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Faculty of Architecture, Landscape and Visual Arts
UNIT OUTLINE
Honours Seminar: VISA7482

Gender and Visual Culture in Early Modern Italy



SEM 1 - 2011
CAMPUS: CRAWLEY
UNIT COORDINATOR: Sally Quin

UNIT DETAILS
Unit title: Gender and Visual Culture in Early Modern Italy

Unit code: VISA7482

Credit points: 6

Availability: Semester One

Location: CRAWLEY

Unit web page: www.alva.uwa.edu.au/students
UNIT RULES
Contact hours: 30 (10 seminars @ 3 hrs each)

Pre requisites/advisable prior study and incompatibility: Available at www.handbook.uwa.edu.au
CONTACT INFORMATION
Unit coordinator: Sally Quin

Unit coordinator email: sally.quin@uwa.edu.au

Unit coordinator phone number: TBA

Coordinator consultation hours: Weds 4.00-5.00pm

COMMUNICATION


When you enrol at UWA you are automatically assigned an email address. This address is then used for official electronic correspondence unless you advise in writing that this is not acceptable. For more information about your UWA Student Email account and services available you should visit http://www.ucs.uwa.edu.au/web/students/email
Staff may communicate with students by email, so all students should ensure that they:

(a) activate their Pheme account and student email account

(b) check their account regularly (at least twice per week)

(c) communicate with University staff ONLY through their student email account. (Staff are not required to respond by email to any other addresses.)


UNIT DESCRIPTION
Introduction
The seminar considers broad themes and their relation to gender (the canon of art history, concepts of originality and creativity, architectural space, dress and material culture, hierarchies in the visual arts). It also considers the role of early modern Italian women artists in some detail. Despite it being quite historically specific, some emphasis will be on the afterlife of early modern forms in contemporary culture.
Unit aims and objectives


  • Learn how to interpret a work of art in relation to the cultural context of early modern Italy.




  • Develop an understanding of art works in relation to issues of gender.



Learning outcomes


  • Learn how to engage with art historical and theoretical texts of the early modern period to enrich your understanding of art.




  • Gain a good knowledge of major themes of early modern Italian art history and theory.


UNIT REQUIREMENTS
It is expected that students submit all written work in typewritten form. Access is provided to computers and software in the ALVA computer labs. Students must make their own arrangements to obtain and activate user accounts if they require use of this service.
UNIT STRUCTURE
3 hour seminar: Wednesday 1.00 – 4.00pm, Room 3.20
Attendance/participation requirements
Students are required to complete the readings for each week and participate in discussion.
UNIT TIMETABLE
To view the timetable for this unit please go to: www.timetable.uwa.edu.au
SEMESTER CALENDAR


Week

Date

Day

Lecture Topic

Lecturer

1

2 March

Weds

Introductory Session

Sally

2

9 March

Weds

Marriage Italian Style

Sally

3

16 March

Weds

Self-fashioning and Gender

Sally

4

23 March

Weds

Gender and Portraiture

Sally

5

30 March

Weds

Renaissance Art Theory

Sally

6

6 April

Weds

Giorgio Vasari’s description of Properzia de’ Rossi

Sally

7

13 April

Weds

Giorgio Vasari’s description of Plautilla Nelli

Sally

8

20 April

Weds

Giorgio Vasari’s description of Sofonisba Anguissola

Sally










Non teaching study break




9

4 May

Weds

Lavinia Fontana and the Bolognese Phenomenon

Sally

10

11 May

Weds

Artemisia: Afterlife

Sally

11













12







Non assessment week




13







Non assessment week/ Folio submission






ASSESSMENT MECHANISM


Component

Weight

Due Date

Assignment, 5000 words

100%

Monday May 16 no later than 4pm

Supplementary assessment is not available in this unit.




