part i coursebook 12-13 (1)

part 1 master

Department of History of Art

Part 1 Coursebook 2012-13

1 Scroope Terrace, Cambridge CB2 1PX

Tel: 01223 332975

Fax: 01223 332960

www.hoart.cam.ac.uk

CAMBRIDGE UNIVERSITY

DEPARTMENT OF HISTORY OF ARTPart One Course Book

This Course Book contains the essential information undergraduates will need while studying for Part I of the History of Art Tripos, including course descriptions and bibliographies; further details, along with the Style Sheet guidelines for presentation of written work, are to be found in the Departments Student Handbook.

Part I Course Directors:

Prof Deborah Howard [email protected] John Munns

[email protected] David Oldfield [email protected] Perutz

[email protected] contact the relevant convenor with any queries about the course organisation. Prof Deborah Howard runs the Meaning of Architecture section of Papers 4/5 and Dr Oldfield runs the Meaning of Art section. Paper 1 (Objects of Art History) is convened by Dr John Munns and Papers 2/3 (The Making of Art) is convened by Vivien Perutz. Students will be divided into two groups for many of the classes as follows:

GROUP A

GROUP B

[email protected]@cam.ac.uk





FordLeeHO [email protected]@cam.ac.uk







[email protected] Paula [email protected]

LeeHannahHO [email protected]

The main part of the Course Book is divided into 3 sections

Course Outline

Course Details XE "Course Details" Bibliographies XE "Bibliographies" XE "Timetables" COURSE OUTLINE

The purpose of Part I in the History of Art is to introduce students to the fundamentals of the discipline and, in general, to the teaching and learning methods of the University. In this first year of study considerable emphasis is laid on direct contact with works of art and architecture in Cambridge, and on the understanding of certain traditions fundamental to the art and architecture of Western Europe. Part I therefore prepares students for advanced work in Part II in the History of Art; having completed it successfully, students may also transfer to another Part II with the agreement of their college, new department, Director of Studies and Tutor.

Part I has three components:

1. Paper 1 XE "Paper 1" . This year-long survey course focusing on works of art and architecture in Cambridge is arranged more or less in chronological order from the Middle Ages to the present day. It should enable students to grasp the broad history of Western (and some non-Western) art and architecture, its main styles, techniques and traditions, with direct reference to objects which students are able to see. Teaching takes the form of on-site classes and seminars. Students are expected to be assiduous in reading around the subject of each class. A general bibliography is to be found from page 17. Additional reading matter may be recommended by individual lecturers. This course is examined only by a visual analysis paper.

2. Papers 2/3 and 4/5 XE "Papers 2/3 and 4/5" . These consist of two term-long courses devoted to specific periods and issues. Students attend lectures and seminars, and prepare weekly written work on which they are supervised in small groups. Both papers run concurrently with Paper 1 XE "Paper 1" . Papers 4/5, taught in the Michaelmas Term, concern how works of art and architecture are interpreted in the light of cultural traditions. In contrast, Papers 2/3, taught in the Lent Term, concern how works of art are made. Papers 4/5 are organised into two parts of four weeks each, while Papers 2/3 are organised into three parts of two or three weeks each. The numbering of the Papers reflects the way they are examined in the Easter Term: Papers 2 and 4 are essay papers, 3 and 5 visual analysis papers.

3.A Short Dissertation. This is a piece of written work XE "Long Essay" of 5,000 words maximum to be submitted for examination not later than 12 noon on Friday 10 May 2013, on a work of art or architecture in or around Cambridge. The subject is chosen in consultation with the Director of Studies. The Director of Studies will recommend another person to advise on reading and travel and supervise the Short Dissertation, or will do so him/herself if appropriate. No more than ONE hour-long supervision may be sought from the adviser in total.

If the student wishes a draft of the essay to be read by a member of staff, the Director of Studies (rather than the supervisor) may read ONE draft and offer advice on presentation. The draft must be submitted in sufficient time, to be agreed with the Director of Studies, for students to be able to respond to the comments which are made on their work.

Note that a tariff of 1% will be deducted for every 100 words over the word limit of undergraduate dissertations. As stated above the word limit for Part I is 5000 words. The word limit excludes bibliography, but include footnotes/endnotes and appendices. Candidates who wish to submit an appendix which takes the submitted dissertation over the stated word-limit must first discuss it with their Director of Studies. If the Director of Studies is convinced that an appendix is necessary, he or she will then inform the Chairman of Examiners. Appendices will only be granted in exceptional circumstances, in order, for example, to allow a student to include unknown and important primary documentary evidence necessary to support their arguments.

The Weekly Essay XE "weekly Essay" Presentation: Essays must be typed and should be about 2000 words long, unless your supervisor informs you otherwise. Pages should be numbered consecutively, with adequate margins on both sides, and the text must be double-spaced. Please staple or clip the pages together and make sure that your name and that of your supervisor appear on the front page.

Bibliography and footnotes: Each essay must provide a bibliography at the end, including every source which has been consulted to research and write this piece of work. All quotations must be credited in footnotes or endnotes. For further details please see the Style Sheet for History of Art Essays and Dissertations that appears as Appendix B in the Student Handbook. There are several systems of citation which you are welcome to use, but you must be consistent with the system which you choose, and must in every case include author, title, date, city of publication, and page numbers, if necessary, for a book, and author, article title, journal title, volume/issue, date, and pages numbers for articles. The Harvard or Chicago referencing system, or the system of the Journal of the Warburg & Courtauld Institute (which is explained in detail at the back of any issue of the journal), are all acceptable systems of citation for undergraduate work.

References: Downloading of prepared texts from the internet is not allowed. Excerpts from a written source, whether published or unpublished, must be acknowledged with a footnote or endnote. Never lift whole sentences or paragraphs from some written source without putting them in quotation marks and acknowledging them. Summaries or paraphrases of another persons ideas must also be acknowledged with a footnote/endnote referencing the relevant source. If you are in any doubt about what constitutes plagiarism, you should consult your supervisor or Director of Studies. Failure to do this may lead to accusations of plagiarism.

The University takes plagiarism very seriously. In an extreme case, it could lead to the withholding of a degree, regardless of intent to deceive. For more information see http://www.cam.ac.uk/plagiarism/. Detailed information on plagiarism is also published in the Departments Student Handbook which can be downloaded from the History of Art intranet (www.hoart.cam.ac.uk).Essays must be submitted in good time by arrangement with the supervisor. Please note that supervisors are not obliged to read and mark essays which are handed in late, nor to accept e-mailed copies.

It is not acceptable to miss supervisions except in case of illness, when it is polite to forewarn the supervisor if possible. Many colleges now charge students for any supervisions which are missed without an acceptable reason.

Academic Skills

The Department runs various sessions on Academic Skills at strategic points in the academic year (see timetables for each term). In the Michaelmas Term there is a seminar on study skills and, in the Lent Term, a seminar on the Short Dissertation and various practical sessions on the techniques of painting, drawing and sculpture.

In addition, Myke Clifford, the Chief Faculty Photographer, is able to help with the theory and practice of photography and digital image processing. The photography studio is available during the week for any practical photography and processing. Students should book in advance.

Students are expected to attend all of these sessions, which form a vital component of the course. Students who do not attend lectures, seminars and supervisions will be seriously disadvantaged in their exams.

COURSE DETAILS

XE "Course Details" Paper 1 XE "Paper 1" : The Objects of Art History

(Michaelmas, Lent and first half of Easter Term) XE "The Objects of Art History" Dr John Munns and others

The purpose of this paper is to offer students a practical survey of the history of art (Western and some non-Western) with reference to objects in Cambridge, and the Fitzwilliam Museum especially. The contents of the course will change from year to year. The collections of the Fitzwilliam are extensive, and while at Cambridge students of the History of Art will get to know them well. Paper 1 XE "Paper 1" teaching takes the form of classes taught in front of specific works of art or architecture on Tuesdays and Thursdays at 2 pm or 3pm sharp throughout the academic year, unless otherwise indicated. Lecturers are asked to provide a hand-out and bibliography for each class. Paper 4/5 XE "Paper 4/5" (first half of Michaelmas Term)

The Meaning of Architecture XE "The Meaning of Architecture and Art" Prof Deborah Howard and others

This part of the course consists of Lectures at 10 am on Tuesdays, Wednesdays and Thursdays, and Seminars at 2 pm or 3 pm on Monday, unless otherwise indicated.

This course will discuss the ways in which buildings can express ideas and emotions, through architectural language, light, space and materials. Buildings are constructed as settings for human activity, but their forms, proportions and decoration also convey a range of cultural meanings.

The course will run from antiquity to 1600 approximately but with later architecture as appropriate. No previous knowledge of architecture is assumed. Most buildings discussed in lectures will be canonical examples described in survey textbooks, and architectural jargon will be avoided as far as possible.

The themes of the four weeks are: Introducing the Language of Architecture; Designing Architecture: Materials, Proportions and Buildability; Architecture and the Body; Sacred and Secular Symbolism in Architecture. Paper 4/5xe "Paper 4/5" (second half of Michaelmas Term)

The Meaning of Artxe "The Meaning of Architecture and Art"Dr David Oldfield and others

This part of the course consists of Lectures at 10 am on Tuesdays, Wednesdays and Thursdays, and Seminars at 2 pm or 3 pm on Monday, unless otherwise indicated.

The aim of this course is two-fold. Firstly, the lectures and seminars are designed to provide an overview of the variety of genres in medieval and early modern painting in Europe. We will explore both religious and secular pictorial themes and their historical development.

Secondly, this course aims to familiarise students with methods of interpretation, their potential, and their limitations. Students are expected to apply these methodological tools critically, and to consider different ways in which to analyse pictorial narrative and composition. Emphasis is given to works of art in Cambridge and London collections. However, the lectures will complement the seminars in the museums with a discussion of other relevant paintings held in collections elsewhere.

The seminars throughout Paper 4/5 will involve further discussion around set texts, which will be supplied to students as the course progresses.

Paper 2/3 (Lent Term)

The Making of Art XE "The Making of Art" Vivien Perutz, Paul Shakeshaft and others

This course consists of Lectures at 10am on Tuesdays and Thursdays, Seminars at 2 pm or 3 pm on Mondays, and various Site Seminars, often on Fridays. Please see the timetable below for full details. Seminars include trips to the Fitzwilliam Museum, the Hamilton Kerr Institute, and Kettles Yard.

Weeks 1-3

A: Techniques and Developments in Painting and Drawing, c. 1300-1700 This part of the course will examine the relation of technique and style in paintings and drawings from the fourteenth to the seventeenth centuries. In considering painting, it will look closely at the effects artists obtained by variations of support and paint application. In the case of drawing, which was generally employed as preparation for other works, the course aims to familiarise students with some of the main stages and techniques habitually employed by artists. Techniques will be studied not as ends in themselves, but in their historical place, and with reference to the changing aims and ideals of art.

