Department of History of Art

Part 1 Coursebook 2012-13

1 Scroope Terrace, Cambridge CB2 1PX

Tel: 01223 332975
Fax: 01223 332960
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www.hoart.cam.ac.uk

CAMBRIDGE UNIVERSITY
DEPARTMENT OF HISTORY OF ART
Part One Course Book
This Course Book contains the essential information undergraduates will need while studying for
Part I of the History of Art Tripos, including course descriptions and bibliographies; further
details, along with the Style Sheet guidelines for presentation of written work, are to be found in
the Departments Student Handbook.
Part I Course Directors:
Prof Deborah Howard djh1000@cam.ac.uk
Dr John Munns

jmm89@cam.ac.uk

Dr David Oldfield
Vivien Perutz

dao21@cam.ac.uk
vap22@cam.ac.uk

Please contact the relevant convenor with any queries about the course organisation. Prof
Deborah Howard runs the Meaning of Architecture section of Papers 4/5 and Dr Oldfield runs
the Meaning of Art section. Paper 1 (Objects of Art History) is convened by Dr John Munns
and Papers 2/3 (The Making of Art) is convened by Vivien Perutz.
Students will be divided into two groups for many of the classes as follows:
GROUP A

GROUP B
T
DO
W

ml640@cam.ac.uk

Marmion

Margau
x
Stepha
nie

cb746@cam.ac.uk

Nelson

Saul

EM

sfn23@cam.ac.uk

CAI

che26@cam.ac.uk

Oulton

Sophie

so330@cam.ac.uk

Thomas

taf36@cam.ac.uk

Petty

Freya

JN
DO
W

Ford

Lee

HO

lf343@cam.ac.uk

Poon

Jessica

jp615@cam.ac.uk

Franklin

CC

jf489@cam.ac.uk

Puccetti

Lavinia

lp399@cam.ac.uk

Greenberg

Jessica
Cassandr
e

cg505@cam.ac.uk

Schofield

Daisy

CHU

ds640@cam.ac.uk

Harley

Leonora

lbh22@cam.ac.uk

Stone

Phoebe

pfes2@cam.ac.uk

Hawkins

Robert

rh540@cam.ac.uk

Tame

Hannah

PET

hebt2@cam.ac.uk

Hughes

Frances

fh298@cam.ac.uk

Wallace

Ewan

TH

ejw76@cam.ac.uk

Inge

Laura

PET
MU
R

li227@cam.ac.uk

Jake

PEM

jw779@cam.ac.uk

Jenkins

Ruth

CC

rej38@cam.ac.uk

Wood
de Paula
Hanika

Nina

nd351@cam.ac.uk

Lee

Hannah

HO

hrl25@cam.ac.uk

Harriet

CL

ha335@cam.ac.u
k

Lerda

JN

lb564@cam.ac.uk

Born

Laurence
Christop
her

JN

Elliot

Clara

Faber

Alexander
BoothClibborn

simm3@cam.ac.uk

fp295@cam.ac.uk

The main part of the Course Book is divided into 3 sections

Course Outline
Course Details
Bibliographies

COURSE OUTLINE
The purpose of Part I in the History of Art is to introduce students to the fundamentals of the
discipline and, in general, to the teaching and learning methods of the University. In this first year
of study considerable emphasis is laid on direct contact with works of art and architecture in
Cambridge, and on the understanding of certain traditions fundamental to the art and architecture
of Western Europe. Part I therefore prepares students for advanced work in Part II in the History
of Art; having completed it successfully, students may also transfer to another Part II with the
agreement of their college, new department, Director of Studies and Tutor.
Part I has three components:
1.
Paper 1. This year-long survey course focusing on works of art and architecture in
Cambridge is arranged more or less in chronological order from the Middle Ages to the present
day. It should enable students to grasp the broad history of Western (and some non-Western) art
and architecture, its main styles, techniques and traditions, with direct reference to objects which
students are able to see. Teaching takes the form of on-site classes and seminars. Students are
expected to be assiduous in reading around the subject of each class. A general bibliography is to
be found from page 17. Additional reading matter may be recommended by individual lecturers.
This course is examined only by a visual analysis paper.
2.
Papers 2/3 and 4/5. These consist of two term-long courses devoted to specific periods
and issues. Students attend lectures and seminars, and prepare weekly written work on which
they are supervised in small groups. Both papers run concurrently with Paper 1. Papers 4/5,
taught in the Michaelmas Term, concern how works of art and architecture are interpreted in the
light of cultural traditions. In contrast, Papers 2/3, taught in the Lent Term, concern how works
of art are made. Papers 4/5 are organised into two parts of four weeks each, while Papers 2/3 are
organised into three parts of two or three weeks each. The numbering of the Papers reflects the
way they are examined in the Easter Term: Papers 2 and 4 are essay papers, 3 and 5 visual
analysis papers.
3.
A Short Dissertation. This is a piece of written work of 5,000 words maximum to be
submitted for examination not later than 12 noon on Friday 10 May 2013, on a work of art or
architecture in or around Cambridge. The subject is chosen in consultation with the Director of
Studies. The Director of Studies will recommend another person to advise on reading and travel
and supervise the Short Dissertation, or will do so him/herself if appropriate. No more than ONE
hour-long supervision may be sought from the adviser in total.

