Art and the Senses in Early Modern Europe (1600-1800)
|Kod przedmiotu:||3105-ART-KK||Kod Erasmus / ISCED:||(brak danych) / (brak danych)|
|Nazwa przedmiotu:||Art and the Senses in Early Modern Europe (1600-1800)|
|Jednostka:||Instytut Historii Sztuki|
Konwersatoria z historii kultury
|Punkty ECTS i inne:||2.00|
This introductory seminar will focus on the intersections between art and the five canonical senses – sight, hearing, smell, taste, and touch – in early modern Europe (1600-1800). Though visual arts were obviously perceived primarily by means of sight, in recent years scholars have increasingly turned to thinking about how the other senses may have been implicated in the creation and historical reception of works of art. Readings discussed during class will address this issue from a variety of perspectives, ranging from straightforward representations of acts associated with a particular sense, to works of art that demanded the simultaneous engagement of multiple senses.
Each class will commence with a discussion of a specific text highlighting the multisensory character of early modern art and embodied modes of its reception, accompanied by analysis of the most important examples in a variety of media (painting, sculpture and architecture). The readings will revolve around a range of broader issues where the cultural role of the senses was particularly important, such as: the senses and early modern constructions of class and gender, sensory hierarchies in early modern colonial discourse, the changes in early modern sensorium and awareness of embodied experience as underpinnings of early modern art theory, the senses and religious devotion, the senses and discourse of (aesthetic) pleasure, the role of the senses in architectural and urban design, the culturally determined responses to multisensory reception of the arts.
Fundamentals of methodology will be followed by an in-depth discussion of sensory aspects of early modern architecture and urban design (with emphasis on sensescapes of contemporary (Baroque) villas as well as those of densely populated cities, sensory characteristics of residential as well as ecclesiastical/monastic buildings, vernacular structures etc.).Sculpture and painting of the period will also be scrutinized. The iconographic themes (Noli me tangere, Doubting Thomas, Raising of Lazarus etc.) and genres (the nude, the still-life) underscoring the multisensory experience of the arts will be analyzed, together with paradigmatic works evoking such responses (Bernini’s Apollo and Daphne, Pluto and Persephone, Velazquez’s Las Meninas, Allegory of Painting). The issues of techniques, materials and devices enhancing multisensory response to the arts will also be examined, including the late painting techniques/brushwork of artists such as Velazquez, Rembrandt; the choice of materials in sculpture and architecture, as well as contrivances such as giochi d’acqua, imprisoning chairs, or hydraulic organs etc.
Svetlana Alpers, “The Master’s Touch,” in Rembrandt’s Enterprise: The Studio and the Market, Chicago, 1988, pp. 14-33
Barbara Arciszewska, “Villa, Villeggiatura and the Sensory Turn: Research Challenges and Opportunities”, in: B. Arciszewska (ed.), The Baroque Villa: Senses and Perceptions versus Materiality, Warszawa: Muzeum Pałac w Wilanowie, 2017, pp. 1-14.
Barbara Arciszewska, “Pompa Funebris in the Polish-Lithuanian Commonwealth c. 1650-1750. Politics of court ritual and the realm of the senses”, in: H. Karner, E. Krems, J. Niebaum , W. Telesko (eds.), Sakralität des Herrschers an europäischen Höfen. Bau – Bild –Ritual – Musik (1648 – 1740), Regensburg: Schnell & Steiner Verlag, 2019, pp. 159-182.
Aristotle, De anima (On the Soul), trans. intro. notes. H. Lawson-Tancred (Harmondsworth, 1986), bk. II, chap. 7-11, pp. 173-86.
Sharon Assaf, “The Ambivalence of the Sense of Touch in Early Modern Prints,” Renaissance and Reformation / Renaissance et Réforme, n.s. 29, 1 (Winter 2005): pp. 75-98
Niall Atkinson, “The Social Life of the Senses: Architecture, Food, and Manners,” in in H. Roodenburg (ed.), A Cultural History of the Senses in the Renaissance, London, 2014, pp. 19-41.
Barbara Baert, “’An Odour. A Taste. A Touch. Impossible to Describe’: Noli me Tangere and the Senses,” in: Wietse de Boer and Christine Göttler (eds.), Religion and the Senses in Early Modern Europe, Leiden, 2013, pp. 111-151.
Paul Barolsky, “Ovid, Bernini, and the Art of Petrification,” Arion: A Journal of Humanities and the Classics 13 (Fall, 2005), pp. 149-162.
Lisa Beaven, “Playing with objects: Engaging the senses in the Villa collections of Rome”, in: B. Arciszewska (ed.), The Baroque Villa: Senses and Perceptions versus Materiality, Warszawa: Muzeum Pałac w Wilanowie, 2017, pp.117-131.
Erin E. Benay and Lisa M. Rafanelli, chapters 4-6, Faith, Gender and the Senses in Italian Renaissance and Baroque Art: Interpreting the Noli me tangere and Doubting Thomas, Farnham, 2015, pp. 123-228.
Benjamin Binstock, “Rembrandt’s Paint,” RES: Anthropology and Aesthetics 36 (1999), pp. 138-165.
Andrea Bolland, “Desiderio and diletto, Vision, Touch, and the Poetics of Bernini’s Apollo and Daphne,” Art Bulletin 82 (2000), pp. 309-30.
June Di Schino, “The triumph of sugar sculpture in Italy 1500-1700,” in: Look and Feel: Studies in Texture, Appearance and Incidental Characteristics of Food, H. Walker (ed.) Totnes: Prospect, 1994.