Weeks 4-5

B. Techniques and Developments in Sculpture and Printmaking, c. 1300-1700

This part of the course will examine the technical and stylistic developments that have taken place in the field of sculpture (mainly Italian) from the early Renaissance to c. 1700. Some lectures will take the form of general surveys of particular periods; others will take a monographic approach, and focus on the oeuvre of key sculptors. Different printmaking techniques on wood and metal will also be investigated, together with the varied functions that they served.

Weeks 6-8

C. Techniques and Developments in Painting and Sculpture, c. 1700-1900 This part of the course will explore the connections between style, technique and training in painting and sculpture from the eighteenth to the turn of the twentieth century. It will consider how changes in institutional settings and material conditions, such as the emergence of public art in the Academies, or the standardisation of painting materials in the mid-nineteenth century, affected artists aims and methods. Thematic lectures will address issues such as plein-air painting, the relationship between sketch and finish, and the embrace of primitive techniques by avant-garde artists at the turn of the century.

The Short Dissertation XE "Part I Long Essay" The following rules for presentation apply to all Short Dissertations:

1.The Candidates name should not appear anywhere on the Short Dissertation. On the front cover you must supply the following:

(i) Title of the dissertation

(ii) Description i.e. Short Dissertation, Part I

(iii) Date

(iv) Candidate number

(v) Word count, including all footnotes/endnotes, but excluding the bibliography

2.Title: By Friday 15 February 2013 a candidate should have settled, in consultation with his/her Director of Studies, the subject and title of the Short Dissertation, and should have informed the Departmental Secretary. Subjects and titles of Short Dissertations will be approved formally by the Faculty Board of Architecture and History of Art. The title should simply state the artist/architect and title of the work of art/architecture which forms the focus of your essay. It should NOT be in the form of a question, quotation, description or statement. You should consult your Director of Studies about the subject of your Short Dissertation in good time before the deadline for submitting the title.

3.Date of submission: TWO COPIES of the Short Dissertation XE "Dissertations" must be submitted to the Departmental Secretary, in accordance with detailed arrangements approved by the Faculty Board, by Friday 10 May 2012. A severe penalty will result from late submission, namely that for every day or part day that the Short Dissertation is late, 3% will be deducted from its final mark. This will apply without exception unless the student provides a Tutors note detailing any extenuating circumstances resulting in late submission. Please note that technical problems of any nature, for example computer/printer failure or binding difficulties, are unacceptable as extenuating circumstances.

4.Length: Short Dissertations are not to exceed 5,000 words, excluding bibliography but including footnotes/endnotes and appendices. A valuable part of the academic exercise provided by the Short Dissertation is to argue ones case within the prescribed length. A candidate will disadvantage her/himself if the Short Dissertation falls well short of, or seriously exceeds, the prescribed length, as marks will be deducted for failing to meet the criteria of the exercise. Please remember that you must state the word count, excluding bibliography but including footnotes/endnotes and appendices, on the front cover of your work. Note that a tariff of 1% will be deducted for every 100 words over the word limit.

5.Bibliography, footnotes: Each Short Dissertation must include a bibliography, in correct scholarly form, of the works consulted and, where appropriate, a table of bibliographical abbreviations. Footnotes/endnotes should be used to give precise reference to particular documents or publications, and, if appropriate, to expand points made in the text. Reference to books and periodicals and other articles in the bibliography and footnotes should follow a recognised system such as that used in The Journal of the Warburg and Courtauld Institutes or The Art Bulletin. Whichever system is adopted, consistency is essential. Students will be penalised for the failure to observe one or other system.

If a candidate has any doubts or queries about this aspect of the Short Dissertation XE "Long Essay" he/she should consult his/her Director of Studies.

6.Format: The written part of the essay is to be typed (with double spacing and adequate margins) on A4 size paper, and all pages should be numbered consecutively. It should be suitably bound (samples from previous years can be seen in the Departmental Secretarys office), and it is the candidates responsibility to ensure that sufficient time is allowed for this before the deadline. It is advisable to retain a duplicate of the typescript in addition to the two submitted copies.

7.Illustrations: Illustrations (whether photographs, photocopies, plans or original drawings) are either to be mounted securely with the typescript, or included in a separate volume if their size etc. makes such mounting inconvenient or impossible. They may also be scanned into the text. Care must be taken that every illustration has a caption and a number to correspond with the reference in the text. Captions for illustrations should include the following information: artist/architect, title of work, date, location, media, dimensions. A page of contents and a list of plates should also be included.

8.In exceptional cases ancillary materials e.g. videos may be submitted in support of an essay, but candidates must discuss the scope and extent of such materials with their Director of Studies or the Head of Department prior to submitting the essay.

9.Plagiarism is unacceptable and any student found to be unfairly plagiarising other work will be severely penalised (see section on plagiarism under The Weekly Essay above).

10. Acknowledgement: Brief formal acknowledgement should be made to persons from whom information or suggestions have been received.

11. Arrangements after the Tripos: The Examiners may invite selected candidates to deposit one copy of their Short Dissertation in the Department, these to be made available for reference but not, of course, for publication in whole or in part without the express permission of the author. Other candidates should reclaim their Short Dissertations from the Departmental Secretary as soon as possible after the Class List has been posted at the Senate House.

A Session will be held on the Short Dissertation XE "Long Essay" on Wednesday 23 January 2013 and any further questions will be answered then.

BIBLIOGRAPHIES

Most, if not all, of these books are available in the Faculty Library. However, such is demand for particular texts that you will have to use the University Library and your college library as well. If the college library does not have core books for the course please ask the college librarian to order them. College librarians are always happy to build up their stock of core texts for university courses. They may request a letter of support, which your Director of Studies will be happy to provide. The works listed here are by no means the only ones relevant to the course you will be taking. Supervisors may recommend additional or alternative books and articles.

XE "BIBLIOGRAPHIES" Recommended Reference Books you may wish to buyHugh Honour & John Fleming, A World History of Art, 5th edn., 2002

Either

Peter & Linda Murray, The Penguin Dictionary of Art and Artists, 7th edn., 1997

or

Erika Langmuir & Norbert Lynton, The Yale Dictionary of Art and Artists, 2000

David Watkin, A History of Western Architecture (several editions)

Either

James Stevens Curl, A Dictionary of Architecture, 1999

or

John Fleming, Hugh Honour, Nikolaus Pevsner, The Penguin Dictionary of Architecture (several editions)

James Hall, Dictionary of Subjects and Symbols in Art (several editions)

Whos Who in the Ancient World, ed. and intro by Betty Radice, 1973

The Holy Bible

Jill Lever & John Harris, Illustrated Dictionary of Architecture, 800-1914, 2nd edn., 1993

Recommended Preparatory Reading XE "Recommended Reading" The following are all worth reading from the point of view of general education and preparation for the course, and many remain relevant throughout the History of Art Tripos. Many are available in other editions than those mentioned here.

Surveys and Reference Books

The Macmillan Dictionary of Art, 34 vols., 1996

Fleming, J., H. Honour, N. Pevsner, The Penguin Dictionary of Architecture (several editions)

Foster, H., R. Krauss, Y.-A. Bois, B. Buchloh, Art Since 1900: Modernism, Anti-Modernism and Post-Modernism, 2004

Gombrich, E. H., The Story of Art (several editions)

Hall, J., Dictionary of Subjects and Symbols in Art (several editions)

Honour, H. & J. Fleming, A World History of Art (several editions)

Pelican History of Art (multi volume series)

Pevsner, N., An Outline of European Architecture, 1960

Stangos, N., Concepts of Modern Art from Fauvism to Postmodernism (several editions)

Watkin, D., A History of Western Architecture (several editions)

Classic textsThe Bible (Douai or Authorised Version)

Berenson, B., The Italian Painters of the Renaissance (several editions)

Burckhardt, J., The Civilisation of the Renaissance in Italy, 1860 (several editions)

Gombrich, E., Art and Illusion, 1960

Hogarth, W., The Analysis of Beauty, 1753

Huizinga, J., The Waning of the Middle Ages, 1919 (several editions)

Mle, E., The Gothic Image, 1898 (several editions)

Panofsky, E., Studies in Iconology, 1939 (several editions)

Panofsky, E., Renaissance and Renascences in Western Art, 1960

Ruskin, J., The Stones of Venice, 1851-3

Vasari, G., Lives of the Artists, 1550 & 1568 (several editions)

Wlfflin, H., Classic Art, 1899

Wlfflin, H., Principles of Art History, 1915 (several editions)

Significant 20th-century writing

Baxandall, M., The Limewood Sculptors of Renaissance Germany, 1980

Baxandall, M., Painting and Experience in Fifteenth-Century Italy, 1972

Berger, J., Ways of Seeing, 1972

Clark, T.J., The Painting of Modern Life: Paris in the Art of Manet and His Followers, 1985

Fuller, P., Seeing Through Berger, 1988

Gage, J., Colour and Culture, 1993

Girouard, M., Life in the English Country House, 1980

Golding, J., Visions of the Modern, 1994

Greer, G., The Obstacle Race, 1979

Haskell, F. & N. Penny, Taste and the Antique, 1981

Haskell, F., Patrons and Painters, 2nd rev. edn. 1980

Nochlin, L., Realism, 1971

Pollock, G., Vision and Difference, 1988

Puttfarken, T., The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400-1800, 2000

Schapiro, M., Word and Image, 1972

Shearman, J., Mannerism, 1967

Summerson, J., The Classical Language of Architecture, 1964

White, J., The Birth and Rebirth of Pictorial Space, 1957

More detailed reading will be assigned weekly on a class-by-class basis.

Papers 2/3 THE MAKING OF ART:

COURSE BIBLIOGRAPHY

Papers 2/3: Parts A, B and C

Conti, A. History of the Restoration and Conservation of Works of Art, 2007 (N.B. the appendix with a very useful glossary of technical terms by Helen Glanville)

Gage, J, Colour and Culture : practice and meaning from antiquity to abstraction, 1993

Jo Kirby, Susie Nash and Joanna Cannon (eds), Trade in Artists' Materials: Markets and Commerce in Europe to 1700, 2010

Mayer, Ralph, The Artists Handbook, many editions.