If the student wishes a draft of the essay to be read by a member of staff, the Director of Studies
(rather than the supervisor) may read ONE draft and offer advice on presentation. The draft must
be submitted in sufficient time, to be agreed with the Director of Studies, for students to be able
to respond to the comments which are made on their work.
Note that a tariff of 1% will be deducted for every 100 words over the word limit of undergraduate
dissertations. As stated above the word limit for Part I is 5000 words. The word limit excludes
bibliography, but include footnotes/endnotes and appendices. Candidates who wish to submit an
appendix which takes the submitted dissertation over the stated word-limit must first discuss it with
their Director of Studies. If the Director of Studies is convinced that an appendix is necessary, he or she
will then inform the Chairman of Examiners. Appendices will only be granted in exceptional
circumstances, in order, for example, to allow a student to include unknown and important primary
documentary evidence necessary to support their arguments.

The Weekly Essay

Presentation: Essays must be typed and should be about 2000 words long, unless your
supervisor informs you otherwise. Pages should be numbered consecutively, with adequate
margins on both sides, and the text must be double-spaced. Please staple or clip the pages
together and make sure that your name and that of your supervisor appear on the front page.
Bibliography and footnotes: Each essay must provide a bibliography at the end, including every
source which has been consulted to research and write this piece of work. All quotations must be
credited in footnotes or endnotes. For further details please see the Style Sheet for History of Art
Essays and Dissertations that appears as Appendix B in the Student Handbook. There are several
systems of citation which you are welcome to use, but you must be consistent with the system
which you choose, and must in every case include author, title, date, city of publication, and page
numbers, if necessary, for a book, and author, article title, journal title, volume/issue, date, and
pages numbers for articles. The Harvard or Chicago referencing system, or the system of the
Journal of the Warburg & Courtauld Institute (which is explained in detail at the back of any
issue of the journal), are all acceptable systems of citation for undergraduate work.
References: Downloading of prepared texts from the internet is not allowed. Excerpts from a
written source, whether published or unpublished, must be acknowledged with a footnote or
endnote. Never lift whole sentences or paragraphs from some written source without putting
them in quotation marks and acknowledging them. Summaries or paraphrases of another persons
ideas must also be acknowledged with a footnote/endnote referencing the relevant source. If you
are in any doubt about what constitutes plagiarism, you should consult your supervisor or
Director of Studies. Failure to do this may lead to accusations of plagiarism.
The University takes plagiarism very seriously. In an extreme case, it could lead to the withholding of
a degree, regardless of intent to deceive. For more information see http://www.cam.ac.uk/plagiarism/.
Detailed information on plagiarism is also published in the Departments Student Handbook which
can be downloaded from the History of Art intranet (www.hoart.cam.ac.uk).

Essays must be submitted in good time by arrangement with the supervisor. Please note that
supervisors are not obliged to read and mark essays which are handed in late, nor to accept emailed copies.
It is not acceptable to miss supervisions except in case of illness, when it is polite to forewarn the
supervisor if possible. Many colleges now charge students for any supervisions which are missed
without an acceptable reason.

Academic Skills
The Department runs various sessions on Academic Skills at strategic points in the academic year
(see timetables for each term). In the Michaelmas Term there is a seminar on study skills and, in
the Lent Term, a seminar on the Short Dissertation and various practical sessions on the
techniques of painting, drawing and sculpture.
In addition, Myke Clifford, the Chief Faculty Photographer, is able to help with the theory and
practice of photography and digital image processing. The photography studio is available during
the week for any practical photography and processing. Students should book in advance.
Students are expected to attend all of these sessions, which form a vital component of the
course. Students who do not attend lectures, seminars and supervisions will be seriously
disadvantaged in their exams.
COURSE DETAILS
Paper 1: The Objects of Art History
(Michaelmas, Lent and first half of Easter Term)
Dr John Munns and others
The purpose of this paper is to offer students a practical survey of the history of art (Western and
some non-Western) with reference to objects in Cambridge, and the Fitzwilliam Museum especially.
The contents of the course will change from year to year. The collections of the Fitzwilliam are
extensive, and while at Cambridge students of the History of Art will get to know them well. Paper 1
teaching takes the form of classes taught in front of specific works of art or architecture on Tuesdays
and Thursdays at 2 pm or 3pm sharp throughout the academic year, unless otherwise indicated.
Lecturers are asked to provide a hand-out and bibliography for each class.
Paper 4/5 (first half of Michaelmas Term)
The Meaning of Architecture
Prof Deborah Howard and others
This part of the course consists of Lectures at 10 am on Tuesdays, Wednesdays and Thursdays,
and Seminars at 2 pm or 3 pm on Monday, unless otherwise indicated.

This course will discuss the ways in which buildings can express ideas and emotions,
through architectural language, light, space and materials. Buildings are constructed as settings
for human activity, but their forms, proportions and decoration also convey a range of cultural
meanings.

The course will run from antiquity to 1600 approximately but with later architecture as
appropriate. No previous knowledge of architecture is assumed. Most buildings discussed in
lectures will be canonical examples described in survey textbooks, and architectural jargon will be
avoided as far as possible.

The themes of the four weeks are: Introducing the Language of Architecture; Designing
Architecture: Materials, Proportions and Buildability; Architecture and the Body; Sacred and
Secular Symbolism in Architecture.
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Paper 4/5 (second half of Michaelmas Term)

The Meaning of Art
Dr David Oldfield and others
This part of the course consists of Lectures at 10 am on Tuesdays, Wednesdays and Thursdays,
and Seminars at 2 pm or 3 pm on Monday, unless otherwise indicated.

The aim of this course is two-fold. Firstly, the lectures and seminars are designed to
provide an overview of the variety of genres in medieval and early modern painting in Europe. We
will explore both religious and secular pictorial themes and their historical development.

