Continuity and Innovation: Reframing Italian Renaissance Art from Masaccio to Michelangelo

Search for:

MA History of Art Special Option

Continuity and Innovation: Reframing Italian Renaissance Art from Masaccio to Michelangelo

×
Pietà, detail, Michelangelo, 1498, St. Peter's Basilica, Vatican City
The mourning over the dead Christ, detail, Niccolò dell'Arca, 1463-1490, Chiesa di Santa Maria della Vita, Bologna
Sleeping Venus, Giorgione, c. 1510, Oil on canvas, (108 x 175 cm), Gemäldegalerie, Dresden
St. George and the Dragon, Paolo Uccello, ca.1470, Oil on canvas, (55.6 cm x 74.2 cm) © National Gallery, London.
Study for the Lower Left Section of the 'Disputa', Raphael, c. 1508-09, (280 mm x 416 mm), Pen and brown ink, over traces of black chalk on right and stylus on the left, the outlines pricked, © Städelsches Kunstinstitut, Frankfurt-am-Main
Pietà, detail, Michelangelo, 1498, St. Peter's Basilica, Vatican City
The mourning over the dead Christ, detail, Niccolò dell'Arca, 1463-1490, Chiesa di Santa Maria della Vita, Bologna
Sleeping Venus, Giorgione, c. 1510, Oil on canvas, (108 x 175 cm), Gemäldegalerie, Dresden
St. George and the Dragon, Paolo Uccello, ca.1470, Oil on canvas, (55.6 cm x 74.2 cm) © National Gallery, London.
Study for the Lower Left Section of the 'Disputa', Raphael, c. 1508-09, (280 mm x 416 mm), Pen and brown ink, over traces of black chalk on right and stylus on the left, the outlines pricked, © Städelsches Kunstinstitut, Frankfurt-am-Main

Course Leaders: Dr Scott Nethersole and Dr Guido Rebecchini

Dr Scott Nethersole will be on sabbatical during the 2019/20 Autumn Term.

This team-taught MA looks at Italian art from the fifteenth and sixteenth centuries. In order to enrich our understanding of the period, we will examine the visual arts in well-known centres, such as Rome and Venice, but also expand the reach of our interests to include several less-known cities, such as Perugia and Siena, and towns like Borgo Sansepolcro. Our discussions on different art-historical narratives and on a broad range of themes such as authorship, originality, invention, and imitation will complicate our ideas about Italian renaissance art, allowing new and often unexpected insights into the works of both celebrated artists and of other figures who are less commonly considered in standard discussions of the period. Furthermore, by looking at the working practices and the visual languages of a range of artists, including Giovanni Bellini, Michelangelo, Raphael, Parmigianino, Giulio Romano, and Titian we will discuss issues of collaboration, competition, dissemination of visual ideas, and, more broadly, notions of change and continuity. We will approach the art of the period thematically, interrogating what has long constituted an art-historical canon in new ways, consistent with the most recent art-historical methodological and theoretical questions.

The course is structured across three terms. In the first term you will learn together with all MA students in the Renaissance section.  These classes will be a mixture of lectures and discussions in larger groups with two tutors, and in smaller seminars directed at developing specific visual and textual skills. The second term will be focused on an in-depth engagement with specific special options. These change year on year, but generally focus on aspects of Florentine or central Italian art in the fifteenth century; the art of Rome between 1520 and 1550; and art and antiquity in Venice between 1470 and 1550. Students only take one of these options which they select mid-way through the autumn term.  In the third term you will conduct research towards the final dissertation under close supervision, which will prepare you to conduct independent research at an advanced level, whether through a PhD or in a professional environment.

In encouraging discussion on intellectual and theoretical questions, we will learn through active engagement and discussion with tutors and peers. Special attention will be devoted to first-hand engagement with works of art, whether in London collections, or in our study trips to Italy.

A reading knowledge of Italian is highly desirable for this course.

Share This

Share on Facebook Share on Twitter Close
×