Mayer, Ralph, Dictionary of Art Terms and Techniques, A and C Black 1969.ISBN 7136 1095 6 (Very useful quick reference when you cant remember meaning of things likedead colouring)

Papers 2/3: Part A (Lent Term Weeks 1-3)

Painting Material and Techniques

Abrahams, P. Beneath the Surface: The Making of Paintings, 2008

Ball, Philip Bright Earth: The Invention of Colour, 2001

Bambach, C., Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice from the Thirteenth to the Sixteenth Century, 1999

Bomford, D. et al., Art in the Making: Italian Painting Before 1400, 1989

Cennini, Cennino, The Craftsmans Handbook, ed. D.V. Thompson (several editions)

Dunkerton, J., S. Foister, D. Gordon, N. Penny, Giotto to Drer. Early Renaissance Painting in the National Gallery, 1991

Dunkerton, J., S. Foister, N. Penny, Drer to Veronese. Sixteenth-Century Painting in the National Gallery, 1999

Dunkerton, J., Venetian Colour, in F. Ames-Lewis, ed., New Interpretations of Venetian Painting, 1994

Gordon, Dillian, The Fifteenth-century Italian Paintings, National Gallery, London, 2003

Harley, R.D., Artists Pigments c. 1600-1835, 1970 (Detailed account of pigment names, origins and manufacture)

Hall, M., Color and Meaning: Practice and Theory in Renaissance Painting, 1992

Kirby, Jo, Susie Nash and Joanna Cannon, eds. Trade in Artists Material: Markets in Europe to 1700, 2010

Thompson, D. V., The Materials and Techniques of Medieval Painting, 1936Thompson, D.V., The Practice of Tempera Painting 1936 and 1962Vasari, G., Vasari on Technique, ed. L. Maclehose (several editions)

The National Gallery Technical Bulletin provides a mine of information on the technique of various artists, including Raphael, Rogier van der Weyden, Veronese and Ruens. The Fitzwilliam Museum Library, the University Library and Anglia Ruskin University Library all have sets. They are also available online. See in particular:

vol. 2 1978 Bellini and Titian

vol. 5 1981 Monet

vol. 7 1983 Rubens and Manet

vol. 9 1985 Nardo di Cione and Impressionismvol. 10 1986 Cima and Dieric Bouts

vol. 11 1987 Van Gogh

vol. 12 1993 Raphael: under drawing

vol. 15 1994 Cosimo Tura: under drawing and Rembrandt

vol. 16 1995 Veronese and underdrawings of Van Eyck

vol. 17 1996 Late 15th c. Florentine paintings and Veronese

vol. 18 1997 Northern Renaissance and Rogier van der Weyden

vol. 20 1999 Rubens and Van Dyck

vol. 23 2002 Fra Angelico

vol. 25 2004 Early Raphael

vol. 26 2005 Rubens: evolution of Judgement of Paris late 1630s

vol. 27 2006 Renaissance Siena and Perugia vol. 28 2007 Titian and Monet

vol. 29 2008 Czanne

vol.30 2009 Sebastiano del Piombo

vol. 31 2010 Verrocchio and Giorgione

vol. 32 2011 Leonardo

The National Gallery website is very informative. As you enlarge details, you can see details of the paintwork that are not visible in the National Gallery.Manuscript IlluminationAlexander, J.J.G. ,Medieval Illuminators and Their Methods of Work, 1992

Brown, M.P. , Understanding Illuminated Manuscripts: A Guide to Technical Terms, 1994Clarke, M., The Art of All Colours, Medieval Recipe Books for Painters and Illuminators, 2001Hamel, C. de , Medieval Craftsmen: Scribes and Illuminators, 1992Hamel, C. de , A History of Illuminated Manuscripts, 1994Hamel, C. de The British Library Guide to Manuscript Illumination: History and Techniques, 2001

Lowden, J., The Making of the Bibles Moralises, 2 vols., Pennsylvania, 2000Rouse, R.H. and M.A. Rouse, Manuscripts and Their Makers: Commercial Book Producers in Medieval Paris 1200-1500, 2 vols., 2000Wieck, R.S., Time Sanctified. The Book of Hours in Medieval Art and Life, 1988Scripts

Bischoff, B., Latin Palaeography, Antiquity and the Middle Ages, 1990Brown, M.P., ,A Guide to Western Historical Scripts from Antiquity to 1600, 1993Derolez, A. ,The Palaeography of Gothic Manuscript Books From the Twelfth to the Early Sixteenth Century, 2003Codicology

Derolez, A. ,Codicologie des manuscrits en criture humanistique sur parchemin, 2 vols., 1984

Bataillon, L.J. and B.G. Guyot, and R.H. Rouse eds., La production du livre universitaire au Moyen ge. Exemplar et pecia, 1988Brownrigg, L. ed., Medieval Book Production: Assessing the Evidence, 1990Exhibition catalogues

The Painted Page: Italian Renaissance Book Illumination 1450-1550, ed. J.J.G. Alexander, Munich, 1994Les manuscripts peinture en France 1440-1520, ed. F. Avril and N. Reynaud, Paris, 1993The Golden Age of Dutch Manuscript Painting, ed. H.L.M. Defoer, A.S. Korteweg and W.C.M. Wstefeld, intro. J.H. Marrow, Stuttgart, 1989Painting and Illumination in Early Renaissance Florence 1300-1450, ed. L.B. Kanter et al., New York, 1994

Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, ed. T. Kren and S. McKendrick, Los Angeles and London, 2003Gothic Art for England 1400-1547, ed. R. Marks and P. Williamson, London, 2003L'Art au temps des rois maudits, Philippe le Bel et ses fils 1285-1328, 1998Paris 1400: Les arts sous Charles VI, Paris, 2004

The Cambridge Illuminations: Ten Centuries of Book Production in the Medieval West, ed. P. Binski and S. Panayotova, London and Turnhout, 2005

Painting in tempera and oilItalian Painters

Borsook, E., The Mural Painters of Tuscany: from Cimabue to Andrea del Sarto, 1980Dunkerton, J. & M. Hirst, Making and Meaning: The Young Michelangelo, 1994

Dunkerton, J Titian at Work and Titians Painting Technique in Titian

exhibition catalogue, NG and Yale 2003. Ekserdijian, D., Correggio, 1997Ferino-Pagden, et al. Spte Tizian, 2007 (contains an English translation)

Goffen, R. Bellini, 1989Gordon, D. The Fifteenth Century Italian Paintings, 2003

Gordon, D. Italian Painting before 1500, 2011Hills, P., The Light of Early Italian Painting, 1987

Hills, P., Venetian Colour, 1999

Hills, P., Leonardo and Flemish Painting, Burlington Magazine, 1980, p.609Humfrey, P. The Cambridge Companion to Giovanni Bellini 2004 (essays by P. Hills and J. Dunkerton)Jacobus, L., Giotto and the Arena Chapel, 2008

Meyer zur Capellen, J. Raphael in Florence, 1996Nuttall, P. From Flanders to Florence 2004 (ch. on Technique and Visual Effect)Penny, Nicholas, The Sixteenth-century Italian Paintings, vol. 2, Venice 1520-1600, National Gallery, London, 2008Roettgen, S., Italian Frescoes: The Early Renaissance 1400-1470, 1996

Rosand, D., Titian: His World and his Legacy, 1982, especially the chapter on Titian and the Critical Tradition.

Rosand, D., Painting in Cinquecento Venice, 1982, especially

the chapter on Venetian Aesthetic and the Disegno Colorito Controversy

Rubin, P. L. & Wright, A., Renaissance Florence: the art of the 1470s, exh. cat., National Gallery, London, 1999

Shearman, J., Leonardos Colour and Chiaroscuro Zeitschrift fr Kunstgeschichte, 1962; reprinted in M.W. Cole Sixteenth-Century Italian Art, 2006

Vecchi, P. de, ed., The Sistine Chapel: A Glorious Restoration Abrams, 1992 (for the essays by Michael Hirst on the drawings for the ceiling and by John Shearman on Michelangelos colour)

White, J. Duccio: Tuscan Art and the Medieval Workshop, 1979

Northern European Painters from Van Eyck to RembrandtBomford, D. et al., Art in the Making: Rembrandt, 1988

Brown, C., Making and Meaning, Rubenss Landscapes, 1996

Campbell, L. The Fifteenth Century Netherlandish Paintings, 1999

Foister, S. et al. Investigating Van Eyck, 2000

Foister, S. and Susie Nash, eds. Robert Campin: New Directions in Scholarship, 1996

Held, J., The Oil Sketches of Peter Paul Rubens, 1979

Schneider, C.P., Rembrandts Landscapes, 1990Syson, L. et al. Leonardo at the Court of Milan, 2011Wetering, E. van der, Painting materials and working methods, in J. Bruyn et al., A Corpus of Rembrandt Paintings, I, 1982

Wetering, E. van der., New Directions in the Rembrandt Research Project, The Burlington Magazine, March 1996Wetering, E. van der, Rembrandt: The Painter at Work, 1997

Vos, D. de, Rogier van der Weyden, 1999, especially the chapter on Rogiers technique

Drawing

Material and Techniques

Ames-Lewis, F., Drawing in Early Renaissance Italy, 1981

Bambach, C., Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice from the Thirteenth to the Sixteenth Century, 1999

Byam Shaw, J., Drawings by Old Masters at Christ Church, 2 vols, 1976

Cennini, Cennino, The Craftsmans Handbook, ed. D.V. Thompson (several editions)

Chapman, H and M. Faietti, Fra Angelico to Leonardo: Italian Renaissance Drawings, British Museum Catalogue, 2010

De Tolnay, C., History and Technique of Old Master Drawings, 1943 and repr.

The Glory of the Golden Age: Drawings and Prints, exh. cat., Rijksmuseum, 2000

Ferino Pagden, S., Gallerie dellAccademia di Venezia: Disegni Umbri, 1984

Meder, J., The Mastery of Drawing, trans. W. Ames, 1923, 1978

Parker, K.T. ,Catalogue of the collection of drawings in the Ashmolean Museum, vol. II, 1956

Petrioli Tofani, A., ed., Il disegno fiorentino del tempo di Lorenzo il Magnifico, exh. cat., Uffizi, 1992

Popham, A. E. & Wilde, J. ,The Italian Drawings of the XV and XVI centuries in the collection of her majesty the Queen at Windsor Castle, 1949Popham, A. E., Italian Drawings in the department of prints and drawings in the British Museum, Artists working in Parma, 2 vols, 1967Syson, L. et al. Leonardo at the Court of Milan, 2011Vasari, G., Vasari on Technique, ed. L. Maclehose (several editions)

Watrous, J., The Craft of Old Master Drawings, 1957 and repr.