Secondly, this course aims to familiarise students with methods of interpretation, their
potential, and their limitations. Students are expected to apply these methodological tools
critically, and to consider different ways in which to analyse pictorial narrative and composition.
Emphasis is given to works of art in Cambridge and London collections. However, the lectures
will complement the seminars in the museums with a discussion of other relevant paintings held in
collections elsewhere.
The seminars throughout Paper 4/5 will involve further discussion around set texts, which will be
supplied to students as the course progresses.
Paper 2/3 (Lent Term)
The Making of Art
Vivien Perutz, Paul Shakeshaft and others
This course consists of Lectures at 10am on Tuesdays and Thursdays, Seminars at 2 pm or 3 pm
on Mondays, and various Site Seminars, often on Fridays. Please see the timetable below for full
details. Seminars include trips to the Fitzwilliam Museum, the Hamilton Kerr Institute, and
Kettles Yard.
Weeks 1-3
A: Techniques and Developments in Painting and Drawing, c. 1300-1700

This part of the course will examine the relation of technique and style in paintings and
drawings from the fourteenth to the seventeenth centuries. In considering painting, it will look
closely at the effects artists obtained by variations of support and paint application. In the case of
drawing, which was generally employed as preparation for other works, the course aims to
familiarise students with some of the main stages and techniques habitually employed by artists.
Techniques will be studied not as ends in themselves, but in their historical place, and with
reference to the changing aims and ideals of art.
Weeks 4-5
B. Techniques and Developments in Sculpture and Printmaking, c. 1300-1700


This part of the course will examine the technical and stylistic developments that have
taken place in the field of sculpture (mainly Italian) from the early Renaissance to c. 1700. Some
lectures will take the form of general surveys of particular periods; others will take a
monographic approach, and focus on the oeuvre of key sculptors. Different printmaking
techniques on wood and metal will also be investigated, together with the varied functions that
they served.
Weeks 6-8
C. Techniques and Developments in Painting and Sculpture, c. 1700-1900

This part of the course will explore the connections between style, technique and training
in painting and sculpture from the eighteenth to the turn of the twentieth century. It will consider
how changes in institutional settings and material conditions, such as the emergence of public art
in the Academies, or the standardisation of painting materials in the mid-nineteenth century,
affected artists aims and methods. Thematic lectures will address issues such as plein-air
painting, the relationship between sketch and finish, and the embrace of primitive techniques by
avant-garde artists at the turn of the century.
The Short Dissertation
The following rules for presentation apply to all Short Dissertations:
1.
The Candidates name should NOT appear anywhere on the Short Dissertation. On the front
cover you must supply the following:
(i)
(ii)
(iii)
(iv)
(v)

Title of the dissertation

Description i.e. Short Dissertation, Part I
Date
Candidate number
Word count, including all footnotes/endnotes, but excluding the bibliography

2.
Title: By Friday 15 February 2013 a candidate should have settled, in consultation with
his/her Director of Studies, the subject and title of the Short Dissertation, and should have
informed the Departmental Secretary. Subjects and titles of Short Dissertations will be
approved formally by the Faculty Board of Architecture and History of Art. The title should
simply state the artist/architect and title of the work of art/architecture which forms the
focus of your essay. It should NOT be in the form of a question, quotation, description or
statement. You should consult your Director of Studies about the subject of your Short
Dissertation in good time before the deadline for submitting the title.
3.
Date of submission: TWO COPIES of the Short Dissertation must be submitted to the
Departmental Secretary, in accordance with detailed arrangements approved by the Faculty
Board, by Friday 10 May 2012. A severe penalty will result from late submission, namely that for
every day or part day that the Short Dissertation is late, 3% will be deducted from its final mark.
This will apply without exception unless the student provides a Tutors note detailing any
extenuating circumstances resulting in late submission. Please note that technical problems of
any nature, for example computer/printer failure or binding difficulties, are unacceptable as
extenuating circumstances.

