Moodle@Warwick

Module Outline

Mannerism defines a key historical period in European arts, bridging the Renaissance and Baroque periods, which is characterised by a shift towards an increasingly more artful, idiosyncratic approach to artistic invention and practice. The term itself, however, is controversial, as it was forged by modern critics on the basis of the Italian sixteenth-century expression maniera (‘manner’, ‘style’). The broad aim of this module is to bring to the fore a number of critical issues raised by the many-sided notion of Mannerism, provide an in-depth examination of a large body of artists and artworks (drawings, paintings, sculptures and architecture) associated with it. The module is based on student-centred seminars, and structured in such a way that students will be invited to reflect on how their understanding of the concept of Mannerism changes throughout. It focuses on how theorists and artists developed new ways of conceiving of artistic practice, by placing unprecedented emphasis on the individual’s inventiveness and talent, and taking the ideal of beauty well beyond the rules of classical art that had prevailed in the High Renaissance. The analysis of theoretical principles elaborated by Italian treatise writers such as Vasari and Lomazzo is combined with an extensive survey of artistic practices and stylistic features that spread from Italy across Europe in the sixteenth century.

Sample Syllabus

Module Format

This module consists of both lectures and seminars. Seminars are student-centred; you should be prepared to contribute to the discussion in order to reap the benefits. Seminars may vary in format, and will entail a variety of in-class group activities including occasional group presentations.

Module Aims

By the end of the module you should be able to understand and compare/contrast:

• Demonstrate critical understanding of how Mannerism impacted on the development of Western art and how it has been discussed in modern scholarship.
• Learn how to deal critically with periodisation, stylistic categories and complex theoretical concepts.
• Demonstrate a grasp of the main lines of Mannerism-related artworks and the notion of Mannerism in contemporary art theory
• Demonstrate detailed knowledge of the works studied and their contexts
• Deploy these ideas critically in relation to other forms of art

Moreover, you should be able to:

• Make use of primary sources to contextualise the material;
• Improve your analytical skills and incorporate visual analysis in your work;
• Frame artists and artworks in their historical contexts and situate them in a broader art historical discourse;
• Deal with theoretical issues and historiographical concepts related to the Renaissance.

Workload

2 x 2-hour lecture/seminar per week

1 x Field trip

You should carry our a minimum of 7 hours preparatory reading and independent research per week

Assessment

3,500 word Portfolio including both documentary evidence and reflective writing (50%)

Slide test Assignment (20%)

1,500 word Essay (30%)

Introductory Reading

Essential

Giorgio Vasari, Lives of the Painters, Sculptors and Architects (ed. 1568), translated by Conaway, J., and Bondanella, P. (Oxford, 1991), ‘Preface’ to Part 3. [http://webcat.warwick.ac.uk/record=b2952624~S1]

Robert Williams, ‘Italian Renaissance Art and the Systemacity of Representation’, in Elkins, J, and Williams, R., Renaissance Theory (New York: Routledge, 2008), pp. 159-184 [http://webcat.warwick.ac.uk/record=b2344574~S1]

Michael Levey, High Renaissance (Harmondsworth: Penguin, 1975), esp. Ch. 1, pp. 15-63.

Walter Friedlaender, Mannerism and Anti-mannerism in Italian Painting (New York: Columbia University Press, 1990).

John Shearman, Mannerism (Harmondsworth: Penguin, 1967).

Philip Sohm, Style in the Theory of Early Modern Italy (New York: Cambridge University Press, 2001), pp. 86-114Chapter 4, 'Giorgio Vasari: Aestheticizing and Historicizing Style'.

Robert Williams, Art, Theory, and Culture in Sixteenth-Century Italy: From Techne to Metatechne (Cambridge, MA: Cambridge University Press, 1997), pp. 29-72 (ch. 1, ‘Vasari's Concept of Disegno’), and pp. 73-122 (Ch. 2, ‘Style, Decorum and the Viewer’s Experience’)

Further

The concept of Mannerism in modern scholarship

Anthony Blunt, Artistic Theory in Italy, 1450–1600 (Oxford: Oxford University Press, 1962).

Arnold Hauser, Mannerism: The Crisis of the Renaissance and the Origin of Modern Art (London: Routledge and Kegan Paul, 1965).