ESSAY TOPICS:
You may devise a different essay question in consultation with your tutor.
1. Consider the function of biblical or mythological narratives as depicted on domestic objects such as marriage chests and birthing trays in early modern Italy. Select one or two objects to discuss in detail and relate to the role of women in early modern Italian culture.
2. Offer an analysis of a female portrait from fifteenth or sixteenth century Italy. Describe how the work conforms and/or departs from dominant conceptions of female nature at the time.
3. Describe Castiglione’s construction of the ideal male in The Courtier. Consider how Castiglione’s code of conduct is reflected in portraiture of the day. Select one or two portrait works to discuss in detail.


WEEKLY PROGRAMME:
1. 2 March Theoretical Introduction to Issues of Gender in early modern Italy
This week will serve as an introduction to the Seminar. In this session I also hope to learn what your interests are, so that the course can be run with those in mind.
There are two readings to introduce you to key areas we will be following in the course. The first by Maclean summarises the theoretical basis for early modern attitudes to gender difference. The second reading by Zorach considers various approaches to the study of Renaissance/early modern art history and its relationship to modern and contemporary art. As our approach to reading works of art will be closely concerned with their cultural contexts, the ‘suggested’ readings below provide historical background for such interpretation.
Given that this is the first week, if you don’t manage to complete the readings then attempt to do so in subsequent weeks.
Essential:
Maclean, I., The Renaissance Notion of Woman: A Study in the Fortunes of Scholasticism and Medical Science

in European Intellectual Life (Cambridge, 1980, reprinted 1988), pp. 28-46.
Zorach, R., ‘Renaissance Theory: A Selective Introduction’, in Renaissance Theory, eds. J. Elkins and R. Williams (Routledge: New York, 2008), pp. 3-36.
Suggested:
Chojnacki, S., ‘Comment: Blurring Genders’, Renaissance Quarterly, vol. 40 (1987), pp. 743-751.
Davidson, N., ‘Theology, Nature, and the Law Sexual Sin and Sexual Crime in Italy from the Fourteenth to the

Seventeenth Century’, in T. Dean and K. J. P. Lowe, Crime, Society, and the Law in Renaissance Italy

(Cambridge, 1994), pp. 74-98.
Davis, N.Z. and A. Farge (eds.), A History of Women in the West, Volume III: Renaissance and the Enlightenment Paradoxes (Cambridge, Mass., 1993).
Fradenburg, L. and C. Freccero, eds. Premodern Sexualities (New York and London: 1996).
Jordan, C., Renaissance Feminism: Literary Texts and Political Models (Ithaca, N.Y.: Cornell University Press, 1990).
Jordan, C., ‘Renaissance Women and the Question of Class’, Sexuality and Gender in Early Modern Europe, ed. J. G. Turner (Cambridge: Cambridge University Press, 1993), pp. 90-106.
Kelly, J., ‘Did Women have a Renaissance?’ (originally published 1977) in Oxford Readings in Feminism: Feminism and Renaissance Studies, ed. Lorna Huston (Oxford: Oxford University Press 1999), pp. 21-47.
Laqueur, T., Making Sex: Body and Gender from the Greeks to Freud (Cambridge, Mass. And London: Harvard University Press, 1990).
Muir, E. and G. Ruggiero (eds.), Sex and Gender in Historical Perspective (Baltimore:, 1990).
Turner, J. G. (ed.), Sexuality and Gender in Early Modern Europe: Institutions, Texts

Images (Cambridge, 1994).
Ruggiero, G., Boundaries of Eros: Sex Crime and Sexuality in Renaissance Venice (New York and Oxford, 1985).
Ruggiero, G., Binding Passions. Tales of Magic, Marriage, and Power at the End of the Renaissance (Oxford,

1993).
Wiesner, M.E., Women and Gender in Early Modern Europe (New Approaches to European History