4.
Length: Short Dissertations are not to exceed 5,000 words, excluding bibliography but
including footnotes/endnotes and appendices. A valuable part of the academic exercise provided
by the Short Dissertation is to argue ones case within the prescribed length. A candidate will
disadvantage her/himself if the Short Dissertation falls well short of, or seriously exceeds, the
prescribed length, as marks will be deducted for failing to meet the criteria of the exercise. Please
remember that you must state the word count, excluding bibliography but including
footnotes/endnotes and appendices, on the front cover of your work. Note that a tariff of
1% will be deducted for every 100 words over the word limit.
5.
Bibliography, footnotes: Each Short Dissertation must include a bibliography, in correct
scholarly form, of the works consulted and, where appropriate, a table of bibliographical
abbreviations. Footnotes/endnotes should be used to give precise reference to particular
documents or publications, and, if appropriate, to expand points made in the text. Reference to
books and periodicals and other articles in the bibliography and footnotes should follow a
recognised system such as that used in The Journal of the Warburg and Courtauld Institutes or
The Art Bulletin. Whichever system is adopted, consistency is essential. Students will be penalised
for the failure to observe one or other system.
If a candidate has any doubts or queries about this aspect of the Short Dissertation he/she
should consult his/her Director of Studies.
6.
Format: The written part of the essay is to be typed (with double spacing and adequate
margins) on A4 size paper, and all pages should be numbered consecutively. It should be suitably
bound (samples from previous years can be seen in the Departmental Secretarys office), and it is
the candidates responsibility to ensure that sufficient time is allowed for this before the deadline.
It is advisable to retain a duplicate of the typescript in addition to the two submitted copies.
7.
Illustrations: Illustrations (whether photographs, photocopies, plans or original drawings)
are either to be mounted securely with the typescript, or included in a separate volume if their size
etc. makes such mounting inconvenient or impossible. They may also be scanned into the text.
Care must be taken that every illustration has a caption and a number to correspond with the
reference in the text. Captions for illustrations should include the following information:
artist/architect, title of work, date, location, media, dimensions. A page of contents and a list of
plates should also be included.
8.
In exceptional cases ancillary materials e.g. videos may be submitted in support of an essay,
but candidates must discuss the scope and extent of such materials with their Director of Studies
or the Head of Department prior to submitting the essay.
9.
Plagiarism is unacceptable and any student found to be unfairly plagiarising other work will
be severely penalised (see section on plagiarism under The Weekly Essay above).
10. Acknowledgement: Brief formal acknowledgement should be made to persons from whom
information or suggestions have been received.
11. Arrangements after the Tripos: The Examiners may invite selected candidates to deposit one
copy of their Short Dissertation in the Department, these to be made available for reference but
not, of course, for publication in whole or in part without the express permission of the author.
Other candidates should reclaim their Short Dissertations from the Departmental Secretary as
soon as possible after the Class List has been posted at the Senate House.
A Session will be held on the Short Dissertation on Wednesday 23 January 2013 and any
further questions will be answered then.
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BIBLIOGRAPHIES
Most, if not all, of these books are available in the Faculty Library. However, such is demand for
particular texts that you will have to use the University Library and your college library as well. If
the college library does not have core books for the course please ask the college librarian to
order them. College librarians are always happy to build up their stock of core texts for university
courses. They may request a letter of support, which your Director of Studies will be happy to
provide. The works listed here are by no means the only ones relevant to the course you will be
taking. Supervisors may recommend additional or alternative books and articles.
Recommended Reference Books you may wish to buy
Hugh Honour & John Fleming, A World History of Art, 5th edn., 2002
Either
Peter & Linda Murray, The Penguin Dictionary of Art and Artists, 7th edn., 1997
or
Erika Langmuir & Norbert Lynton, The Yale Dictionary of Art and Artists, 2000
David Watkin, A History of Western Architecture (several editions)
Either
James Stevens Curl, A Dictionary of Architecture, 1999
or
John Fleming, Hugh Honour, Nikolaus Pevsner, The Penguin Dictionary of Architecture (several
editions)
James Hall, Dictionary of Subjects and Symbols in Art (several editions)
Whos Who in the Ancient World, ed. and intro by Betty Radice, 1973
The Holy Bible
Jill Lever & John Harris, Illustrated Dictionary of Architecture, 800-1914, 2nd edn., 1993
Recommended Preparatory Reading
The following are all worth reading from the point of view of general education and preparation
for the course, and many remain relevant throughout the History of Art Tripos. Many are
available in other editions than those mentioned here.
Surveys and Reference Books
The Macmillan Dictionary of Art, 34 vols., 1996
Fleming, J., H. Honour, N. Pevsner, The Penguin Dictionary of Architecture (several editions)
Foster, H., R. Krauss, Y.-A. Bois, B. Buchloh, Art Since 1900: Modernism, Anti-Modernism and
Post-Modernism, 2004
Gombrich, E. H., The Story of Art (several editions)
Hall, J., Dictionary of Subjects and Symbols in Art (several editions)
Honour, H. & J. Fleming, A World History of Art (several editions)
Pelican History of Art (multi volume series)
Pevsner, N., An Outline of European Architecture, 1960
9

Stangos, N., Concepts of Modern Art from Fauvism to Postmodernism (several editions)
Watkin, D., A History of Western Architecture (several editions)
Classic texts
The Bible (Douai or Authorised Version)
Berenson, B., The Italian Painters of the Renaissance (several editions)
Burckhardt, J., The Civilisation of the Renaissance in Italy, 1860 (several editions)
Gombrich, E., Art and Illusion, 1960
Hogarth, W., The Analysis of Beauty, 1753
Huizinga, J., The Waning of the Middle Ages, 1919 (several editions)
Mle, E., The Gothic Image, 1898 (several editions)
Panofsky, E., Studies in Iconology, 1939 (several editions)
Panofsky, E., Renaissance and Renascences in Western Art, 1960
Ruskin, J., The Stones of Venice, 1851-3
Vasari, G., Lives of the Artists, 1550 & 1568 (several editions)
Wlfflin, H., Classic Art, 1899
Wlfflin, H., Principles of Art History, 1915 (several editions)
Significant 20th-century writing
Baxandall, M., The Limewood Sculptors of Renaissance Germany, 1980
Baxandall, M., Painting and Experience in Fifteenth-Century Italy, 1972
Berger, J., Ways of Seeing, 1972
Clark, T.J., The Painting of Modern Life: Paris in the Art of Manet and His Followers, 1985
Fuller, P., Seeing Through Berger, 1988
Gage, J., Colour and Culture, 1993
Girouard, M., Life in the English Country House, 1980
Golding, J., Visions of the Modern, 1994
Greer, G., The Obstacle Race, 1979
Haskell, F. & N. Penny, Taste and the Antique, 1981
Haskell, F., Patrons and Painters, 2nd rev. edn. 1980
Nochlin, L., Realism, 1971
Pollock, G., Vision and Difference, 1988
Puttfarken, T., The Discovery of Pictorial Composition: Theories of Visual Order in Painting 14001800, 2000
Schapiro, M., Word and Image, 1972
Shearman, J., Mannerism, 1967
Summerson, J., The Classical Language of Architecture, 1964
White, J., The Birth and Rebirth of Pictorial Space, 1957
More detailed reading will be assigned weekly on a class-by-class basis.