Enrst H. Gombrich, ‘Mannerism: The Historiographic Background’, in Norm and Form: Studies in the Art of the Renaissance (London and New York: Phaidon, 1966), pp. 99-106.

Hessel Miedema, ‘On Mannerism and Maniera’, Simiolus: Netherlands Quarterly for the History of Art, Vol. 10 (1978–1979), No. 1, pp. 19-45.

Jeroen Stumpel, ‘Speaking of Manner’, Word and Image, Vol. 4 (1988), No. 1, pp. 246-264.

Introduction to more specific themes

Sydney J. Freedberg, Painting of the High Renaissance in Rome and Florence (New York: Hacker Art Books, 1985).

Linda Murray, The High Renaissance and Mannerism: Italy, the North, and Spain, 1500–1600 (London: Thames and Hudson, 1977).

Wolfgang Lotz, Architecture in Italy, 1500-1600 (New Haven: Yale University Press, 1995).

Marcia B. Hall, After Raphael: Painting in Central Italy in the Sixteenth Century (New York: Cambridge University Press, 1999)

Bastien Eclercy (ed.), Maniera: Pontormo, Bronzino and Medici Florence, exh. cat. (Munich, London, New York : Prestel, 2016).

Michael Cole, Cellini and the Principles of Sculpture (New York: Cambridge University Press, 2002).

David Franklin, Painting in Renaissance Florence, 1500–1550 (New Haven: Yale University Press, 2001).

Henri Zerner, Renaissance Art in France: The Invention of Classicism (Paris: Flammarion, 2004).

Thomas Da Costa Kaufmann, The School of Prague: Painting at the Court of Rudolf II (Chicago: Chicago University Press, 1988).

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Weekly lectures will provide a chronological framework. Seminars elaborate the themes from the lectures, but concentrate on regional case studies and debates within the historiography.

This 30 CATS first-year option module is an introduction to the modern social and political history of sub-Saharan Africa. The course takes a chronological approach, covering three broad periods: the nineteenth-century precolonial period, colonial rule, and the postcolonial period. Starting with a discussion of the idea of ‘Africa’, students will familiarise themselves with the changing nature of African trade and commerce after the ending of the slave trade; with the character and development of political authority in the nineteenth century; with the establishment of colonial rule through treaty and conquest; with the effects of colonialism on colonised African societies; with the growth of anti-colonial sentiments and the emergence of nationalisms; and with the impact of decolonization and the formation of postcolonial states. The final lectures and seminars will explore the nature of postcolonial African states, and include discussion of episodes of violence and of ‘development’ in Africa.

Weekly lectures will provide a chronological framework. Seminars elaborate the themes from the lectures, but concentrate on regional case studies and debates within the historiography

This 30 CATS first-year option module is an introduction to the modern social and political history of sub-Saharan Africa. The course takes a chronological approach, covering three broad periods: the nineteenth-century precolonial, colonial, and postcolonial eras. Starting with a discussion of the idea of ‘Africa’, students will familiarise themselves with the changing nature of African trade and commerce after the ending of the slave trade; with the character and development of political authority in the nineteenth century; with the establishment of colonial rule through treaty and conquest; with the effects of colonialism on colonised African societies; with the growth of anti-colonial sentiments and the emergence of nationalisms; and with the impact of decolonization and the formation of postcolonial states. The final lectures and seminars will explore the nature of postcolonial African states, and include discussion of issues such as the Rwandan genocide and ‘development’ in Africa.

Weekly lectures will provide a chronological framework. Seminars elaborate the themes from the lectures, but concentrate on regional case studies and debates within the historiography.

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Though this module focuses on early modern Europe, many of the groups we discuss will be set firmly within the context of wider global developments and economic transformations. Students will also be encouraged to reflect on their own ideas about deviant behaviour. The assessment for this module will encourage examining different deviant groups through a comparative framework.

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 How is this course taught?

The course is taught through a combination of weekly lectures and seminars. The lectures will serve to contextualise the individual films, while the seminars will include close textual analysis. Students will be required to watch each of the seven films before lectures/seminars, as well as carry out background readings on both the films and their geographical contexts. References to the background readings will be available for each week on Moodle.

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Module page for the 2020 - 2021 academic year.