Wright, J. & F. Ames-Lewis, Drawing in the Italian Renaissance Workshop, exh. cat., 1983

Individual Artists as Draftsmen

Ames-Lewis, F., The Draftsman Raphael, 1983

Bambach, C., Chapman, H., Clayton, M., & Goldner, G., Correggio and Parmigianino: Master draughtsmen of the Renaissance, exh. cat., British Museum, 2000

Bambach, C. ed. Leonardo da Vinci Master Draughtsman, 2003Fischel, O., Raphaels pink sketch-book, Burlington Magazine, LXXIV, 1939Gould, C., Drawing into painting: Raphaels use of his studies, Apollo, CXVIII, 1984Hirst, M., Michelangelo and his Drawings, Yale University Press, 1989

Joannides, P., The Drawings of Raphael with a complete catalogue, 1983

Joannides, P., Michelangelo and his Influence: Drawings from Windsor Castle, 1996Jones, R. and Penny, N. Raphael, 1983Popham, A. E., The Drawings of Leonardo da Vinci, 1945 (several editions)

Popham, A. E., Correggios Drawings, 1957

Popham, A. E., Catalogue of the Drawings of Parmigianino, 3 vols, 1971

Robinson, J. C. A Critical Account of the Drawings by Michelangelo and Raffaello in the University Galleries, 1870

Pouncey, P. and Gere, J., Italian Drawings in the Department of Prints and Drawings in the British Museum: Raphael and his Circle, 1962

Rubin, P., Answering to names: the case of Raphaels drawings, Word & Image, 7.1, 1991

Scrase, D. Italian Drawings at the Fitzwilliam Museum, Cambridge: Together with Spanish Drawings, 2011Smyth, C.H., ed. Michelangelos Drawings, 1992 (essay by P. Joannides on the late drawings) Wethey, H., Titian and his Drawings, 1987

Papers 2/3: Part B (Lent Term Weeks 4-5)

PrintsMaterials and Techniques

Cohn, M. B., trans. and ed., Old Master Prints and Drawings: A Guide to Preservation and Conservation, 1997

Gascoigne, B., How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet, 2004

Griffiths, A., Prints and Printmaking: An Introduction to the Materials and Techniques, 1980 (several editions)

Lambert, S., Prints: Art and Techniques, 2001

General History

Ackley, C. S., Printmaking in the Age of Rembrandt, 1981

Landau, D. & P. Parshall, The Renaissance Print, 1994

Parshall, P. & R. Schoch, Origins of European Printmaking: Fifteenth-Century Woodcuts and Their Public, 2005

Individual Printmakers

Bevers, H., Rembrandt as an Etcher in H. Bevers et al., Rembrandt: The Master and his Workshop: Drawings and Etchings, 1991

Kurth, W., The Complete Woodcuts of Albrecht Drer, 1963

Panofsky, Erwin,The Life and Art of Albrecht Drer, 1955Paulson, R., Hogarths Graphic Works, 1965 and 1989

Strauss, W. L., The Complete Engravings, Etchings & Drypoints of Albrecht Drer, 1973

White, Christopher, Rembrandt as an Etcher, 2 vol., 1969Sculpture

General Reference

Finn, D., How to Look at Sculpture, 1989

Flynn, T., The Body in Sculpture, 1998

Hall, J., The World of Sculpture. The Changing Status of Sculpture from the Renaissance to the Present Day, 1999

Wittkower, R., Sculpture: Processes and Principles, 1977

Materials and Techniques

Bassett, J. & P. Fogelman, Looking at European Sculpture: A Guide to Technical Terms, 1997

Boucher, B., ed., Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova, 2002

Cole, M. Cellini and the Principles of Sculpture, 2002

Cellini, Benvenuto, The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture, trans. C. R. Ashbee, 1967

Hoffman, M., Sculpture Inside and Out, 1939

Lavin, I., Bozzetti and Modelli: Notes on Sculptural Procedure from the Early Renaissance through Bernini, in Stil und berlieferung in der Kunst des Abendlandes: Akten des 21. internationalen Kongresses fr Kunstgeschichte, Bonn, 1964, vol. III, 93-104

Mannoni, L. & T. Mannoni, Marble: The History of a Culture, 1985: English trans. of Il Marmo - materia e cultura, 1985

Penny, N., The Materials of Sculpture, 1993

Rich, J., The Materials and Methods of Sculpture, 1974

Vasari, G., Vasari on Technique, ed. L. Maclehose (several editions)

Welch, E., Art and Society in Italy 1350-1500, 1997, esp. Part I, Artistic Enterprises, 2. Materials and Methods

Italian Renaissance Sculpture

Avery, C., Florentine Renaissance Sculpture, 1970

Darr, A. P., ed., Italian Renaissance Sculpture in the Time of Donatello, exh. cat., 1985

McHam, S. B., Looking at Italian Renaissance Sculpture, 1997

Olson, Roberta J. M. Italian Renaissance Sculpture, 1992

Poeschke, J., Michelangelo and his World: Sculpture of the Italian Renaissance, 1996

Pope-Hennessy, J., Italian Renaissance Sculpture, 1958; rev. 4th edn., 1996

Seymour, C. J., Sculpture in Italy, 1400-1500, 1966

Vasari, G., Lives of the Artists, 1550 & 1568 (several editions)

Italian Renaissance Bronzes

Avery, V. & J. Dillon, Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge, exh. cat., 2002

Bode, W., The Italian Bronze Statuettes of the Renaissance by Wilhelm Bode, new edn. ed. and revised by J. D. Draper, 1980

Leithe-Jasper, M., Renaissance Master Bronzes from the Collection of the Kunsthistorisches Museum, Vienna, exh. cat., 1986

Motture, P., ed., Large Bronzes in the Renaissance, 2003

Pincus, D., ed., Small Bronzes in the Renaissance, Studies in the History of Art 62, Center for Advanced Study in the Visual Arts, Symposium Papers XXXIX, 2001

Warren, J., Renaissance Master Bronzes from the Ashmolean Museum, Oxford: The Fortnum Collection, exh. cat., 1999Ghiberti

Krautheimer R. Ghiberti, 1956

Radke, G.M. ed., Gates of Paradise: Lorenzo Ghibertis Masterpiece, 2007Donatello

Avery, C., Donatello: An Introduction, 1994

Bennett, B. A. & D. G. Wilkins, Donatello, 1984

Elam, C. et al, Donatello at Close Range, The Burlington Magazine, CXXIX, 1987, special issue, pp. 1-52

Hartt, F. & D. Finn, Donatello: Prophet of Modern Vision, 1973

Janson, H. W., The Sculpture of Donatello, 1957; rev. 2nd edn., 1963

Pope-Hennessy, J., Donatello: Sculptor, 1993

Michelangelo

Hartt, F., Michelangelo: The Complete Sculpture, 1969

Hibbard, H. Michelangelo, 1978

Hughes, Anthony Michelangelo, 1997

Murray, L., Michelangelo: His Life, Work and Times, 1984

Wallace, W., Michelangelo at San Lorenzo: The Genius as Entrepreneur, 1994

Weinberger, M., Michelangelo the Sculptor, 2 vols., 1967

Giambologna and Italian Mannerist Sculpture

Avery, C., A. Radcliffe & M. Leithe-Jasper, eds., Giambologna: Sculptor to the Medici 1529-1608, exh. cat., 1978

Avery, C., Giambologna: The Complete Sculpture, 1987

Gibbons, M. W., Giambologna: Narrator of the Catholic Reformation, 1995

Holderbaum, J., The Sculptor Giovanni Bologna, 1983

Bernini and Italian Baroque Sculpture

Avery, Charles, Bernini: Genius of the Baroque 1997

Boucher, B., Italian Baroque Sculpture, 1998

Coliva, Anna ed. Bernini Scultor: la tecnica esecutiva, 2002

Connor, J., J. Montagu & R. Wittkower, Art and Architecture in Italy 1600-1750, 1999; 6th edn. revised by Connor & Montagu Gaskell, I. & H. Lie, Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies, 1999

Hibbard, Howard, Bernini, 1975

Montagu, J., Roman Baroque Sculpture: The Industry of Art, 1989; repr. 1992

Pope-Hennessy, J., Italian High Renaissance and Baroque Sculpture, 1970; 3rd edn., 1985

Weston-Lewis, A., ed., Effigies and Ecstasies: Roman Baroque Sculpture and Design in the Age of Bernini, exh. cat., 1998

Wittkower, R., Gian Lorenzo Bernini: The Sculptor of the Roman Baroque, 1997

Papers 2/3: Part C (Lent Term Weeks 6-8)

Painting

Watercolour Painting Butlin, Martin, Turner Watercolours, 1975

Hardie, M., Water-Colour Painting in Britain: 1. The Eighteenth Century, 1966

Hill, David, Cotman in the North, 2005

Hill, David, Turner in the North, 1996Mallalieu, Huon, The Norwich School: Chrome, Cotman and their Followers, 1974

Munro, Jane British Landscape Watercolours 1750-1850 1994

Sloan, K., Alexander and John Robert Cozens: The Poetry of Landscape, exh. cat., 1986

Smith, G., Thomas Girtin and the Art of Watercolour, exh. cat., 2002

Shanes, E. Turner: The great watercolours, 2000

Stainton, L., ed., Nature into Art, English Landscape Watercolours from the British Museum, 1991

Wilton, Andrew The Great Age of British Watercolours 1750-1880, 1993Nineteenth-Century Painting

Cove, S., Constables Oil Paintings: Materials and Techniques, in Constable, 1991

Cove, S., Gage, J., Kelly, F,. Rhyne, C., Constable: The Great Landscapes, 2006Gustave Courbet, 1819-1877, Grand Palais and Metropolitan Museum exhibition catalogue (2008).

Boime, A., The Academy and French Painting in the Nineteenth Century, 1971 (several editions)

Bomford, D. et al., Art in the Making: Impressionism, 1990

Brettell, Richard et al., A Day in the Country: Impressionism and the French Landscape, exh cat, Los Angeles County Museum, Chicago Art Inst, Grand Palais Paris, 1984

Brettell, R., Impression: Painting Quickly in France 1860-1890, exh. cat., 2001

Callen, A., Techniques of the Impressionists, 1982 & 1987

Callen, A., Impressionist Techniques and the Politics of Spontaneity, Art History, December 1991, pp. 599-608

Callen, A., The Art of Impressionism: Painting Technique and the Making of Modernity, 2000

Denis R. C. and Trodd, C. Art and the Academy in the Nineteenth Century, 2000

Clark, T.J., The Painting of Modern Life: Paris in the Art of Manet and His Followers, 1985

Eisenman, S. F. et al., Nineteenth-Century Art: A Critical History, 1994

Frascina, F. et al., Modernity and Modernism: French Painting in the Nineteenth Century, 1993

Garfield, Simon, Mauve, 2000

Green, N., The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth-Century France, 1990

House, J., Impressionism and History: The Rewald Legacy, Art History, September 1986

House, J., Courbet and Salon Politics, Art in America, May 1989

House J., et al., Impressionism for England: Samuel Courtauld as Patron and Collector, 1994, esp. essay Impressionism and its Contexts.