(Cambridge, 2000), 2nd ed.
2. 9 March Marriage Italian Style: Material Culture, Domestic Space and the Imaging of Violence in early modern Italy
This week we investigate a variety of images on objects such as deschi da parto (birthing trays) and cassoni (marriage chests). These objects indicate specific ideas about kinship ties and also women’s role in the consumption and appreciation of visual imagery during the period.
The case study of Botticelli’s narrative cycle telling the horrendously violent story surrounding the travails of a young man in love, Nastagio degli Onesti, will be used to consider how images might instruct women and reinforce patriarchal values. Without giving the plot away, this story gives us a chilling insight into the fate of women and their obligation to marry in the early modern period.
Essential:
Randolph, A.W.B., Gendering the Period Eye: Deschi da Parto and Renaissance Visual Culture,’ Art History, 27, 4 (September 2004), pp. 538-562.
Suggested:
Ajmar, M, Dennis, F., 'Domestic Life: Instructing on the Art of Living Well', in Imagined Interiors: Representing the Domestic Interior since the Renaissance, eds. J. Aynsley and C. Grant, pp. 68-69. (London: Victoria & Albert Museum 2006).

Ajmar, M, and Dennis, F., At Home In Renaissance Italy (London: Victoria & Albert Museum, 2006-7).



Ajmar, M, Dennis, F, Matchette, A., Approaching the Italian Renaissance Interior: Sources, Methodologies, Debates (Blackwell, 2007).
Baxandall, M., Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style (New York: Oxford University Press, 1972), pp. 29-45. (this is the highly influential work that Randolph is referring to in ‘Gendering the Period Eye’. The reading is not related to gender but it is worth reading as it greatly altered approaches to the study of Renaissance art. Baxandall’s concept of the ‘Period Eye’ focused upon audience reception and artists’ attempts to elicit particular responses in the viewer).
Baskins, C., Cassone Painting, Humanism, and Gender in Early Modern Italy (New York: Cambridge University Press, 1998), pp. 1-25.
Boccaccio, G.,The Decameron (London: Penguin, 2003), pp. 419-425. (for the Nastagio degi Onesti story written in the fourteenth century).
Campbell, S. J., The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella d'Este, (New Haven: Yale University Press, 2006).
Didi-Huberman, G., ‘Opening Up Venus: Nudity, Cruelty and the Dream, pp. 37-52, in Frangenberg, T., and Williams, R., eds. The Beholder: The Experience of Art in Early Modern Europe. Histories of Vision 4. (Aldershot: Ashgate Publishing Company, 2006).
Goldthwaite, R. A., ‘The Empire of Things: Consumer Demand in Renaissance Italy’, in Patronage, Art, and Society in Renaissance Italy, eds. F. W. Kent and P. Simons (Oxford: Oxford University Press, 1987), pp. 153-175.
Goldthwaite, R. A., Wealth and the Demand for Art in Italy, 1300-1600 (Baltimore: John Hopkins University Press, 1993).
Musacchio, J., ‘Imaginative Conceptions in Renaissance Italy’, in eds. J.A. Johnson and S. F. Matthews Grieco, Picturing Women in Renaissance and Baroque Italy (Cambridge, 1997), pp. 42-46.
Musacchio, J., ‘The Rape of the Sabine Women on Quattrocento marriage-panels’, in Marriage in Italy 1300-1650, eds. T. Dean and K.J.P. Lowe (Cambridge: Cambridge University Press, 1998), pp. 66-82.
Randolph, A., ‘Performing the Bridal Body in Fifteenth-century Florence’, Art History, vol 21 (2), June, 1998, pp. 182-200.
Syson, L and Thornton, D., Objects of Virtue (London: The British Museum, 2001)
3. 16 March Self-fashioning and gender in early modern Italy: Castlglione’s The Book of the Courtier
Baldesar Castiglione’s The Book of the Courtier (1528) was inspired by an idyllic period spent by the author at the court of Urbino. The book is constructed as a dialogue between leading figures of the day who debate the qualities which define the ideal courtier or gentleman. Also, book three summarises early modern debates about women in courtly circles. Women are involved in the dialogue, though not as actively as men. The book is a sophisticated style manual which analyses how individuals should relate to one another in a civil society (a kind of moral code) but also focuses at length on dress and gesture, or the outward visible signs of nobility.
By reading Castiglione and examining works of portraiture which show a kind of Castiglione ‘type’, we will consider, in particular, prescriptions for ideal male behaviour and comportment. We will also look briefly at the relationship between these ideas and contemporary Italy, a culture which remains particularly concerned with the expression of self through clothing and gesture.
Essential:
Castiglione, B., The Book of the Courtier, translation and introduction by George Bull (London: Penguin, 2003), pp. 23-29 (peruse the cast of characters), pp. 60-68 (for self-fashioning), and pp. 207-237 (for the debate on women).


