University Extension Lectures Syllabus of a Course of Six Lectures on Renaissance Art In Special Relation to Florentine Painting by E. L. S. Horsburgh, B.A. Staff Lecturer in History and Literature for the Oxford and American The American Society for the Extension of University Teaching BOOKS RECOMMENDED FOR THE USE OF STUDENTS. CROWE and CAVALCASELLE. History of Painting in Italy. New edition. GRANT ALLEN. Evolution of Italian Art. 'Pall Mall Magazine.' No. 1. J. A. SYMONDS. Renaissance in Italy. Vol. III. 'The Fine Arts.' GRIMM. Life of Michael Angelo. Translated by F. E. Burnett. Dent & Co. Great Artists Series. Sampson Low. (1) Giotto. H. QUILTER. (2) Fra Angelico and Botticelli. C. M. PHILLIMORE. (3) Ghiberti and Donatello. LEADER SCOTT. (4) Leonardo da Vinci. Dr. PAUL RICHTER. (5) Michaelangelo. CHARLES CLÉMENT. (6) Raphael. N. D'ANVERS. E. ARMSTRONG. Lorenzo dei Medici, for Botticelli and the Medicean artists. Fra Angelico. LANGTON DOUGLAS. Geo. Bell. Fra Lippo Lippi, in same series. Donatello. LORD BALCARRES. Duckworth. Botticelli. JULIA CARTWRIGHT. Duckworth. LECTURE I. PRE-RENAISSANCE ART AND THE NATURALISTIC REVIVAL. I. Early Christian Art. Antagonism in principle between art and primitive Christianity. Causes which produced an assimilation. Character of early Christian Art. Follows the traditions of decadent Greek Art. The Art of the Catacombs. Speculative character of Byzantine (Greek) theology gives special tone and quality to Byzantine Art. Byzantine Art emerges from decadent Greek Art sufficiently to have a distinctive character of its own. Purpose of Byzantine Art. Spiritual, not realistic; symbolic, not naturalistic; decorative rather than true, imitative rather than idealistic. Its suitability to its purpose, but being purely imitative it could get no new impulse and so tended to decline; especially in Western Christendom, where it was not indigenous, and where examples of best masters were wanting. Western Christendom thrown on its own artistic resources. The genius of barbaric races shown in Gothic architecture. But barbaric tendencies tempered by tradition of classical art and specimens surviving. The French Cathedral builders. Classical influences in Italy. Rise of a Roman school. Superior refinement of Italy leads to superior refinement in Art. The school of Siena. Pictistic and refined spirit, coupled with a strengthening grasp on technique, and reinforced by study from nature. The schools of Rome and Siena show the beginnings of the Renaissance movement. The "Pisani" and classical models, middle of XIII century. The movement extends to Florence, Cimabue, Giotto. II. Naturalistic revival in Florence. Legends of Cimabue, and of Giotto. But the former is a shadowy figure, the latter as portent, but a further development of Sienese influences tempered by the Florentine character. Qualities of Giotto's Art, and of the Giotteschi, illustrated by examples of his work at Padua; Santa Croce, and elsewhere. Giotto and the Giotteschi express the Humanism of the Renaissance, but not the spirit of the classics. They give form to the conceptions of the Middle Ages, and so are akin to Dante. But the grasp upon technique necessary to render the complex life and thought of the Renaissance had yet to come. Giotto's intuitive genius not possessed by his followers. They become imitators, and so from the Giotteschi a neoByzantinism threatens to result. Vols. I., II. of Crowe and Cavalcaselle. LECTURE II. THE PIONEERS OR "SCIENTISTS." Necessity for a thorough grasp on technique-e. g., perspective, linear and aërial. Chiaroscurs, Anatomy, Foreshortening, relation of light and shade to color. His works 1. Paolo Uccello. His studies in perspective. rather studies in technique than works of art in themselves. 2. Lorenzo Ghiberti. His Baptistery Gates. Why they mark an epoch, and "are worthy to be the Gates of Paradise." Cf. also the works of Brunelleschi, Donatello, del Castagno. 3. Masaccio. Precocity of his genius. Qualities of his art. He begins a new epoch in painting. Some remarks on his composition, backgrounds and general treatment. 4. Piero di Francesca. The Scientist-Artist. Fusion of feeling and technical power. He marks beginning of the secularization of Art. His Historical Compositions. His portraits. 5. Fra Lippo Lippi. Works under the inspiration of Masaccio. Character of the man in relation to his art. His qualities and limitations. 6. Benozzo Gozzoli. Heralds the full Renaissance. His successive stages as Pietist (influence of Fra Angelico) as Humanist (influence of Renaissance life around him); as classic artist (influence of revival of Learning). Illustrations of Uccello, Francesca, Fra Lippo and Benozzoand of Masaccio if possible. Piero di Francesca. W. G. Waters. Bell. For the others, see list of books at beginning. |