House, J. et al., Landscapes of France: Impressionism and its Rivals, exh cat Hayward Gallery, London, 1995

House, J., Impressionism: Paint and Politics, 2004

Hutton, J., Neo-Impressionism and the Search for Solid Ground: Art, Science and Anarchism in fin-de-sicle France, 1994

Moffett, C.S. The New Painting: Impressionism 1874-18861997 (original criticism of the Impressionist group exhibitions)

Monet and Japan, exh cat, National Gallery of Australia, Canberra, 2001

Prettejohn, E. The Art of the Pre-Raphaelite, 2007Rewald, J. The History of Impressionism, (1946) revised eds. 1961, 1973

Rouart, D., Degas: In Search of his Technique, 1988

Schaefer, Iris, et. al. Painting Light: The Hidden Techniques of the Impressionists, 2008

Spate, V., Claude Monet: The Colour of Time, 2002

Townsend, J.H., Ridge, J., Hackney, S. Pre-Raphaelite Painting Techniques, 2006

Thomson, R. (ed.), Framing France: The Representation of Landscape in France 1870-1914, 1998

Varnedoe, K., A Fine Disregard, 1990 (chapter 1, on the influence of photography & Japanese prints)White, H. & C. White, Canvases and Careers: Institutional Change in the French Painting World, 1965 (several editions)Wilson Bareau, J., The Hidden Face of Manet: An Investigation of the Artists Working Processes, 1986The Wallraf-Richartz Museum website has outstanding documentation on Impressionist techniques. Go into http://www.wallraf.museum/index.php?id=28&L=1; then under Research Project Painting Techniques of Impressionism and Postimpressionism click on Research Project: Painting Techniques; choose artist from the scroll down list on the left and you are spoilt for choice. Modern Sculpture (Key texts for the lectures are preceded by *)

General

Blhm, A. et al., The Colour of Sculpture 1840-1910, 1996

Elsen, A., Pioneers of Modern Sculpture, 1973

Curtis, P., Sculpture 1900-1945, 1999, esp. intro and chap. 1

Curtis, P., The Hierarchy of the Sculptors Workshop in Jackie Heuman, ed., From Marble to Chocolate, 1995

Hammacher, A., Modern Sculpture and Tradition, 1999

Hoffman, M., Sculpture Inside and Out, 1939

Potts, A., The Sculptural Imagination: Figurative, Modernist, Minimalist, 2000

Read, H., A Concise History of Modern Sculpture, 1964

The Workshops of Rodin and his Contemporaries

Butler, R., Rodin in Perspective, 1980

Durey, P., Techniques et organisation des ateliers au XIXe sicle, Monuments historique, VIII/ 2-3, 1985, pp.191-200

Elsen, A., In Rodins Studio: A Photographic Record of Sculpture in the Making, 1980

Elsen, A., Rodin Rediscovered, 1981

Hughes, A. & Ranfft, E., eds., Sculpture and its Reproductions, 1997, esp. intro and chap. 8

Krauss, R., Passages in Modern Sculpture, 1981, esp. chap. 1

Mitchell, C., ed., Rodin: The Zola of Sculpture, 2004

Tucker, W., The Language of Sculpture, 1974

Wagner, A.M., Rodins Reputation in L. Hunt, ed., Eroticism and the Body Politic, 1980

Welded Iron Sculpture

Collischan, J., Welded Sculpture of the 20th Century, 2005

Cowling, E., Picasso: Style and Meanin, 2002

Curtis, P., Sculpture 1900-45: After Rodin, 1999Elsen, A., Origins of Modern Sculpture: Pioneers and Premises, 1978Gimenez, C., Picasso and the Age of Iron, 1995Hale, N.C. Creating Welded Sculpture, 1974Hultn, P. Jean Tinguely Mta, 1975

Marcus, S. David Smith 1906-65, 1983

Moorhouse, P. Anthony Caro, 2005

Spies, W., Picasso: Sculpture,1972

Ullrich, F.& H.J. Schwalm, Julio Gonzalez: Sculpture and Drawing, 2002

Wagner C.J.R. van, Welded sculpture of the 20th Century, 2000

Withers, J., Julio Gonzalez: Sculpture in Iron, 1978

Papers 4/5: Part A, The Meaning of Architecture (Michaelmas Term Weeks 1-4) Reference Books

Curl, J. Stevens, A Dictionary of Architecture, 1999

Curl, J. Stevens, Classical Architecture: An Introduction to its Vocabulary and Essentials, 1992

Fleming, J., H. Honour, N. Pevsner, The Penguin Dictionary of Architecture, 4th edn., 1991

Harris, J. & J. Lever, Illustrated Glossary of Architecture, 850-1830 (several editions)

Historical Surveys Honour, H. & J. Fleming, A World History of Art, 1982

Kostof, S., A History of Architecture: Settings and Rituals, 1985 (several editions)

Pevsner, N., An Outline of European Architecture, 1958 (several editions)

Trachtenberg, M. & I. Hyman, Architecture: from Prehistory to Post-modernism: the Western Tradition, 1986

Watkin, D., A History of Western Architecture (several editions)

Architecture and Human Experience Conway, H. and R. Roenisch, Understanding Architecture, 1994

Martienssen, H., The Shapes of Structure, 1976

Norberg-Schulz, C., Meaning in Western Architecture, 1980

Padovan, R., Proportion: Science, Philosophy, Architecture, 1999

Rasmussen, S. Eiler, Experiencing Architecture, 1959

Rendell, J., B. Penner, I. Borden, eds., Gender, Space, Architecture: an Interdisciplinary Introduction, 1999

Roth, L., Understanding Architecture: Its Elements, History and Meaning, 1993 (Part I)

The Classical Tradition Coulton, J. J., Ancient Greek Architects at Work: Problems of Structure and Design, 1977

Jones, Mark Wilson, Principles of Roman Architecture, 2000

Sear, F., Roman Architecture, 2nd edn., 1989

Vitruvius, Ten Books on Architecture, trans. I. Rowland, 1999

Smith, T. Gordon, Vitruvius on Architecture, 2003 (very well-illustrated version of Books I, III, IV, V and VI)

Architectural Language Clarke, G. & P. Crossley, eds., Architecture and Language, 2000

Hersey, G., The Lost Meaning of Classical Architecture: Speculations on Ornament from Vitruvius to Venturi, 1988

Krautheimer, R., Introduction to an Iconography of Medieval Architecture, Journal of the Courtald and Warburg Institutes 5 (1942): 133, reprinted in: Studies in Early Christian, Medieval and Renaissance Art. edited by James S. Ackerman et al., 1969

Kruft, H.-W., A History of Architectural Theory: from Vitruvius to the Present, trans. R. Taylor, E. Callander & A. Wood, 1994

Onians, J., Bearers of Meaning: the Classical Orders in Antiquity, the Middle Ages, and the Renaissance, 1988

Rykwert, J., The Dancing Column: On Order in Architecture, 1996

Summerson, J., The Classical Language of Architecture, 198021

Sacred Space Baldwin Smith, E., The Dome. A Study in the History of Ideas, 1971

Camille, M., Gothic Art: Visions and Revelations of the Medieval World, 1996

Hart, V. & P. Hicks, Paper Palaces: the Rise of the Renaissance Architectural Treatise, 1998

Howard, D., and Moretti, L., Sound and Space in Renaissance Venice, 2009

Krautheimer, R., Early Christian and Byzantine Architecture, 1965 (several editions)

McClendon, Charles B., The Origins of Medieval Architecture: Building in Europe AD600-900, 2005

Panofsky, Erwin, ed., Abbot Suger on the Abbey Church of St Denis and its Art Treasures, 1948

Stalley, R., Early Medieval Architecture, 1999

Renaissance Theory Alberti, Leon Battista, On the Art of Building in Ten Books, trans. J. Rykwert, N. Leach & R. Tavernor, 1988

Palladio, Andrea, The Four Books on Architecture, trans. R. Tavernor & R. Schofield, 1997

Serlio, Sebastiano, On Architecture, intro, trans. and ed. V. Hart & P. Hicks, Volume 1: Books I-V, 1996

Wittkower, R., Architectural Principles in the Age of Humanism, 1952 (and later editions)

Renaissance Practice Ackerman, J. S., Palladio, 1966 (several editions)

Heydenreich, H. L., Architecture in Italy, 1400-1500, intro by P. Davies, 1996

Howard, D., The Architectural History of Venice, 1980, 1987

Lotz, W., Architecture in Italy, 1500-1600, intro by D. Howard, 1995

Shearman, J., Mannerism, 1990

Tavernor, R., On Alberti and the Art of Building, c. 1998

Papers 4/5: Part B, The Meaning of Art (Michaelmas Term Weeks 5-8)

General Reading on Pictorial Narrative and Methodolgy

Baxandall, M., Patterns of Intention, 1985

Gombrich, E., Norm and Form, 1978, esp. intro

Narrating the Old and New Testament

Baxandall, M., Painting and Experience in 15th-Century Italy, 1972

Baxandall, M., Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350-1450, 1971

Cuttler, C. D., Northern Painting from Pucelle to Bruegel. Fourteenth, Fifteenth and Sixteenth Centuries, 1968 (several editions)

De Hamel, C., A History of Illuminated Manuscripts, 1986

Dunkerton, J. et al., Giotto to Durer. Early Renaissance Painting in The National Gallery, 1991, esp. 22-76

Huizinga, J., The Waning of the Middle Ages, 1924 (several editions)

Humfrey, P., ed., The Altarpiece in Renaissance Italy, 1988

Lavin, M. A., The Place of Narrative. Mural Decoration in Italian Churches, 431-1600, 1990

Mle, E., Lart religieux du XIIIe sicle en France, 1898 (sometimes trans. in English as The Gothic Image) Meditations on the Life of Christ, trans. and ed. I. Ragusa & R. B. Green, 1961

Os, H. van, The Art of Devotion in the Late Middle Ages in Europe, 1300-1500, 1994

Snyder, J., Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575, 1985

Thomas, A., An Illustrated Dictionary of Narrative Painting, 1994

Devotional Imagery

Hope, C., Altarpieces and the Requirements of Patrons, in T. Verdon & J. Henderson, eds., Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento, 1990, 536-571

Hope, C., Religious Narrative in Renaissance Art, Society for the Encouragement of Arts, Manufactures and Commerce Journal, CXXXIV (1986), 804-818

Kaftal, G., Iconography of the Saints in Tuscan Painting, 1952, esp. XXIX-XXXIII

Marrow, J., Passion Iconography in Northern European Art, 1979

Schapiro, M., Words and Pictures. On the Literal and the Symbolical in the Illustration of a Text, 1973