Suggested:
Cox, V., The Renaissance Dialogue: Literary Dialogue in its Social and Political Contexts, Castiglione to Galileo (Cambridge: Cambridge University Press, 1992).
Collier Frick, C., Dressing Renaissance Florence: Families, Fortunes and Fine Clothing (Baltimore: Johns Hopkins Press, 2002).
Fermor, S., ‘Movement and Gender in Sixteenth-century Italian Painting’, The Body Imaged: the Human Form and Visual Culture since the Renaissance, ed. K. Adler and M. Pointon (Cambridge: Cambridge University Press, 1993), pp. 129-145.
Greenblatt, S., Renaissance Self-fashioning, from More to Shakespeare (Chicago and London: The University of Chicago Press, 1980). (General reading on the concept of self-fashioning).
Harvey, J., Men in Black (Chicago: University of Chicago Press, 1995), pp. 41-87 (this passage touches on Castiglione and sixteenth century Italian dress but it is more generally an interesting history of the meaning of black clothing from Medieval to early modern times)
Kovesi Killerby, C., ‘“Heralds of a Well-instructed mind”: Nicolosa Sanuti’s Defence of Women and their Clothes”, Renaissance Studies, vol. 13, n. 3 (1999), pp. 255-282.
Simons, P., ‘Alert and Erect: Masculinity in Some Italian Renaissance Portraits of Fathers and Sons’, in ed. R. C. Trexler, Gender Rhetorics: Postures of Dominance and Submission in HIstory, Medieval and Renaissance Texts and Studies 113, (Binghamton, New York, 1994), pp. 163-86.
4. 23 March Gender and Portraiture in Fifteenth and Sixteenth Century Italy
This week we continue to discuss portraiture and gendered identity but with emphasis on portraits of women from the fifteenth to the sixteenth centuries, from profile to frontal portraits.
Essential:
Simons, P. ‘Women in Frames: the Gaze, the Eye, the Profile in Renaissance Portraiture’, in The Expanding Discourse: Feminism and Art History, ed., N. Broude and M. Garrard (New York, Harper Collins, 1992), pp. 38-57.
Suggested:
Campbell, L., Renaissance Portraits: European Portrait Painting in the Fourteenth, Fifteenth and Sixteenth Centuries (New Haven: Yale University Press, 1990).
Cranston, J., The Poetics of Portraiture in the Italian Renaissance (Cambridge, New York: Cambridge University Press, 2000).
Cropper, E., ‘On Beautiful Women, Parmigianino, Petrarchismo, and the Vernacular Style’, Art Bulletin, vol. 58 (1976), pp. 374-394.
Cropper, E., ‘The Beauty of Woman: Problems in the Rhetoric of Renaissance Portraiture’, Rewriting the Renaissance, ed. M. W. Ferguson, M. Quilligan and N. J. Vickers (Chicago and London: University of Chicago Press, 1986), pp. 175-90.
Garrard, M., ‘Leonardo da Vinci: Female Portraits, Female Nature’, in The Expanding Discourse: Feminism and Art History, ed., N. Broude and M. Garrard (New York: Harper Collins, 1992), pp. 58-85.
Goffen, R., Titian’s Women (New Haven: Yale University Press, 1992).
Goffen, R., ed. Titian’s Venus of Urbino (Cambridge: Cambridge University Press, 1997), pp. 146-159.
Rogers, M., ‘Sonnets on Female Portraits from Renaissance North Italy’, Word & Image, vol. 2 (1986), pp. 291-305.
Simons, P., ‘Portraiture, Portrayal, and Idealization: Ambiguous Indivisualism in Representations of Renaissance Women’, in Language and Images of Renaissance Italy (Oxford: Clarendon Press, 1995) ed. A. Brown, pp. 263-311.
Talvacchia, B., Taking Positions: On the Erotic in Renaissance Culture (Princeton,

NJ., 1999)


Woods-Marsden, J., ‘ “Ritratto al Naturale”: Questions of Realism and Idealism in Early Renaissance Portraits’, Art Journal, Fall (1987), pp. 209-216.