Papers 2/3 THE MAKING OF ART:

COURSE BIBLIOGRAPHY
Papers 2/3: Parts A, B and C
Conti, A. History of the Restoration and Conservation of Works of Art, 2007 (N.B. the appendix
with a very useful glossary of technical terms by Helen Glanville)
Gage, J, Colour and Culture : practice and meaning from antiquity to abstraction, 1993
Jo Kirby, Susie Nash and Joanna Cannon (eds), Trade in Artists' Materials: Markets and Commerce
in Europe to 1700, 2010
Mayer, Ralph, The Artists Handbook, many editions.
10

Mayer, Ralph, Dictionary of Art Terms and Techniques, A and C Black 1969.ISBN 7136 1095 6
(Very useful quick reference when you cant remember meaning of things likedead colouring)
Papers 2/3: Part A (Lent Term Weeks 1-3)
Painting
Material and Techniques
Abrahams, P. Beneath the Surface: The Making of Paintings, 2008
Ball, Philip Bright Earth: The Invention of Colour, 2001
Bambach, C., Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice
from the Thirteenth to the Sixteenth Century, 1999
Bomford, D. et al., Art in the Making: Italian Painting Before 1400, 1989
Cennini, Cennino, The Craftsmans Handbook, ed. D.V. Thompson (several editions)
Dunkerton, J., S. Foister, D. Gordon, N. Penny, Giotto to Drer. Early Renaissance Painting in
the National Gallery, 1991
Dunkerton, J., S. Foister, N. Penny, Drer to Veronese. Sixteenth-Century Painting in the
National Gallery, 1999
Dunkerton, J., Venetian Colour, in F. Ames-Lewis, ed., New Interpretations of Venetian
Painting, 1994
Gordon, Dillian, The Fifteenth-century Italian Paintings, National Gallery, London, 2003
Harley, R.D., Artists Pigments c. 1600-1835, 1970 (Detailed account of pigment names, origins
and manufacture)
Hall, M., Color and Meaning: Practice and Theory in Renaissance Painting, 1992
Kirby, Jo, Susie Nash and Joanna Cannon, eds. Trade in Artists Material: Markets in Europe to
1700, 2010
Thompson, D. V., The Materials and Techniques of Medieval Painting, 1936
Thompson, D.V., The Practice of Tempera Painting 1936 and 1962
Vasari, G., Vasari on Technique, ed. L. Maclehose (several editions)
The National Gallery Technical Bulletin provides a mine of information on the technique of various
artists, including Raphael, Rogier van der Weyden, Veronese and Ruens. The Fitzwilliam Museum
Library, the University Library and Anglia Ruskin University Library all have sets. They are also
available online. See in particular:
vol. 2 1978 Bellini and Titian
vol. 5 1981 Monet
vol. 7 1983 Rubens and Manet
vol. 9 1985 Nardo di Cione and Impressionism
vol. 10 1986 Cima and Dieric Bouts
vol. 11 1987 Van Gogh
vol. 12 1993 Raphael: under drawing
vol. 15 1994 Cosimo Tura: under drawing and Rembrandt
vol. 16 1995 Veronese and underdrawings of Van Eyck
vol. 17 1996 Late 15th c. Florentine paintings and Veronese
vol. 18 1997 Northern Renaissance and Rogier van der Weyden
vol. 20 1999 Rubens and Van Dyck
vol. 23 2002 Fra Angelico
vol. 25 2004 Early Raphael
vol. 26 2005 Rubens: evolution of Judgement of Paris late 1630s
vol. 27 2006 Renaissance Siena and Perugia
11

vol. 28 2007 Titian and Monet

vol. 29 2008 Czanne
vol.30 2009 Sebastiano del Piombo
vol. 31 2010 Verrocchio and Giorgione
vol. 32 2011 Leonardo
The National Gallery website is very informative. As you enlarge details, you can see details of the
paintwork that are not visible in the National Gallery.
Manuscript Illumination
Alexander, J.J.G. ,Medieval Illuminators and Their Methods of Work, 1992
Brown, M.P. , Understanding Illuminated Manuscripts: A Guide to Technical Terms, 1994

Clarke, M., The Art of All Colours, Medieval Recipe Books for Painters and Illuminators, 2001
Hamel, C. de , Medieval Craftsmen: Scribes and Illuminators, 1992
Hamel, C. de , A History of Illuminated Manuscripts, 1994
Hamel, C. de The British Library Guide to Manuscript Illumination: History and Techniques, 2001
Lowden, J., The Making of the Bibles Moralises, 2 vols., Pennsylvania, 2000
Rouse, R.H. and M.A. Rouse, Manuscripts and Their Makers: Commercial Book Producers in
Medieval Paris 1200-1500, 2 vols., 2000
Wieck, R.S., Time Sanctified. The Book of Hours in Medieval Art and Life, 1988
Scripts
Bischoff, B., Latin Palaeography, Antiquity and the Middle Ages, 1990
Brown, M.P., ,A Guide to Western Historical Scripts from Antiquity to 1600, 1993
Derolez, A. ,The Palaeography of Gothic Manuscript Books From the Twelfth to the Early
Sixteenth Century, 2003
Codicology
Derolez, A. ,Codicologie des manuscrits en criture humanistique sur parchemin, 2 vols., 1984
Bataillon, L.J. and B.G. Guyot, and R.H. Rouse eds., La production du livre universitaire au
Moyen ge. Exemplar et pecia, 1988
Brownrigg, L. ed., Medieval Book Production: Assessing the Evidence, 1990
Exhibition catalogues
The Painted Page: Italian Renaissance Book Illumination 1450-1550, ed. J.J.G. Alexander,
Munich, 1994
Les manuscripts peinture en France 1440-1520, ed. F. Avril and N. Reynaud, Paris, 1993
The Golden Age of Dutch Manuscript Painting, ed. H.L.M. Defoer, A.S. Korteweg and W.C.M.
Wstefeld, intro. J.H. Marrow, Stuttgart, 1989
Painting and Illumination in Early Renaissance Florence 1300-1450, ed. L.B. Kanter et al., New
York, 1994
Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, ed. T. Kren
and S. McKendrick, Los Angeles and London, 2003
Gothic Art for England 1400-1547, ed. R. Marks and P. Williamson, London, 2003
L'Art au temps des rois maudits, Philippe le Bel et ses fils 1285-1328, 1998
Paris 1400: Les arts sous Charles VI, Paris, 2004
The Cambridge Illuminations: Ten Centuries of Book Production in the Medieval West, ed. P. Binski
and S. Panayotova, London and Turnhout, 2005