Saxl, F., Lectures, I-II, 1937, esp. 58-124

Schiller, G., Iconography of Christian Art, I-II, 1971

Wilson, S., ed., Saints and Their Cults. Studies in Religious Sociology, Folklore and History, 1983

The Classical TraditionDempsey, C., Annibale Carracci and the Beginnings of Baroque Style, 1977

Martin, J. R., The Farnese Gallery, 1965

Martin, J. R., The Baroque, Style and Civilisation, 1989

Posner, D., Annibale Carracci: a Study in the Reform of Italian Painting around 1590, 1971Rosentahl, L., Seizing Opportunity: Rubenss Occasio and the Violence of Allegory, Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen 2000, 2000

Rosenthal, L., Manhood and Statehood: Rubens Construction of Heroic Virtue, Oxford Art Journal, XVI (1993), 92-111

Rosenthal, L., The Parens Patriae: Familial Imagery in Rubens Minerva Protects Pax from Mars, Art History, XII (1989), 22-38

Rossholm Lagerlf, M., Ideal Landscape. Annibale Carracci, Nicolas Poussin and Claude Lorrain, 1990

Stechow, W., Rubens and the Classical Tradition, 1968

Wittkower, R., \\jay\cgi-bin\Pwebrecon.cgi?SC=Author&SEQ=20030929150110&PID=11451&SA=Wittkower,+R.Allegory and the Migration of Symbols, 1977

Secular Themes: General

Franits, W., ed., Looking at Seventeenth-Century Dutch Art. Realism Reconsidered, 1997

Freedberg, D. & J. de Vries, Art in History, History in Art, 1992

Haak, B., The Golden Age: Dutch Painters of the Seventeenth Century, 1994

Millner Kahr, M., Dutch Painting in the Seventeenth Century, 1993

Slive S., Dutch Painting 1600-1800, 1995

Dutch Genre Painting

Alpers, S., Bruegels festive peasants, Simiolus VI (1972/73), 163-176

Alpers, S., Realism as a Comic Mode: Low-life Painting seen through Brederos Eyes, Simiolus VIII (1975/76), 115-144

Alpers, S., Taking Pictures Seriously: a Reply to Hessel Mediema, Simiolus X (1978/79), 52-6

Alpers, S., The Art of Describing, 1983

Bedaux, J.-B., The Reality of Symbols, 1990Hecht, P., Dutch Seventeenth-Century Genre Painting: a Reassessment of some Current Hypothesis, Simiolus 21 (1992), 85-95

Hecht, P., The Debate on Symbol and Meaning in Dutch Seventeenth-century Art: An Appeal to Common Sense, Simiolus 16 (1986), 173-178

Honig, E. A., An Enterprise of Describing Svetlana Alpers Art Historical Strategies, Theoretische Geschiedenis 17 (1990), 33-9

Jongh, E., Review of Svetlana Alpers, The Art of Describing, Simiolus 14 (1984), 51-9

Miedema, H., Realism and Comic Mode: the Peasant, Simiolus XI (1977), 205-19

Moxey, K. P. F, Panofskys Concept of Iconology and the Problem of Interpretation in the History of Art, New Literary History 17 (1985-6), 265-74

Panofsky, E., Early Netherlandish Painting: Its Origins and Character, 2 vols., 1953

Panofsky, E., Studies in Iconology, 1939 (several editions)

Portraits and Still-Life

Brilliant, R., On Portraits, in Zeitschrift fuer Aesthetik und Kunstwissenschaft, 16/1 (1971),

11-26

Brilliant, R., Portraiture, 1991, esp. 141-174Brilliant, R., Portraits: The Limitations of Likeness, Art Journal 46/3 (1987), 171-2

Campbell, L., Renaissance Portraits: European Portrait-Painting in the 14th, 15th and 16th Centuries, 1990

Taylor, P., Dutch Flower Painting 1600-1720, 1995

Taylor, P. & P. Mitchell, Dutch Flower Painting 1600-1750, exh. cat., 1996

Sutton, P. et al., Masters of 17th-century Dutch Landscape Painting, 1987

Cambridge Bibliography for Paper 1 XE "Paper 1" and Short Dissertation XE "Long Essay" This reference bibliography is intended to be used for the Part 1 Short Dissertation XE "Long Essay" - hence its length. The section on architecture and works of art also provides a basic reading list for Paper 1 XE "Paper 1" . It is not a requirement of the course that it should be read in its entirety.

Cambridge and Cambridgeshire

Brooke, C. & R. Highfield, Oxford and Cambridge, 1988

Pevsner, N., Cambridgeshire, 1954 (several editions)

Willis, R. & J.W. Clark, The Architectural History of the University of Cambridge..., I-IV, 1886; repr. 1988, intro. D. Watkin

Rawle, T., Cambridge Architecture, 1985 Roach, J. P. C. ed., A History of the County of Cambridge and the Isle of Ely, III (The City and University of Cambridge), 1959

Royal Commission on Historical Monuments, An Inventory of the Historical Monuments in the City of Cambridge, I-II, 1959

Watkin, D., The Triumph of the Classical. Cambridge Architecture 1804-1834, 1977

Taylor, N. & P. Booth, Cambridge New Architecture, 1970

McKean, C., Architectural Guide to Cambridge and East Anglia since 1920, 1982

Colleges

Crook, A. C., From the Foundation to Gilbert Scott. A History of the Building of St Johns College, Cambridge, 1511-1885, 1980

Doig, A., The Architectural Drawings Collection of Kings College, 1979

Kersting, A. F. & D. Watkin, Peterhouse. An Architectural Record, 1984

McKitterick, D., ed., The Making of the Wren Library, 1995

Sicca, C. M., Committed to Classicism. The Building of Downing College Cambridge, 1987

Wayment, H.G., The Windows of Kings College Chapel, Cambridge, 1972

Wayment, H. G., Kings College Chapel, Cambridge. The Great Windows, 1982

Wayment, H. G., Kings College Chapel, Cambridge. The Side-Chapel Glass, 1988

Fitzwilliam Museum

General

Treasures of the Fitzwilliam Museum, 1993

Treasures of the Fitzwilliam Museum, 2005The Fitzwilliam Museum 1848-1998: One hundred and fifty years of collecting, 1998The Dutch Connection. The Founding of the Fitzwilliam Museum, exh. cat., 1988

The Bulletins of the Hamilton Kerr Institute

Handbooks

Humphrey, C., Samples, 1997

Munro, J. et al., French Impressionists, 2003

Poole, J., English Pottery, 1995

Poole, J., Italian Maiolica, 1997

Reynolds, G., British Portrait Miniatures, 1998

Scrase, D., Flower Drawings, 1997

Vassilika, E., Egyptian Art, 1995

Vassilika, E., Greek and Roman Art, 1998

Egyptian and Classical Art

Bourriau, J. D., Pharaohs and Mortals: Egyptian Art in the Middle Kingdom, exh. cat., 1988Budde, L. & R. Nicholls, A Catalogue of the Greek and Roman Sculpture, 1964

Nicholls, R. V., Corpus Speculorum Etruscorum (Great Britain 2: Cambridge), 1993

Lamb, W., Corpus Vasorum Antiquorum (Great Britain, Fascicules 6 and 11: Cambridge, Fitzwilliam Museum), 1930, 1936Henig, M., Whiting & D. Scarisbrick, Classical Gems. Ancient and Modern Intaglios and Cameos in the Fitzwilliam Museum, Cambridge, 1994Chesterman, J., Classical Terracotta Figures, 1974Manuscripts

Arnould, A. & J.M. Massing, Splendours of Flanders: Late Medieval Art in Cambridge Colleges, exh. cat., 1993

Binski, P. & S. Panayotova, eds., The Cambridge Illuminations: Ten Centuries of Book Production in the Medieval West, 2005

Fenlon, I., ed., Cambridge Music Manuscripts, 900-1700, 1982Illuminated Manuscripts in the Fitzwilliam Museum, 1966

Illuminated Manuscripts in the Fitzwilliam Museum, 2 vols., 1982James, M. R., A Descriptive Catalogue of the Manuscripts in the Fitzwilliam Museum, 1895James, M. R., A Descriptive Catalogue of the McClean Collection of Manuscripts in the Fitzwilliam Museum, 1912The Fitzwilliam Virginal Book, ed. J. A. Fuller Maitland and W. Barclay Squire, 1963 Paintings

Bayne-Powell, R., Catalogue of Portrait Miniatures in the Fitzwilliam Museum, 1985Cambridge Portraits from Lily to Hockney, exh. cat., 1978

Fitzwilliam Museum, Cambridge. Catalogue of Paintings, various vols., 1960-Goodison, J. W., Catalogue of Cambridge Portraits I: The University Collection, 1955

Scrase, D. & P. Croft, Maynard Keynes: Collection of Pictures, Books and Manuscripts, exh. cat., 1983

The John Tillotson Bequest: Paintings and Drawings of the Barbizon School, exh. cat., 1985Prints, Drawings

Bicknell, P. & J. Munro, Gilpin to Ruskin. Drawing Masters and their Manuals 1800-1860, exh. cat., 1987Bicknell, P., Beauty, Horror and Immensity. Picturesque Landscape in Britain, 1750-1850, exh. cat., 1981Cent dessins franais du Fitzwilliam Museum, Cambridge, exh. cat., 1976

European Drawings from the Fitzwilliam, exh. cat., 1976Hartley, C. & S. Lidyard, Text and Image: English Woodblock Illustration, Thomas Bewick to Eric Gill, exh. cat., 1985Hartley, C., Prints of the Floating World, exh. cat., 1997Munro, J., British Landscape Watercolours 1750-1850, 1994Robinson, D., Town, Country, Shore and Sea: British Drawings and Watercolours from Anthony Van Dyck to Paul Nash, exh. cat., 1982Scrase, D., Da Pisanello a Tiepolo, exh. cat., 1992

Scrase, D., The Golden Century. Dutch Master Drawings from the Fitzwilliam Museum, Cambridge, exh. cat., 1995Specific Artists

Bindman, D., William Blake. Catalogue of the Collection in the Fitzwilliam Museum, 1970

Cormack, M., J.M.W. Turner, R. A., 1775-1851. A Catalogue of Drawings and Watercolours in the Fitzwilliam Museum, Cambridge, exh. cat., 1975Cormack, M., Rembrandt and his Circle, exh. cat., 1966Hartley, C., Adolphe Appian: Etchings and Lithographs from the G. and A. Burton Collection, exh. cat., 1994

Hartley, C., Rubens and Printmaking, exh. cat., 1990Jaff, P., Fitzwilliam Museum. Cambridge Drawings by George Romney, exh. cat., 1977

Lister, R., Samuel Palmer and The Ancients, exh. cat., 1992Munro, J. & P. Stirton, Burne-Jones and William Morris: Illustrations for the Kelmscott Chaucer and the Aeneid, exh. cat., 1996Munro, J., James Ward R.A., 1769-1859, exh. cat., 1992

Munro, J., Shakespeare and the Eighteenth Century, exh. cat., 1997

Robinson, D. & S. Wildman, Morris and Company in Cambridge, exh. cat., 1980Scrase, D. E., Drawings and Watercolours by Peter de Wint, exh. cat., 1979William Blake and his Contemporaries, exh. cat., 1986

SculptureAvery, V. & J. Dillon, Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge, exh. cat., 2002

Crighton, R., The Boscawen Collection: Renaissance Bronzes and other Sculpture, The Fitzwilliam Museum supplement to The Burlington Magazine (December 1997), i-vi

Decorative ArtsArmstrong, N. et al., Fans from the Fitzwilliam, 1985Crighton, R. A., Cambridge Plate, exh. cat., 1975Dalton, O. M., Fitzwilliam Museum, McClean Bequest. Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S., 1912

Poole, J. E., Italian Maiolica and Incised Slipware in the Fitzwilliam Museum, 1995

Rackham, B., Catalogue of the Glaisher Collection of Pottery and Porcelain in the Fitzwilliam Museum Cambridge, 1935, 1987Kettles Yard

Ede, H. S., A Way of Life. Kettles Yard, 1984

Lewison, J., Kettles Yard: An Illustrated Guide, n.d.