5. 30 March Renaissance Art Theory: Giorgio Vasari’s Lives and the Gendering of Art History
This week we begin our analysis of Giorgio Vasari’s Lives of the Painters, Sculptors and Architects, a history of art from the thirteenth century to the sixteenth century. Though some art history existed prior to 1550, the work signals a turning point in the western tradition of art history and theory. There are many aspects of Vasari’s Lives that have inevitably formed part of our vocabulary of art, namely the concepts of originality in the work of art and that of the genius or divinely inspired artist. Vasari also weighed into a discourse known as the paragone, a debate regarding the relative merits of one art form over another, most often painting versus sculpture. We will consider such big ideas in terms of the way we conceptualise art today and, particularly, for the way in which such constructions can be viewed as gendered.
Though it holds much historical fact upon which art historians still rely, the Lives is constructed to certain ends. We will investigate key ideas proposed by Vasari and consider how they interact with his promotion of the status of the artist.
Two different types of male artists in the Lives, Raphael and Michelangelo, will be considered. Then in week six the female sculptor Properzia de’ Rossi, the only woman to get a whole ‘life’ in Vasari’s text, will be studied in detail.
Essential:
Vasari, G., Lives of the Painters, Sculptors and Architects, vol. 2, trans. G. du C. de Vere, introd. and notes, D. Ekserdjian (London: David Campbell, 1996), pp. 642-769 (Life of Michelangelo). OR in volume one the Life of Raffaello da Urbino, pp. 710-748. (Read both or select one).
Suggested:
Alberti, L. B., On Painting, translated with introduction by John R. Spencer (New Haven: Yale University Press, 1966), pp. 63-67, 89-98. (for an earlier important example of Renaissance art theory).
Barolsky, P., Why Mona Lisa Smiles and Other Tales by Vasari (University Park, Pa: Pennsylvania State University Press, 1991).
Barolsky, P., ‘Vasari and the Historical Imagination’, Word & Image, vol. 15, n. 3 (1999), pp. 286-291.
De Tolney, C., The Art and Thought of Michelangelo (New York: Pantheon, 1964).
Jacobs, F., The Living Image in Renaissance Art (Cambridge: Cambridge University Press, 2005).
Loh, Maria, Titian Remade: Repetition and the Transformation of early modern Italian Art (Los Angeles: Getty Research Institute, 2007).
Rogers, M., ‘The Artist as Beauty’, Concepts of Beauty in Renaissance Art, eds F. Ames-Lewis and M. Rogers (Aldershot, Ashgate, 1998), pp. 93-105.
Rubin, P. L., Giorgio Vasari: Art and History, New Haven and London, Yale University Press, 1995.
Warnke, M., The Court Artist: On the Ancestry of the Modern Artist (Cambridge: Cambridge University Press, 1993).
Wittkower, M., and Wittkower, R., Born Under Saturn: The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution (New York, W.W. Norton, 1969) pp. 1-41.
6. 6 April Giorgio Vasari’s vita of Properzia de’ Rossi
It is during the sixteenth century that a number of Italian women emerge as significant artists, namely the Bolognese sculptor Properzia de’ Rossi, the Florentine nun Plautilla Nelli, and noblewoman Sofonisba Anguissola. Properzia’s vita is included in the 1550 edition of the Lives and Plautilla and Sofonisba are added to the end of Properzia’s vita in the definitive 1568 edition. Sofonisba and her artistic sisters are also given further space in 1568, in a section devoted to Lombardian artists. In the next three sessions we will consider the meaning of Vasari’s inclusions—was it mere gallantry on Vasari’s part to include women or do women play some kind of exemplary or instructive role in the Lives? We look firstly at Properzia de’ Rossi who, most unusually, took up sculpting as a profession.
Essential:
Vasari, G. Lives of the Painters, Sculptors and Architects, vol. 1, trans. G. du C. de Vere, introd. and notes, D. Ekserdjian (London: David Campbell, 1996), pp. 856-860.
Suggested:
Italian Women Artists: from Renaissance to Baroque (Milano: Skira; New York, NY: Rizzoli, 2007). (Relevant for this and the next two weeks).
Jacobs, F. H., ‘The Construction of a Life: Madonna Properzia De’ Rossi “Schultrice” Bolognese’, Word and Image, vol. 9, n. 2 (1993), pp. 122-132.
Jacobs, F. H., Defining the Renaissance Virtuosa: Women Artists and the Language of Art History and Criticism (Cambridge: Cambridge University Press, 1997) (Relevant for this and the next two weeks).
Sohm, P., ‘Gendered Style in Italian Art Criticism from Michelangelo to Malvasia, Renaissance Quarterly, vol. 48 (1995), pp. 759-808.
7. 13 April Giorgio Vasari’s description of Plautilla Nelli
Plautilla Nelli (1523-1588) was a Florentine artist-nun who also rose to be prioress of her convent. She undertook many commissions around Florence for private patrons and also major commissions such as altarpieces for churches. Plautilla’s description follows that of Properzia in the Lives. Properzia is styled by Vasari as a brilliant but personally troubled woman, while Plautilla is framed as a virtuous, hardworking artist who is unable, however, to reach the artistic heights of Properzia, or Sofonisba (described directly afterwards). For Vasari, Plautilla’s painting demonstrated a lack of crucial study in drawing, the basis of all artistic achievement in the Renaissance.