Marine Ganofsky, “Sensuality and Voluptuousness: Materialism and Petites Maisons in Enlightenment France”, in: B. Arciszewska (ed.), The Baroque Villa: Senses and Perceptions versus Materiality, Warszawa: Muzeum Pałac w Wilanowie, 2017, pp. 211-222.
Christine Göttler, “The Temptation of the Senses at the Sacro Monte di Varallo,” in Wietse de Boer and Christine Göttler (ed.), Religion and the Senses in Early Modern Europe, Leiden, 2013, pp. 393-454.
Beth Harland and Nick Donnelly, “Art Spectatorship and Haptic Visuality: An Eye-Movement Analysis Exploring Painting and Embodied Cognition”, in: Ian Heywood (ed.) Sensory Arts and Design, London: Bloomsbury, 2017, pp. 175-187.
Elizabeth D. Harvey, "The Portal of Touch," American Historical Review 116 (2011), pp. 385-400
William Hood, “The Sacro Monte of Varallo: Renaissance Art and Popular Religion,” in Timothy Verdon (ed.), Monasticism and the Arts, Syracuse, 1984, pp. 291-311.
David Howes, "Architecture of the Senses", Montreal: CAA, 2005; http://www.david-howes.com/DH-research-sampler-arch-senses.htm
David Howes, “Charting the Sensorial Revolution,” The Senses and Society 1 (2006), pp. 113-28.
David Karmon and Christy Anderson, “Early modern spaces and olfactory traces” in: The Routledge Handbook of Material Culture in Early Modern Europe. C. Richardson et al. (ed.), p. 354-370.
Giles Knox, The Late Paintings of Velazquez, Theorizing Painterly Performance, London, 2009.
David R. Marshall, “Running from water: Giochi d’acqua and the sense of touch, in: B. Arciszewska (ed.), The Baroque Villa: Senses and Perceptions versus Materiality, Warszawa: Muzeum Pałac w Wilanowie, 2017, pp.131-143.
Carl Nordenfalk, “A unique Five-Senses Cycle of the 1620s,” in Konsthistorisk Tidskrift 59 (1990), pp 183-9
Konrad Ottenheym. “Meat Halls and Fish markets in the Dutch Republic” in: Public Buildings in Early Modern Europe, Turnhout, 2010, pp. 273-284.
Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, Oxford, 1994.
Franciszek Skibiński, ‘Politics, pleasure and sensuality in the Seventeenth-century Villa in Poland-Lithuania, in: B. Arciszewska (ed.), The Baroque Villa: Senses and Perceptions versus Materiality, Warszawa: Muzeum Pałac w Wilanowie, 2017, pp.197-204.
Mark Smith, “Producing Sense, Consuming Sense, Making Sense: Perils and Prospects for Sensory History,” Journal of Social History 40 (2007), pp. 841-58 (JSTOR)
Nicola Suthor, Rembrandt’s Roughness, Princeton, 2018, pp. 17-33.
Genevieve Warwick, Bernini: Art as Theatre, New Haven, 2012, pp. 78-129
Ernst Van de Wetering, “Rembrandt’s Brushwork and Illusionism; an Art-Theoretical Approach,” in Rembrandt: The Painter at Work, (rev. ed.), Berkeley, 2009, pp. 154-191
Rudolf Wittkower, “Sacri Monti in the Italian Alps,” in: Idea and Image: Studies in the Italian Renaissance, London, 1978, pp. 175-183.
|Efekty uczenia się:||
During classes students will get acquainted with the fundamental concepts and methodological instruments deployed in sensory approaches to early modern art. Students will also master the key ideas underpinning constructions of early modern sensorium and their cultural determinants. Among skills honed during the meetings will be expertise in analytical examination of art form, backed by interpretive discourses concerning early modern culture. The classes will also offer an opportunity to develop advanced competences in critical reading of literary and visual texts.
K2_W02; student acquires specialized terminology within the field of art and architectural history.
K2_W03; student acquires methodical and comprehensive knowledge of art history and related fields, including terminology, theories and methodologies of the discipline (formal analysis, interpretations of meaning), with particular emphasis on sensory dimension of art in early modern period.
K2_W04; student acquires methodical, in-depth and detailed knowledge (leading to specialization in sensory approaches to art history) within the research fields related to art history as a scientific discipline.
K2_W05; student acquires detailed knowledge about contemporary scientific achievements and research schools (Actor Network Theory, spatial studies, sensory approaches) relevant for art history of the early modernity.
K2_W06; student acquires specialized knowledge allowing for integration of scholarly perspectives typical for a variety of scientific disciplines aiding sensory research in art history (such as introduction to CAVE, mapping, CAD-reconstructions, Actor-Network Theory, spatial studies, sensory approaches and post-structural perspectives in social history).
K2_W07; student acquires and comprehends advanced methods of analysis, interpretation and problematization of diverse cultural objects, both material, such as the built form and urban/spatial design, sculpture and painting, as well as immaterial (discourses of contemporary culture) and is capable of employing appropriate research tools developed within specific methodological traditions, theories and research schools within the disciplines of art and architectural history (with particular emphasis on sensory approaches).
|Metody i kryteria oceniania:||
Evaluation based on a short review of a selected piece of literature (1-2 pages) (20%), and 8-10-page essay (80%) as well as class participation.
Zajęcia w cyklu "Semestr letni 2020/21" (zakończony)
|Okres:||2021-02-22 - 2021-06-13||
zobacz plan zajęć
Konwersatorium, 30 godzin, 12 miejsc więcej informacji
|Prowadzący grup:||Barbara Arciszewska|
|Lista studentów:||(nie masz dostępu)|
|Zaliczenie:||Zaliczenie na ocenę|
Właścicielem praw autorskich jest Uniwersytet Warszawski.