Painting in tempera and oil

12

Italian Painters
Borsook, E., The Mural Painters of Tuscany: from Cimabue to Andrea del Sarto, 1980
Dunkerton, J. & M. Hirst, Making and Meaning: The Young Michelangelo, 1994
Dunkerton, J Titian at Work and Titians Painting Technique in Titian
exhibition catalogue, NG and Yale 2003.
Ekserdijian, D., Correggio, 1997
Ferino-Pagden, et al. Spte Tizian, 2007 (contains an English translation)
Goffen, R. Bellini, 1989
Gordon, D. The Fifteenth Century Italian Paintings, 2003
Gordon, D. Italian Painting before 1500, 2011
Hills, P., The Light of Early Italian Painting, 1987
Hills, P., Venetian Colour, 1999
Hills, P., Leonardo and Flemish Painting, Burlington Magazine, 1980, p.609Humfrey, P. The
Cambridge Companion to Giovanni Bellini 2004 (essays by P. Hills and J. Dunkerton)
Jacobus, L., Giotto and the Arena Chapel, 2008
Meyer zur Capellen, J. Raphael in Florence, 1996
Nuttall, P. From Flanders to Florence 2004 (ch. on Technique and Visual Effect)
Penny, Nicholas, The Sixteenth-century Italian Paintings, vol. 2, Venice 1520-1600, National
Gallery, London, 2008
Roettgen, S., Italian Frescoes: The Early Renaissance 1400-1470, 1996
Rosand, D., Titian: His World and his Legacy, 1982, especially the chapter on Titian and the
Critical Tradition.
Rosand, D., Painting in Cinquecento Venice, 1982, especially
the chapter on Venetian Aesthetic and the Disegno Colorito Controversy
Rubin, P. L. & Wright, A., Renaissance Florence: the art of the 1470s, exh. cat., National Gallery,
London, 1999
Shearman, J., Leonardos Colour and Chiaroscuro Zeitschrift fr Kunstgeschichte, 1962; reprinted
in M.W. Cole Sixteenth-Century Italian Art, 2006
Vecchi, P. de, ed., The Sistine Chapel: A Glorious Restoration Abrams, 1992 (for the essays by
Michael Hirst on the drawings for the ceiling and by John Shearman on Michelangelos colour)
White, J. Duccio: Tuscan Art and the Medieval Workshop, 1979
Northern European Painters from Van Eyck to Rembrandt
Bomford, D. et al., Art in the Making: Rembrandt, 1988
Brown, C., Making and Meaning, Rubenss Landscapes, 1996
Campbell, L. The Fifteenth Century Netherlandish Paintings, 1999
Foister, S. et al. Investigating Van Eyck, 2000
Foister, S. and Susie Nash, eds. Robert Campin: New Directions in Scholarship, 1996
Held, J., The Oil Sketches of Peter Paul Rubens, 1979
Schneider, C.P., Rembrandts Landscapes, 1990
Syson, L. et al. Leonardo at the Court of Milan, 2011
Wetering, E. van der, Painting materials and working methods, in J. Bruyn et al., A Corpus of
Rembrandt Paintings, I, 1982
Wetering, E. van der., New Directions in the Rembrandt Research Project, The Burlington
Magazine, March 1996
Wetering, E. van der, Rembrandt: The Painter at Work, 1997
Vos, D. de, Rogier van der Weyden, 1999, especially the chapter on Rogiers technique
Drawing
Material and Techniques
Ames-Lewis, F., Drawing in Early Renaissance Italy, 1981