Essential:
Vasari, G. Lives of the Painters, Sculptors and Architects, vol. 1, trans. G. du C. de Vere, introd. and notes, D. Ekserdjian (London: David Campbell, 1996), pp. 856-860. (This is the reading for Properzia above, as Plautilla’s description is tacked on to the end of Properzia’s vita, so reread the relevant section on Plautilla)
Quin, S., ‘Plautilla Nelli’s Role in Giorgio Vasari’s Lives of the Painters (1568) and Serafino Razzi’s History of Illustrious Men (1596)’, in Plautilla Nelli (1523-1588): The Painter-Prioress of Renaissance Florence, ed. Jonathan K. Nelson (New York: Syracuse University Press, 2008), pp. 45-59.
Suggested:
Andrea Muzzi, The Artistic Training and Savanarolan Ideas of Plautilla Nelli, in Plautilla Nelli (1523-1588): The Painter-Prioress of Renaissance Florence, ed. Jonathan K. Nelson (New York: Syracuse University Press, 2008), pp. 28-44.
8. 20 April Giorgio Vasari’s description of Sofonisba Anguissola
Though Sofonisba Anguissola doesn’t get her own vita like Properzia, she appears to beVasari’s favoured

female artist. He praises the liveliness and vivacity of her portraiture and significantly states that she has

mastered the art of drawing (unlike Plautilla). She is also exemplary for Vasari, who was attempting to

promote the status of the artist in the book, as she is an artist of noble extraction. Vasari mentioned two

portrait works by Sofonisba, The Chess Game (1555) and the Portrait of Amilcare, Minerva and

Asdrubale (c. 1557-58) and these works will be studied in detail in relation to both Vasari’s writing and, more

generally, the position of women in early modern Italy.


