Art and the senses in early modern Europe
|Kod przedmiotu:||3105-ANS-KK||Kod Erasmus / ISCED:||03.6 / (0222) Historia i archeologia|
|Nazwa przedmiotu:||Art and the senses in early modern Europe|
|Jednostka:||Instytut Historii Sztuki|
Konwersatoria z historii kultury
|Punkty ECTS i inne:||
zobacz reguły punktacji
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. 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.
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.
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.
|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.
Właścicielem praw autorskich jest Uniwersytet Warszawski.