Art and the Senses in Early Modern Europe (1600-1800), Part 2 3105-ANS1-WE
The point of departure for each class will be 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. The iconographic themes (Noli me tangere, Doubting Thomas, Rising of Lazarus etc.) and genres (the nude, the still-life) underscoring the multisensory experience of the arts will also be analyzed, together with paradigmatic works evoking such responses (Titian’s Venus of Urbino, Bernini’s Apollo and Daphne, Pluto and Persephone, Velazquez’s Las Meninas etc.). 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 Titian, 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.
Koordynatorzy przedmiotu
Efekty kształcenia
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.
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.
Literatura
Svetlana Alpers, “The Master’s Touch,” in Rembrandt’s Enterprise: The Studio and the Market, Chicago, 1988, pp. 14-33
Daniel Arasse, “The Venus of Urbino, or the Archetype of the Glance,” in Rona Goffen (ed.), Titian’s Venus of Urbino, Cambridge, 1997, 91-107.
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.
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