13

Bambach, C., Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice
from the Thirteenth to the Sixteenth Century, 1999
Byam Shaw, J., Drawings by Old Masters at Christ Church, 2 vols, 1976
Cennini, Cennino, The Craftsmans Handbook, ed. D.V. Thompson (several editions)
Chapman, H and M. Faietti, Fra Angelico to Leonardo: Italian Renaissance Drawings, British
Museum Catalogue, 2010
De Tolnay, C., History and Technique of Old Master Drawings, 1943 and repr.
The Glory of the Golden Age: Drawings and Prints, exh. cat., Rijksmuseum, 2000
Ferino Pagden, S., Gallerie dellAccademia di Venezia: Disegni Umbri, 1984
Meder, J., The Mastery of Drawing, trans. W. Ames, 1923, 1978
Parker, K.T. ,Catalogue of the collection of drawings in the Ashmolean Museum, vol. II, 1956
Petrioli Tofani, A., ed., Il disegno fiorentino del tempo di Lorenzo il Magnifico, exh. cat., Uffizi,
1992
Popham, A. E. & Wilde, J. ,The Italian Drawings of the XV and XVI centuries in the collection of
her majesty the Queen at Windsor Castle, 1949
Popham, A. E., Italian Drawings in the department of prints and drawings in the British Museum,
Artists working in Parma, 2 vols, 1967
Syson, L. et al. Leonardo at the Court of Milan, 2011
Vasari, G., Vasari on Technique, ed. L. Maclehose (several editions)
Watrous, J., The Craft of Old Master Drawings, 1957 and repr.
Wright, J. & F. Ames-Lewis, Drawing in the Italian Renaissance Workshop, exh. cat., 1983
Individual Artists as Draftsmen
Ames-Lewis, F., The Draftsman Raphael, 1983
Bambach, C., Chapman, H., Clayton, M., & Goldner, G., Correggio and Parmigianino: Master
draughtsmen of the Renaissance, exh. cat., British Museum, 2000
Bambach, C. ed. Leonardo da Vinci Master Draughtsman, 2003
Fischel, O., Raphaels pink sketch-book, Burlington Magazine, LXXIV, 1939
Gould, C., Drawing into painting: Raphaels use of his studies, Apollo, CXVIII, 1984
Hirst, M., Michelangelo and his Drawings, Yale University Press, 1989
Joannides, P., The Drawings of Raphael with a complete catalogue, 1983
Joannides, P., Michelangelo and his Influence: Drawings from Windsor Castle, 1996
Jones, R. and Penny, N. Raphael, 1983
Popham, A. E., The Drawings of Leonardo da Vinci, 1945 (several editions)
Popham, A. E., Correggios Drawings, 1957
Popham, A. E., Catalogue of the Drawings of Parmigianino, 3 vols, 1971
Robinson, J. C. A Critical Account of the Drawings by Michelangelo and Raffaello in the
University Galleries, 1870
Pouncey, P. and Gere, J., Italian Drawings in the Department of Prints and Drawings in the British
Museum: Raphael and his Circle, 1962
Rubin, P., Answering to names: the case of Raphaels drawings, Word & Image, 7.1, 1991
Scrase, D. Italian Drawings at the Fitzwilliam Museum, Cambridge: Together with Spanish
Drawings, 2011
Smyth, C.H., ed. Michelangelos Drawings, 1992 (essay by P. Joannides on the late drawings)
Wethey, H., Titian and his Drawings, 1987
Papers 2/3: Part B (Lent Term Weeks 4-5)
Prints

14

Materials and Techniques

Cohn, M. B., trans. and ed., Old Master Prints and Drawings: A Guide to Preservation and
Conservation, 1997
Gascoigne, B., How to Identify Prints: A Complete Guide to Manual and Mechanical Processes
from Woodcut to Inkjet, 2004
Griffiths, A., Prints and Printmaking: An Introduction to the Materials and Techniques, 1980
(several editions)
Lambert, S., Prints: Art and Techniques, 2001
General History
Ackley, C. S., Printmaking in the Age of Rembrandt, 1981
Landau, D. & P. Parshall, The Renaissance Print, 1994
Parshall, P. & R. Schoch, Origins of European Printmaking: Fifteenth-Century Woodcuts and Their
Public, 2005
Individual Printmakers
Bevers, H., Rembrandt as an Etcher in H. Bevers et al., Rembrandt: The Master and his
Workshop: Drawings and Etchings, 1991
Kurth, W., The Complete Woodcuts of Albrecht Drer, 1963
Panofsky, Erwin,The Life and Art of Albrecht Drer, 1955
Paulson, R., Hogarths Graphic Works, 1965 and 1989
Strauss, W. L., The Complete Engravings, Etchings & Drypoints of Albrecht Drer, 1973
White, Christopher, Rembrandt as an Etcher, 2 vol., 1969
Sculpture
General Reference
Finn, D., How to Look at Sculpture, 1989
Flynn, T., The Body in Sculpture, 1998
Hall, J., The World of Sculpture. The Changing Status of Sculpture from the Renaissance to the
Present Day, 1999
Wittkower, R., Sculpture: Processes and Principles, 1977
Materials and Techniques
Bassett, J. & P. Fogelman, Looking at European Sculpture: A Guide to Technical Terms, 1997
Boucher, B., ed., Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova, 2002
Cole, M. Cellini and the Principles of Sculpture, 2002
Cellini, Benvenuto, The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture, trans. C.
R. Ashbee, 1967
Hoffman, M., Sculpture Inside and Out, 1939
Lavin, I., Bozzetti and Modelli: Notes on Sculptural Procedure from the Early Renaissance
through Bernini, in Stil und berlieferung in der Kunst des Abendlandes: Akten des 21.
internationalen Kongresses fr Kunstgeschichte, Bonn, 1964, vol. III, 93-104
Mannoni, L. & T. Mannoni, Marble: The History of a Culture, 1985: English trans. of Il Marmo
- materia e cultura, 1985
Penny, N., The Materials of Sculpture, 1993
Rich, J., The Materials and Methods of Sculpture, 1974
Vasari, G., Vasari on Technique, ed. L. Maclehose (several editions)
Welch, E., Art and Society in Italy 1350-1500, 1997, esp. Part I, Artistic Enterprises, 2.
Materials and Methods
Italian Renaissance Sculpture
Avery, C., Florentine Renaissance Sculpture, 1970
15

