Art and the Senses in Early Modern Europe (1400–1600) 3105-ASEME-OG

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 (Renaissance) 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 also be analyzed, together with paradigmatic works evoking such responses (Titian’s Venus of Urbino, for instance).
The issues of techniques, materials and devices enhancing multisensory response to the arts will also be examined, including the late painting techniques/brushwork of Titian; the choice of materials in sculpture and architecture, as well as contrivances such as giochi d’acqua, imprisoning chairs, or hydraulic organs etc.

Rodzaj przedmiotu

ogólnouniwersyteckie

Koordynatorzy przedmiotu

Barbara Arciszewska

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.
In particular:
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).

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

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.
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.
Niall Atkinson, „The Republic of Sound: Listening to Florence at the Threshold of the Renaissance”, I Tatti Studies in the Italian Renaissance, 16, 2013, 57-84.
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.
Leonard Barkan, “Feasts for the Eyes, Foods for Thought.” Social Research, 66, no. 1 (1999): 225–52.
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.
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.
Flora Dennis, Scattered knives and dismembered song: cutlery, music and the rituals of dining, Renaissance Studies, Vol. 24, No. 1, (Re-thinking renaissance objects: design, function and meaning) 2010.
Alexander Engström, Bacchus and Social Order. Noble drinking culture and the making of identity in early modern Sweden (diss.)

Giancarlo Fiorenza, “Paludanus, Alabaster, and the Erotic Appeal of Art in Antwerp.” Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 67 (2017): 286–309.
Simona Gavinelli, Gli umanisti e il vino (2003) http://www.rmoa.unina.it/2842/1/Gavinelli.pdf
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.
Rona Goffen, “Paragone and the Goddess,” in Titian’s Women, New Haven, 1997, pp. 107-169.
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
Cecilia Hewlett, “Locating Contadini in the Renaissance City: Food Circulation and Mobility in the Marketplace.”I Tatti Studies in the Italian Renaissance 19, no. 1 (2016): 93–113.
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.
Doborah Howard, Sound and Space in Renaissance Venice: Architecture, Music, Acoustics (with Laura Moretti), Yale University Press 2009
Deborah Howard, The Music Room in Early Modern France and Italy: Sound, Space and Object (Proceedings of the British Academy 176), edited with Laura Moretti, Oxford University Press, 2012.
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.
Heather Hunter-Crawley and Erica O’Brien (eds.), The Multi-sensory image from antiquity to the Renaissance, Abingdon: Routledge, 2019.
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.
Tess Knighton & A. Mazuela-Anguita (eds.), Hearing the City in Early Modern Europe, Turnhout, 2018.
Giles Knox, Sense Knowledge and the Challenge of Italian Renaissance Art, Amsterdam, 2019.
Beat Kuemin and B. Ann Tlusty, eds., The World of the Tavern: Public Houses in Early Modern Europe (Aldershot: Ashgate Publishing, 2002).
Ann-Sophie Lehmann, “How materials make meaning”, Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 62 (2012): 6–27.
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, “The Five Senses in Late Medieval and Renaissance Art,” Journal of the Warburg and Courtauld Institutes 48 (1985), pp. 1-22, illustrations 1-9
Carl Nordenfalk, “The Five Senses in Flemish Art before 1600,” in Netherlandish Mannerism. Mationalmusei Skriftserie, n.s. 4 (1985), pp. 134-54
Carl Nordenfalk, “A unique Five-Senses Cycle of the 1620s,” in Konsthistorisk Tidskrift 59 (1990), pp 183-9
Alessandro Nova, “’Popular’ art in Renaissance Italy: Early Response to the Holy Mountain at Varallo,” in C. Farago (ed.), Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650, New Haven, 1995, pp. 112-126; 319-321.
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.
Mary Pardo, “Artifice as Seduction in Titian,” in James Grantham Taylor (ed.), Sexuality and Gender in Early Modern Europe, Cambridge, 1993, pp. 55-89.
Christopher Perricone, “The Place of Touch in the Arts.” Journal of Aesthetic Education 41, no. 1 (2007): 90–104.
François Quiviger The Sensory World of Italian Renaissance Art, London: Reaktion Books, 2010.
François Quiviger, “Art and the Senses: Representation and Reception of Renaissance Sensations,” in H. Roodenburg (ed.), A Cultural History of the Senses in the Renaissance, London, 2014, pp. 169-202.
Lisa M. Rafanelli, “Thematizing Vision in the Renaissance: The Noli Me Tangere as a Metaphor for Art Making,” in Alice E. Sanger and Siv Tove Kulbrandstad Walker (eds.), Sense and the Senses in Early Modern Art and Cultural Practice, Farnham, 2012, pp. 149-68.
Jenfer Robinson, “On Being Moved by Architecture.” The Journal of Aesthetics and Art Criticism 70, no. 4 (2012): 337–53.
David Rosand, “Titian and the Eloquence of the Brush,” Artibus et Historiae 2 (1981), pp. 85-96
David Rosand, “The Stroke of the Brush,” in: The Meaning of the Mark: Leonardo and Titian, Spencer Museum of Art, University of Kansas, 1988, pp. 49-93
Mark Smith, “Producing Sense, Consuming Sense, Making Sense: Perils and Prospects for Sensory History,” Journal of Social History 40 (2007), pp. 841-58 (JSTOR)
Allie Terry-Fritsch, “Performing the Renaissance Body and Mind: Somaesthetic Style and Devotional Practice at the Sacro Monte di Varallo,” Open Arts Journal 4 (2014-15), pp. 112-130.
Ann B., Tlusty, Bacchus and Civic Order: The Culture of Drink in Early Modern Germany. University of Virginia Press, 2001.

Uchacz, Tianna Helena. "‘Touch Will Give Your Hand Belief’: Adultery, Idolatry, and Touching Statuary in Netherlandish Culture." Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 67 (2017): 366-404.
Lisa Boutin Vitela, Dining in the Gonzaga Suburban Palaces: The Use and Reception of Istoriato Maiolica, Predella, 33, 2013.

Lisa Boutin Vitela, Inscriptions and the dynamic reception of Italian Renaissance maiolica, Word and Image, 2014, 168-176.

Rudolf Wittkower, “Sacri Monti in the Italian Alps,” in: Idea and Image: Studies in the Italian Renaissance, London, 1978, pp. 175-183.

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