Part I Timetables:PART 1, PAPER 1: THE OBJECTS OF ART HISTORY

The Art Critic, Georges Croegaert, 1907

Oil on Canvas, Private Collection

2012-2013

This paper runs throughout the year from the beginning of the Michaelmas Term to the end of the teaching period in the middle of the Easter Term, and is compulsory for all Part 1 students. It usually requires attendance at two seminars each week during full term.The purpose of the paper is to give students a broad overview of art and architecture from the Classical period to the present day. In doing this it draws on the extraordinarily rich artistic and architectural resources available in and around Cambridge. Each seminar involves a first-hand engagement with the materials to be explored and is led by a relevant expert in the field. There are no supervisions or weekly essay requirements for this paper, but students are strongly encouraged to read about and explore the objects studied in their own time, based on the supplementary bibliographies and hand-outs provided by the lecturers each session. The course will be examined by one three-hour visual analysis paper in the Easter Term.

For most sessions the group will be split in two and the sessions will be delivered to each group separately. This is to enable all to engage with both the objects and the lecturers as easily as possible. You MUST attend the session to which you have been assigned. If this is impossible you must arrange a swap with a member of the other group and inform the co-ordinator (Dr Munns) ahead of time. If you turn up to the wrong session you will be turned away.

Each weekend you will receive an email detailing where and when you are to meet for that weeks sessions. Please make sure you read this carefully and follow the instructions contained in it.

The overall co-ordinator for this course is: Dr John Munns

Fitzwilliam College

[email protected]

Please contact Dr Munns with any problem or questions.

OUTLINE OF SEMINARS

(this may be subject to change)

Michaelmas Term 2012

Architecture to circa 1700Tuesday 9th October

St Benets and Little St Marys ChurchesGabriel Byng (PhD candidate)

Thursday 11th October

Ely Cathedral

Dr John Munns

HALF-DAY TRIP

Tuesday 16th October

Kings College ChapelDr John Munns

Thursday 18th October

Kings College stained glass

Professor Richard Marks

Tuesday 23rd October

Emmanuel College

Professor Deborah Howard

Thursday 25thOctober

Peterhouse and Pembroke College

Dr David Oldfield

Tuesday 30th October

Trinity College Library

Dr James Campbell

Thursday 1st November

The Senate House & The Gibbs Building

Professor D. Howard

Art and Architecture in the Modern periodMonday 5th November

Kettles Yard

(NB MONDAY)

Andrew Nairne (Director, Kettles Yard)

Thursday 8th November

The Sidgwick Site(ONE SESSION)

Professor Deborah Howard

Monday 12th November

Kettles Yard Exhibition (Winifred Nicholson)

(NB MONDAY)

Lizzie Fisher (Curator of Exhibitions, Kettles Yard)

Thursday 15th November

Twentieth-century painting (Fitzwilliam Museum)

Dr Karolina Watras

Tuesday 20th November

New Hall Art Collection

Dr David Oldfield

Friday 23rd November

Jesus College sculpture(NB FRIDAY)

Dr Karolina Watras

Tuesday 27th November

Hill Colleges Architecture

(ONE SESSION)

Dr Alistair Fair (Research Fellow, Dept. of Architecture)Thursday 29th November

Churchill College Art Collection

Barry Phipps (Curator, Churchill College Art Collection)

Lent Term 2013

Medieval and Early Modern Painting and Printmaking

Tuesday 22nd January

Medieval manuscripts in the Parker LibraryDr Christopher de Hamel (Parker Fellow Librarian)

Thursday 24th January

Spanish art (Fitzwilliam Museum)Dr David Oldfield

Tuesday 29th January

Portraiture (Fitzwilliam Museum)

Vivien Perutz

Thursday 31st January

Medieval Italian art (Fitzwilliam Museum)Dr John Munns

Tuesday 5th February

Venetian Painting (Fitzwilliam Museum)Professor Paul Joannides

Thursday 7th February

Flemish art (Fitzwilliam Museum)Dr David Oldfield


Seventeenth-century Dutch painting (Fitz. Museum)

Dr Meredith Hale

Eighteenth-century Painting and PrintmakingThursday 14th February

Eighteenth-century painting (Fitzwilliam Museum)Jonathan Yarker (PhD candidate)


Eighteenth-century British prints (Fitz. Museum)Dr Olivia Horsfall Turner (English Heritage)

Thursday 21st February

Day Trip to Boughton House

Dr Meredith Hale

DAY TRIPNon-western Painting and PrintmakingTuesday 26th February

Islamic Art (Fitzwilliam Museum)Professor Gulru Necipoglu (Visiting Slade Professor)

Thursday 28th February

Japanese prints (Fitzwilliam Museum)Craig Hartley (Senior Assistant Keeper, Fitz. Museum)

Tuesday 5th March

Rajput Indian Miniatures (Fitzwilliam Museum)Imma Ramos (PhD candidate)

Nineteenth-century Art

Thursday 7th March

Pre-Raphaelite painting (Fitzwilliam Museum)

Amanda Morgan (PhD candidate)

Tuesday 12th March

The Arts and Crafts Movement (Fitzwilliam Museum)

(NB 1-3pm)

Dr Polly Blakesley

Thursday 14th March

Post-Impressionism (Fitzwilliam Museum)Dr James Fox

Easter Term 2013

(first half only)

Sculpture and Material Culture

Thursday 25th April

Revision and Exam Preparation Seminar

Dr John Munns

LECTURE ROOM 2

Tuesday 30th April

Museum of Classical ArchaeologyDr Carrie Vout (Senior Lecturer in Classics)

Thursday 2nd May

Greek vases (Fitzwilliam Museum)

Dr Lucilla Burn (Keeper of Antiquities, Fitz. Museum)

Tuesday 7th May

Coins (Fitzwilliam Museum)

Dr Anna Gannon

Thursday 9th May

Russian icons at Girton College

Professor Richard Marks

Tuesday 14th May

Medieval enamels (Fitzwilliam Museum)Dr John Munns

Thursday 16th May

Sculpture (Fitzwilliam Museum)Dr Vicky Avery (Keeper of Applied Arts, Fitz. Museum)

Tuesday 21st May

Museum of Archaeology and Anthropology

Dr Damian Skinner (Visiting Fellow, Fitzwilliam College)

Thursday 23rd May

Bronzes (Fitzwilliam Museum)Dr Vicky Avery

Part I Papers 4/5: The Meaning of ArchitecturePaper 4/5

Meaning of Architecture

First Half Michaelmas Term 2012

Convenor: Prof Deborah HowardFormat

One seminar and three lectures each week. Lectures take place in Lecture Room 2.

Seminar classes are taught in two groups, for an hour each, in the Departments Seminar Room.

Seminars include one on academic skills and three on texts/ideas which will be given out a week in advance of each seminar.

Date and Time

Subject

Lecturer

Part A: The Meaning of Architecture

I. Introducing the Language of Architecture

Monday 8 October

Seminar: Academic Skills

Dr David Oldfield2-3 (group A)

3-4 (group B)

Tuesday 9 October

Why Architecture Matters

Prof. Deborah Howard10-11

Wednesday 10 OctoberVitruvius, Alberti, Palladio and PerraultProf. David Watkin

10-11

Thursday 11 October

Precedents of the Past


II. The Meaning of Materials and ProportionsMonday 15 October

Seminar: Sticks and Stones

Prof. Deborah Howard2-3 (group A)

The Vitruvian Primitive Hut and the

3-4 (group B)

Concept and Meaning of Rustication

Tuesday 16 October

The Iconography of Materials

Gabriel Byng10-11

Wednesday 17 OctoberGeometry and Proportion

Dr James Campbell10-11

Thursday 28 October

Architecture and Music


III. Architecture and the Body

Monday 22 October

Seminar: Architecture and the Body

Dr James Campbell2-3 (group A)

Architectural Books and Writers

3-4 (group B)

Tuesday 23 October

The Architecture of Masculinity

Prof. David Watkin

10-11

Wednesday 24 OctoberThe Architecture of Femininity

Prof. David Watkin

10-11

Thursday 25 October

Disordering the Orders


IV: Secular and Sacred Symbolism in ArchitectureMonday 29 October

Seminar: The Dome of Heaven

Prof Deborah Howard

2-3 (group A)

Meanings, Relationships and Re-

3-4 (group B)

appropriations of DomesTuesday 30 October

The Architecture of Triumph


Wednesday 31 OctoberLight in sacred architecture

Dr John Munns10-11

Thursday 1 November

All the Worlds a Stage


Michaelmas 2012

Part 1 Paper 4/5 Meaning of Art

Co-ordinated by Dr. David Oldfield ([email protected])

Date and Time

Subject and Venue

LecturerI. Devotional Imagery 14th-16th centuriesMonday 5 November

Seminar: Set Text

Dr. David Oldfield

2 or 3.30 pm.

Gombrich, 'Aims and Limits of Iconology,'

from Symbolic Images

Seminar room, Scroope Terrace

Tuesday 6 November

Veneration of Saints

Dr. David Oldfield 10.15 or 11.15am.

Fitzwilliam Museum

Wednesday 7 NovemberGiottos Arena Chapel

Dr. John Munns

10 am.