Essential:
Vasari, G. Lives of the Painters, Sculptors and Architects, vol. 1, trans. G. du C. de Vere

introd. and notes, D. Ekserdjian (London: David Campbell, 1996), vol 1. 856-860, and vol. 2.

pp. 466-468.
Suggested:
Garrard, M. D. ‘Here’s Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist’, Renaissance Quarterly, vol. 47, n. 3 (1994), pp. 556-622.
Jacobs, F. H., ‘Woman’s Capacity to Create: the Unusual Case of Sofonisba Anguissola’, Renaissance Quarterly, vol. 47, n. 1 (1994), pp. 74-101.
King., C., ‘Looking a sight: sixteenth-century portraits of women artists in Western Europe’, Zeitschrift

fur Kunstgeschichte, 58:3, 1995, pp. 381-406.
Woods-Marsden, J. Renaissance Self-portraiture: the Visual Construction of Identity and the Social Status of the Artist (New Haven and London: Yale University Press, 1998), pp. 186-213.

9. 4 May Lavinia Fontana and the Bolognese Phenomenon
Germaine Greer termed the phrase ‘the Bolognese Phenomenon’ in her 1979 history of women artists in the

western tradition, ‘The Obstacle Race’. She was referring to a tradition of women’s rights in the city of

Bologna dating back to the thirteenth century. Bolognese artist Lavinia Fontana will be the focus of our study

this week. Fontana was the successor of Sofonisba Anguissola in terms of her fame both in Italy and all over

Europe. She was too young to be mentioned by Vasari but it is almost certain that she read those parts of the

book we have been studying. Her self-portraiture suggests that she styled herself on Sofonisba.


Though Lavinia lacked the social status of Sofonisba, coming from an artistic background, her talent gained her entry into a noble family through marriage and she became a favourite portraitist for noble Bolognese women. We will study Lavinia’s self-portraiture in detail to determine the kind of ideas she was attempting to express about her social and artistic status.
Essential:
Woods-Marsden, J. Renaissance Self-portraiture: the Visual Construction of Identity and the Social Status of the Artist (New Haven and London: Yale University Press, 1998), pp. 214-222.
Suggested:
Bambach, C. C. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice 1300-1600, (Cambridge, Cambridge University Press, 1999).
Barzman, K., ‘Perception, Knowledge and the Theory of Disegno in Sixteenth-century Florence’, From Studio to Studiolo: Florentine Draftsmanship under the First Medici Grand Dukes, ed. L. J. Feinberg, exhib. cat. Allen Memorial Art Museum, Oberlin College (Ohio: Allen Memorial Art Museum, 1991), pp. 37-48.
Barzman, K. The Florentine Academy and the Early Modern State: The Discipline of Disegno (Cambridge, Cambridge University Press, 2000).
Murphy, C. P., ‘In Praise of the Ladies of Bologna’: the Image and Identity of the Sixteenth-century Bolognese Female Patriciate’, Renaissance Studies, vol. 13, n. 4 (1999), pp. 440-454.
Murphy, C.P., Lavinia Fontana: a Painter and her Patrons in Sixteenth-century Bologna (New Haven and London: Yale University Press, 2003).
Rogers, M. ‘An Ideal Wife at the Villa Maser: Veronese, the Barbaro’s and Renaissance Theorists of Marriage’, Renaissance Studies, vol. 7, n. 4 (1993), pp. 379-397.
10. 11 May Artemisia: Afterlife
This week we watch the 1997 film Artemisia, directed by Agnes Merlet and representing a version of the life of Artemisia Gentileschi. The film caused feminist protest worldwide particularly for the way in which it deals (or fails to deal) with the rape of Artemisia by her painting teacher Agostino Tassi. Before watching the film, which distorts historical record, read up on Artemisia’s life. The Mieke Bal reading considers two major art exhibitions which feature Artemisia and the work of a contemporary artist inspired by Artemisia’s Susanna paintings.
Essential:
Pollock, G., ‘The Feminist Dilemmas with the Art/Life Problem’, in The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People, ed., M. Bal (Chicago and London: University of Chicago Press, 2005), pp. 169-206 and 211-212.
Suggested:
Bal, M., ‘Grounds of Comparison’, in ed., M. Bal, The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People (Chicago and London: University of Chicago Press, 2005), pp. 129-167 and 210-211.
Bissel, R.W., Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonne (University Park, Pa.: Pennsylvania State University Press, 1999).
Christiansen, K. Orazio and Artemisia, exhib. cat. (New York: Metropolitan Museum of Art; New Haven, Yale University Press, 2001).
Garrard, M.D, ‘Artemisia and Susanna’, in Feminism and Art History: Questioning the Litany, ed. N. Broude, and M. Garrard, New York, Harper & Row, 1982, pp. 146-171.
Garrard, M. D. Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton, N.J, Princeton University Press, 1989). (for biography pp. 13-138, on Judith, pp. 278-336 and for extracts of the rape trial, pp. 403-418).
Garrard, M. D., Artemisia Gentileschi (New York: Rizzoli, 1993).
Garrard, M. D., ‘Artemisia’s Trial by Cinema’, Art in America, vol. 86, October (1998), pp. 65-69.

