallicella
9. After Rome: Painting in Naples, Malta, Sicily
10. Painting? Or Iconoclasm? Medusa / Capitoline St John
Academic Description
Study Pattern
Transferable Skills
Study Abroad
Reading Lists
Bal, Mieke. Quoting Caravaggio: contemporary art, preposterous history, 1989
Bell, J. C. ¿Some Seventeenth-Century Appraisals of Caravaggio¿s Coloring.¿
Artibus et historiae, 27, 1993, 103-30.
Bersani & Dutoit, Caravaggio's Secrets, 1998
Bonsanti, Giorgio. Caravaggio, 2007
Christiansen, Keith. A Caravaggio rediscovered: the Lute Player, 1990
Christiansen, Keith. ¿Caravaggio and ¿l¿esempio davanti del naturale¿ Art Bulletin,
68, 1986, 421-45
Christiansen, Keith. ¿Caravaggio¿s second versions¿, Burlington Magazine, 134,
1992, 502-3
Franklin, David. Caravaggio and his followers in Rome, 2011
Fried, Michael, The moment of Caravaggio, Princeton, 2010.
Friedlaender, Walter. Caravaggio, 1958
Hibbard, Howard. Caravaggio, 1985
Hockney, D. Secret Knowledge: Rediscovering the lost techniques of the Old
Masters, London, 2001.
Langdon, Helen. The Lives of Caravaggio by Mancini, Baglione, Bellori, 2005
Langdon, Helen. Caravaggio: A Life 1998
Lapucci, Roberta. "Caravaggio and the alchemy of painting", Painted Optics
Symposium: re-examining the Hockney-Falco thesis, 2009, 37-82.
Lavin, Irving. ¿Divine Inspiration in Caravaggio¿s two St Matthews¿ Art Bulletin, 56,
1974, 59-81
Marin, Louis. To destroy painting, 1995.
Mormando, F., ed. Saints and Sinners: Caravaggio and the Baroque Image, exh.
cat., Boston, McMullen Museum of Art Boston College, Chicago, 1999.
Nicholson, Benedict. Caravaggism in Europe, 1990
Pericolo, Lorenzo. The poetics of dislocation. Narrative in the painting of
Caravaggio, 2011
Posner, Donald. ¿Caravaggio¿s Homo-erotic early works¿, Art Quarterly, 34, 1971,
301-24.
Puglisi, Catherine. Caravaggio, 1998
Puttfarken, Thomas. "Caravaggio's `Story of St Matthew': a challenge to the
conventions of painting", Art History, 21, 1998, 163-181
Quiviger, Francois. Caravaggio, 1992
Rudolph, C. & Ostrow, S. T. "Isaac Laughing: Caravaggio, non-traditional imagery
and traditional identification" Art History, 24, 2001, 646-681.
Schütze, Sebastian. Caravaggio, the complete paintings, 2009
Sohm, Philip ¿Caravaggio¿s Deaths¿ Art Bulletin, 84, 2002, 449-68
Stone, David. Painting in exile: Caravaggio and the island of Malta, 2007
Strinati, Claudio, ed., Caravaggio, Milan, 2010 (exhibition catalogue, Palazzo delle
Scuderie, Rome)
Trinchieri Camiz, ¿Music and Painting in Cardinal del Monte¿s household¿,
Metropolitan Museum Journal, 26, 1991, 213-16
Trinchieri Camiz, ¿The castrato singer: from informal to formal portraiture¿,
Artibus et historiae, 18, 1988, 171-86
Varriano, J. ¿Caravaggio and Violence.¿ Storia dell¿arte 97, 1999, 317-32.
Vodret, Rossella. Caravaggio¿s Rome 1600-1630, 2012
Vodret, Rossella Caravaggio: the complete works, 2010
Vodret, Rossella. Caravaggio in Rome, 2010.
Warwick, Genevieve, ed. Caravaggio: Realism, Reception, Rebellion, 2006
The Age of Caravaggio, exh cat., Metropolitan Museum, N.Y., 1985
Caravaggio: The final years, exhibition catalogue, 2005
Latest Approval Status
Submitted for Level 1
Approval?
Yes
Level 1 Approval Status
Awaiting Decision
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Submitted for Level 2
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Level 2 Approval status
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Senatus Approval
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Submitted for Senatus
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Approved by Senatus?
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Full Approval Status
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Submitted for input of
further task details?
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Further Course Details
task completed?
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Has Proposer cancelled
proposal?
No
Reasons for rejection
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