Art 304 – Women as Artists and Patrons
D. Sadler MW 2-3:15 Dana 101
Office Hours M 3:30-5 or by apppointment Dana 109, ext. 6245
Required text: Whitney Chadwick, Women, Art, and Society, London,4th edition. 2007.
Introduction to the role of women as both creators and sponsors of works of art. Not only were women the ambivalent object of portrayal from Eve to the Virgin, but also a force behind the pen and parchment. In monastic settings, women copied and illuminated manuscripts and when promoted to abbess, could become as powerful as Hildegard of Bingen. Queens and aristocratic women were the avid patrons in the later Medieval period. By the Renaissance and Baroque periods, we encounter a host of painters and sculptors whose names have finally joined the ranks of the “old masters.”
This is a seminar, which is to me the highest level of discourse available in the classroom. I hope that I will always fulfill my part of this contract, and I expect you, in turn, to complete your part. Attendance, both physical and mental, is required. If you miss more than 3 classes, your grade will be lowered 1/3rd of a letter grade for each subsequent absence. There will be one mid-term reflection paper on the readings and discussion that we have had up to that point. In addition, students will present journal articles to the class for which the presenter and her peers will formulate questions to be posted on the course blog. After the third week of class students will begin work on your seminar reports that will be the culminating event of this course. After your presentations, you will have the opportunity to incorporate any of the class suggestions, etc. into the final paper version of the above report. Onward and upward.
The Goals of this course are:
- to examine the evolution of women both as artists and patrons of art: what societal forces hindered or helped women find their voices?
- To improve analytic skills and critical thinking in the field of art history
- To encourage, develop, and refine students’ ability to communicate effectively, both orally and in written form, about art history
- To encourage the poetic imagination in order to foster the desire to tell one’s own story
Your Grade will be comprised of the following elements:
- 10% Class Participation
- 10% Course Blog: Students will post comments and questions about readings (by midnight before the next class!), links to news items, web pages, and other grist for the mill
- 20% Midterm Narrative
- 20% Article Presentations
- 20% Seminar Report
- 20% Final Paper
Moodle: Be sure to check Moodle frequently for any changes or breaking news in Art 304.
Disability Services: If you have a disability that may have some impact on your work in this class and for which you may require accommodations, please see Kelly Deasy in the Office of Academic Advising and Student Disability Services to register for these services. Students that receive accommodation checklists, please meet with me to discuss the provisions of those accommodations as soon as possible.
Course Evaluations: Near the end of the semester you will be notified by e-mail and provided with a link to follow to complete course evaluations online outside of class. Your feedback is extremely valuable to me, the department, and the administration. With the help of your insightful comments, I will be able to improve the course the next time I teach it.
Academic Integrity: It is expected that all students will abide by the policies of the Honor Code. Students who violate these policies through plagiarism, collaboration on projects without permission, submitting the same work for multiple classes, and any other infractions outlined in the Honor Code will be asked to turn themselves in to the Honor Council. If you have any questions about academic integrity, please speak with me.
|Week of January 16:||Art history and Feminism,
Reading: Chadwick, Preface and Introduction
|Week of January 23||Artists and Patrons emerge from their respective rocks…
Reading: Lisa Aronson, “African Women in the Visual Arts,” Signs, Vol. 16, n.3 (Spring, 1991), 550-574.
|Week of January 30:||Women in Ancient Cultures? Greece and Rome? Egypt? Mesopotamia?
Reading: Judith Bettelheim, “Women in Masquerade and Performance,” African Arts, vol. 31, n. 2, Special Issue: Women’s Masquerades in Africa and Diaspora, (Spring, 1998), 68-70; 93-94
|Week of February 6:||Welcome to the middle Ages
Reading: Chadwick, chapter 1 and Jeffrey F. Hamburger, “Art, Enclosure and the Cura Monialium: Prolegomena in the Guise of a Postscript,” Gesta, vol. 31, n. 2, Monastic Architecture for Women (1992), 108-134.
|Week of February 13:||Matilda, Matilda, and Hildegard of Bingen, Two models of female power
Reading: Beth L. Holman, “Exemplum and Imitatio: Countess Matilda and Lecrezia Pico della Mirandola at Polirone,” The Art Bulletin, vol. 81, n. 4 (December, 1999), 637-664. The Renaissance arrives!
Reading: Chadwick, chapter 2 and 3
Reflections on artists and patrons I
|Week of February 20:||Gender and the devotional portrait
Reading: Andrea G. Pearson, “Personal Worship, Gender, and the Devotional Portrait Diptych,” Sixteenth Century Journal, vol. 31, n. 1, Special Issue: Gender in Early Modern Europe (Spring, 2000), 99-122.
Reading: Andrea G. Pearson, “Margaret of Austria’s Devotional Portrait Diptychs,” Woman’s Art Journal, vol. 22, n. 2 (Autumn, 2001-Winter, 2002), 2+19-25.
|Week of February 27:||More Monks…
Reading: Loraine N. Simmons, “The Abbey Church at Fontevraud in the later Twelfth century: Anxiety, Authority, and architecture in the Female Spiritual Life,” in Gesta, XXXI, 2, 1992, 99-107.
Midterm Narrative due on Feb. 22th
|Week of March 5:||Biblical Barbies
Reading: “Salome and the Canons,” from Women’s Studies, vol. 11, 1984, 26-66
|Week of March 12:||Spring Break!|
|Week of March 19:||The Women on Quirinal Hill….Patronage in Rome
Reading: Carolyn Valone, “Women on the Quirinal Hill: Patronage in Rome 1560-1630,” The Art Bulletin, vol. 76, n. 1 (March, 1994), 129-146.
|Week of March 26:||Women at Court
Reading: Sheila ffolliott, “Casting a Rival into the Shade: Catherine de’ Medici and Diane de Poitiers,” Art Journal, vol. 48, n. 2, Images of Rule: Issues of Interpretation (Summer, 1989), 138-143. Also, Rose Marie San Juan, “The Court Lady’s Dilemma” Isabella d’Este and Art Collecting in the Renaissance,” Oxford Art Journal, vol. 14, n. 1 (1991), 67-78.
|Week of April 2:||More Renaissance Women!
Reading: Laurie A. Finke; Martin B. Shichtman, “Magical Mistress Tour: Patronage, Intellectual Property, and the Dissemination of Wealth in the “Lais” of Marie de France,” Signs, vol. 25, n. 2 (Winter, 2000), 479-503.
|Week of April 9:||Domestic Genres, the Economy, and Mme. de Pompadour with a cherry on top!
Reading: Chadwick, chapter 4, David Ormrod, “Art and its markets,” The Economic History Review,” new series, vol. 52, n. 3 (August, 1999), 544-551. Donald Posner, “Mme. de Pompadour as a Patron of the Visual Arts,” The Art Bulletin, vol. 72, n. 1, (March, 1990), 74-105.
|Week of April 16:||The Academy and its relationship to Women
Reading: Chadwick, chapter 5
|Week of April 23:||Seminar Reports|
|Week of April 30:||Seminar Reports|