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The University’s charter of student rights is available at http://www.secretariat.uwa.edu.au/home/policies/charter


Academic conduct and Ethical Literacy

The Faculty and the University take very seriously issues of academic literacy and ethical scholarship. The University has developed a series of policies relating to ethical literacy and the Faculty’s Academic Conduct Policy reflects these guidelines. The Faculty uses the University wide reporting and penalty mechanisms for students found to have been involved in academic misconduct. To view the Faculty’s Academic Conduct Policy please refer to: http://www.alva.uwa.edu.au/students/policies/academic-conduct



Appeals

Where there is dissatisfaction with an assessment result and/or progress status students may lodge an appeal. For information regarding the appeals process please go to: http://www.secretariat.uwa.edu.au/home/policies/appeals


FACULTY POLICIES AND PROCEDURES

Attendance

Under General Rule 1.2.1.15, students are required to attend prescribed classes and submit work of a satisfactory standard. Under General Rule 1.2.1.16 a student may be prohibited by the Faculty from undertaking further study or examination in the unit concerned if the requirements of 1.2.1.15 are not met.


Extensions

The Faculty approves extensions only in exceptional circumstances in order to ensure that all students are treated fairly and that submission date schedules, which are designed to produce ordered work patterns for students, are not disrupted. Extensions may be authorised only by the Manager, Student Office.


In all cases, requests for extensions require the submission of an official extension form before the due date.
To view the full ALVA Extension policy and application procedures go to: http://www.alva.uwa.edu.au/students/policies/extension

Submission of late work

All assessment tasks are due no later than 4pm on the date indicated in the unit's Assessment Mechanism Statement, with the exception of in-class assessment items such as tutorial presentations. Any assessment task which is submitted after the time indicated in the assessment mechanism statement on the due date without a formal approved extension will be considered late and appropriate penalties will be applied. The late work policy should be read in conjunction with the ALVA Extension Policy available at http://www.alva.uwa.edu.au/students/policies/late-work


Digital Submissions

The ALVA Digital Submissions policy is available at: http://www.alva.uwa.edu.au/students/policies/assessment/digital-submissions



Academic conduct

Academic misconduct includes plagiarism, collusion and other forms of cheating. The University of Western Australia defines Academic Misconduct as "any activity or practice engaged in by a student that breaches explicit guidelines relating to the production of work for assessment, in a manner that compromises or defeats the purpose of that assessment".

The full ALVA misconduct policy is available at: http://www.alva.uwa.edu.au/students/policies/academic-conduct
Special Consideration

Special consideration allows Faculties to take into account significant and unforeseen factors that may have affected your academic preparation or performance. Students who believe they may be eligible for special consideration should make an appointment to meet with the Manager, Student Office as soon as possible after the onset of the medical condition or other circumstance. For information regarding special consideration please go to: http://www.guild.uwa.edu.au/home/student_assistance/academic_help/special_considerations


Academic Writing

Student Services provides an online guide to assist you in writing essays and general academic writing. Tools, techniques and tips on how to complete your written assignments is available at http://www.studentservices.uwa.edu.au/ss/learning/alva and



http://www.studentservices.uwa.edu.au/ss/learning/academic_writing


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