Lecture Room 2

Thursday 8 November Lives of St. Francis

Dr. John Munns

10 am.

Lecture room 2

II. Symbolism and Narrative 15th-17th centuriesMonday 12 NovemberSeminar: Set Text

Richard Braude

2 pm. or 3 pm.

Panofsky and Campbell on the

Arnolfini portrait

Seminar room, 4a Trumpington St.

Tuesday 13 NovemberVirgin Mary

Dr. David Oldfield

10.15 or 11.15 am.

Fitzwilliam Museum

Wednesday 14 NovemberDisguised Symbolism

Dr. Paul Taylor

3-4 pm.

Lecture Room 2

Wednesday 14 November Interpreting Still-Life

Dr. Paul Taylor

4.30 - 5.30pm.

Lecture Room 2

Thursday 15 NovemberReligious narrative

Dr. David Oldfield

10.15 or 11.15 am.

Fitzwilliam MuseumIII. The Classical TraditionMonday 19 NovemberSeminar: Set Text

Dr. David Oldfield

2 or 3 pm.

Alberti and Veroneses trial

Seminar Room, Scroope Terrace

Tuesday 20 November16th century Venetian Myth and Allegory Dr. David Oldfield

10.15 or 11.15 am.

Fitzwilliam Museum

Wednesday 21 NovemberMeaning in 16th century Venetian Prof. Joannides

10 am.

painting

Lecture Room 2

Thursday 22 November Allegory

Prof. Massing

10 am.

Fitzwilliam Museum

IV. Secular ThemesMonday 26 NovemberSeminar: Set text

Dr. Alex Marr

2 or 3 pm.

Alpers and Miedema

Seminar room, Scroope Terrace

Tuesday 27 NovemberVermeer and Dutch genre painting

Dr. David Oldfield

10 am.

Lecture room 2

Wednesday 28 NovemberMeaning in landscape

Dr. David Oldfield

10.15 or 11.15 am.

Fitzwilliam Museum

Thursday 29 DecemberMeaning in Tudor Portraiture

Dr. Alex Marr

10 am.

Lecture Room 2

Part I Papers 2/3

THE MAKING OF ART

Lent Term 2013

Convenors: Ms Vivien Perutz and Mr

Paul Shakeshaft

Format

The course The Making of Art is divided into Parts A, B and C:

Part A (Weeks 0-2): Painting and Drawing, c. 1300-1700

Part B (Weeks 3-4) Printmaking and Sculpture c.1400-1650

Part C (Weeks 5-8): Painting, Sculpture and Photography, c. 1700-2000

Organization:

Lectures are in Lecture Room 2 unless otherwise stated. All Seminars on Monday afternoons are on set texts and are taught in two groups at 2pm and 3pm in the Department Seminar Room. Students should study the prescribed readings in advance. All Site Seminars are held outside the department, usually on Fridays (though there is some variation to this). Please arrive promptly and note varying times and locations, as indicated. For all seminars in the Fitzwilliam Museum, meet at the Courtyard Entrance ten minutes before the scheduled start time.

Many seminars are taught in two groups, A & B, divided alphabetically. If you cannot attend at the specified time, please arrange a swap with a student from the other group. Anyone else who attends the wrong session will be turned away.Date and Time

Subject and Venue

LecturerPart A: Techniques and Developments in Painting and Drawing, c. 1300-1700

Week 0: Painting to the late Middle Ages

Thursday 17th JanuaryEarly Painting:

I. Cooper

10.0-11.0

Tempera and Fresco

Friday 18th January

Illuminating Manuscripts

Dr C. De-Hamel

10-11 (Group A)

Fitzwilliam Museum, Founders Library

11-12 (Group B)

Friday 18th January

Site seminar on Cimabue, Fisher House

Dr B.Kress

2.0-3.0

(Catholic Chaplaincy)

3.0-4.0

Week 1: Oil Painting in the Fifteenth and Sixteenth Centuries

Monday 21 January

From Eggs to Oil: The Conquest of Light (DVD)

11.2012.0-1.0

15th-century Italian and Northern Painting:

Dr S. Avery-Quash

The Rise of Oil Technique

Monday 21 January

Seminar: Set Texts on Pigments

Dr S. Bucklow

2.00-3.00 (group A)

Cennino Cennini, chapter LXII on lapis lazuli

3.00-4.00 (group B)

(pp. 36-9 in 1960 Dover edn.)

Tuesday 22 January

The Venetian School in the 16th Century

Dr S. Avery-Quash

10.0-11.0

Wednesday 23 JanuaryEssay Writing: The Short Dissertation

Professor

Lecture room 2 2-4

J.M. Massing

Wednesday 23 JanuaryFrom Illusion to Emotion and Old Tricks

Lecture room 2 4-5

and New Pigments (DVD)Friday 25 January

Site Seminar: Fitzwilliam Museum

Ms P. Abrahams 10.00-12.00 (A & B)

Studio Traditional Techniques of Painting

1.00-2.00 (A & B)

and Drawing

Note: all students are to come to BOTH

morning (painting) and afternoon

(drawing) sessions

Week 2: Drawing in the Fifteenth and Sixteenth Centuries and the Oil Paintings of Rubens and Rembrandt

Monday 28 January

Techniques and Choices in Renaissance

Mr D. Godfrey

12.0-1.0

Drawings

Monday 28 January

Seminar: Set Texts on Disegno vs colore

Ms V. Perutz

2-3 (group A)

3-4 (group B)

Tuesday 29 January

Site Seminar: Graham Robertson Room

Mr D. Scrase

10.00-11 (group A)

(Fitzwilliam Museum) 11.00-12 (group B)

Looking at Italian DrawingsThursday 31 January Northern Approaches: Rubens and

Ms V.Perutz

10.0-11.0

Rembrandt

Friday 1 February

Site Seminar: Fitzwilliam Museum

Ms H Glanville

10:00-11:00 (group A)Oil painting from the 15th to the 17th Centuries11:00-12:00 (group B)

Friday 1 February

Site Seminar: St Barnabas Press 1

Mr J. Hill

2.0-4.0

Printmaking techniquesPART B: TECHNIQUES AND DEVELOPMENTS IN PRINTMAKING AND SCULPTURE c. 1400-1650

Week 3: Printmaking

Monday 4 February PrintmakingProfessor Jean-

12.0-1.0

Michel Massing.

Monday 4 February

Seminar: Set Text on Prints

Professor J.M.

2-3 (group A)David Landau and Peter Parshall, How Massing 3-4 (group B)

prints became works of art in The

Renaissance Print 1470-1550, 1994,

pp. 33-102

Tuesday 5 FebruarySite Seminar: Graham Robertson Room Ms. E. Ling 10-11 (group A)Fitzwilliam Museum

11-12 (group B)

Printmaking Techniques: Drer

and Rembrandt

Thursday 7 February Site Seminar: The Fitzwilliam Museum Mr Andrew Lacey

10.30 -12 (groups A & B) The Manufacture of Bronzes by Lost Ms Julie Dawson

Wax Casting Ms. Jo Dillon

Friday 8 February Site Seminar: Carcozo Kindersley Mrs Lida

10-11.15 (group A) Workshop 2 Kindersley

11.15- 12.30 (group B) Stone Carving

Week 4 High Renaissance and Baroque Sculpture

Monday 11 February Marble Reliefs from Donatello to Michelangelo Dr Victoria Avery

12.0-1.0

Monday 11 February Seminar: Set Texts on Sculpture Ms Vivien Perutz

2 -3 (group A) Michelangelos Sonnets

3 -4 (group B) Baldinuccis Life of Bernini

Tuesday 12 February Italian Renaissance

Ms Vivien Perutz

10-11 Bronze Sculpture

11-12

The Sacred Made Real (DVD)Thursday 14 February

Berninis Fountains

Professor Deborah 10-11

Howard

Friday 15 February

Italian and German Sculpture in Wood

Ms Vivien Perutz

12-1

PART C: TECHNIQUES AND DEVELOPMENTS IN PAINTING AND SCULPTURE,

C1700-2000

Week 5 Watercolour and Changes in Oil Technique

Monday 18 February The Ascent of Watercolour Dr Richard Johns

12-1.0

Monday 18 February Seminar: Set Text on c19th Painting Mr Paul

2 3 (group A) John Ruskin, The Elements of Drawing (1857) Shakeshaft

3 4 (group B)

Tuesday 19 February Site Seminar: Graham Robertson Room Dr Richard Johns

10 -11 (group A) British Watercolours

11 -12 (group B)

Thursday 21 February From Neo-Classicism to Realism: Professor Paul

10 - 11 The Techniques of Truth

Joannides

Friday 22 February

Site Seminar: Hamilton Kerr Institute3

Mrs Mary

morning and afternoon.Conservation of oil paintings.

Kempski

Please bring

Ms Helen

a packed lunch

Glanville

Week 6 Impressionism

Monday 25 February

12-1.0 Manet and the Politics of Paint

Ms Vivien PerutzMonday 25 February Seminar: Set Text on Impressionism Ms Vivien Perutz

2 -3 (group A) Eugne Chevreul, On Colouring in

3 -4 (group B) Painting and Of the Complex Associations

of Colours, viewed critically and

Jules Laforgue, Impressionism

Tuesday 26 February Site Seminar: Fitzwilliam Museum Ms Vivien Perutz

10 -11 (group A) Impressionist Paintings

11 -12 (group B)

Thursday 28 February Techniques of Early Photography

Dr Chitr

10 -11

Ramalingam

Friday 1 March Site Seminar: Fitzwilliam Museum Mr Rupert

10 -11 (group A) How Paintings Age

Featherstone

11 -12 (group B)

Week 7 Early Modern Sculpture

Monday 4 March Rodin and His Workshop Mr Paul

12 1

Shakeshaft

Monday 4 March Seminar: Set Text on Modern Sculpture Mr Paul

2 3 (group A) Malvina Hoffmann, Sculpture Inside and Out Shakeshaft

3 4 (group B) and A Sculptors Odyssey; Billy Klver, The

Garden Party

Tuesday 5 March Site Seminar: Anglia Ruskin University

Ms. Susan Olzac

10-11 (Group A) Welding411-12 (Group B)

1.30-2.30 (Group B)Site Seminar: Studio of Issam Kourbaj Mr Issam

3.30-4.30 (Group A)Artist in Residence (Christs College) Kourbaj

Thursday 8 March Constructivist Sculpture: Techniques of Assembly Mr Paul

10-11

Shakeshaft

Week 8 Modern and Contemporary Practice

Monday 11 March Contemporary Art Practices Ms. Lizzie Fisher

11 -12 No

part i coursebook 12-13 (1)

Documents

course book

objects of art history

works of art

history of art tripos

course descriptions

course organisation

nonwestern art

making of art