Darr, A. P., ed., Italian Renaissance Sculpture in the Time of Donatello, exh. cat., 1985
McHam, S. B., Looking at Italian Renaissance Sculpture, 1997
Olson, Roberta J. M. Italian Renaissance Sculpture, 1992
Poeschke, J., Michelangelo and his World: Sculpture of the Italian Renaissance, 1996
Pope-Hennessy, J., Italian Renaissance Sculpture, 1958; rev. 4th edn., 1996
Seymour, C. J., Sculpture in Italy, 1400-1500, 1966
Vasari, G., Lives of the Artists, 1550 & 1568 (several editions)
Italian Renaissance Bronzes
Avery, V. & J. Dillon, Renaissance and Baroque Bronzes from the Fitzwilliam Museum,
Cambridge, exh. cat., 2002
Bode, W., The Italian Bronze Statuettes of the Renaissance by Wilhelm Bode, new edn. ed. and
revised by J. D. Draper, 1980
Leithe-Jasper, M., Renaissance Master Bronzes from the Collection of the Kunsthistorisches
Museum, Vienna, exh. cat., 1986
Motture, P., ed., Large Bronzes in the Renaissance, 2003
Pincus, D., ed., Small Bronzes in the Renaissance, Studies in the History of Art 62, Center for
Advanced Study in the Visual Arts, Symposium Papers XXXIX, 2001
Warren, J., Renaissance Master Bronzes from the Ashmolean Museum, Oxford: The Fortnum
Collection, exh. cat., 1999
Ghiberti
Krautheimer R. Ghiberti, 1956
Radke, G.M. ed., Gates of Paradise: Lorenzo Ghibertis Masterpiece, 2007
Donatello
Avery, C., Donatello: An Introduction, 1994
Bennett, B. A. & D. G. Wilkins, Donatello, 1984
Elam, C. et al, Donatello at Close Range, The Burlington Magazine, CXXIX, 1987, special
issue, pp. 1-52
Hartt, F. & D. Finn, Donatello: Prophet of Modern Vision, 1973
Janson, H. W., The Sculpture of Donatello, 1957; rev. 2nd edn., 1963
Pope-Hennessy, J., Donatello: Sculptor, 1993
Michelangelo
Hartt, F., Michelangelo: The Complete Sculpture, 1969
Hibbard, H. Michelangelo, 1978
Hughes, Anthony Michelangelo, 1997
Murray, L., Michelangelo: His Life, Work and Times, 1984
Wallace, W., Michelangelo at San Lorenzo: The Genius as Entrepreneur, 1994
Weinberger, M., Michelangelo the Sculptor, 2 vols., 1967
Giambologna and Italian Mannerist Sculpture
Avery, C., A. Radcliffe & M. Leithe-Jasper, eds., Giambologna: Sculptor to the Medici 15291608, exh. cat., 1978
Avery, C., Giambologna: The Complete Sculpture, 1987
Gibbons, M. W., Giambologna: Narrator of the Catholic Reformation, 1995
Holderbaum, J., The Sculptor Giovanni Bologna, 1983
Bernini and Italian Baroque Sculpture
Avery, Charles, Bernini: Genius of the Baroque 1997
Boucher, B., Italian Baroque Sculpture, 1998
Coliva, Anna ed. Bernini Scultor: la tecnica esecutiva, 2002
16

Connor, J., J. Montagu & R. Wittkower, Art and Architecture in Italy 1600-1750, 1999; 6th edn.
revised by Connor & Montagu
Gaskell, I. & H. Lie, Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical,
Technical, and Case Studies, 1999
Hibbard, Howard, Bernini, 1975
Montagu, J., Roman Baroque Sculpture: The Industry of Art, 1989; repr. 1992
Pope-Hennessy, J., Italian High Renaissance and Baroque Sculpture, 1970; 3rd edn., 1985
Weston-Lewis, A., ed., Effigies and Ecstasies: Roman Baroque Sculpture and Design in the Age
of Bernini, exh. cat., 1998
Wittkower, R., Gian Lorenzo Bernini: The Sculptor of the Roman Baroque, 1997
Papers 2/3: Part C (Lent Term Weeks 6-8)
Painting
Watercolour Painting
Butlin, Martin, Turner Watercolours, 1975
Hardie, M., Water-Colour Painting in Britain: 1. The Eighteenth Century, 1966
Hill, David, Cotman in the North, 2005
Hill, David, Turner in the North, 1996
Mallalieu, Huon, The Norwich School: Chrome, Cotman and their Followers, 1974
Munro, Jane British Landscape Watercolours 1750-1850 1994
Sloan, K., Alexander and John Robert Cozens: The Poetry of Landscape, exh. cat., 1986
Smith, G., Thomas Girtin and the Art of Watercolour, exh. cat., 2002
Shanes, E. Turner: The great watercolours, 2000
Stainton, L., ed., Nature into Art, English Landscape Watercolours from the British Museum, 1991
Wilton, Andrew The Great Age of British Watercolours 1750-1880, 1993
Nineteenth-Century Painting
Cove, S., Constables Oil Paintings: Materials and Techniques, in Constable, 1991
Cove, S., Gage, J., Kelly, F,. Rhyne, C., Constable: The Great Landscapes, 2006
Gustave Courbet, 1819-1877, Grand Palais and Metropolitan Museum exhibition catalogue (2008).
Boime, A., The Academy and French Painting in the Nineteenth Century, 1971 (several editions)
Bomford, D. et al., Art in the Making: Impressionism, 1990
Brettell, Richard et al., A Day in the Country: Impressionism and the French Landscape, exh cat,
Los Angeles County Museum, Chicago Art Inst, Grand Palais Paris, 1984
Brettell, R., Impression: Painting Quickly in France 1860-1890, exh. cat., 2001
Callen, A., Techniques of the Impressionists, 1982 & 1987
Callen, A., Impressionist Techniques and the Politics of Spontaneity, Art History, December 1991,
pp. 599-608
Callen, A., The Art of Impressionism: Painting Technique and the Making of Modernity, 2000
Denis R. C. and Trodd, C. Art and the Academy in the Nineteenth Century, 2000
Clark, T.J., The Painting of Modern Life: Paris in the Art of Manet and His Followers, 1985
Eisenman, S. F. et al., Nineteenth-Century Art: A Critical History, 1994
Frascina, F. et al., Modernity and Modernism: French Painting in the Nineteenth Century, 1993
Garfield, Simon, Mauve, 2000
Green, N., The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth-Century
France, 1990
House, J., Impressionism and History: The Rewald Legacy, Art History, September 1986
House, J., Courbet and Salon Politics, Art in America, May 1989

17

House J., et al., Impressionism for England: Samuel Courtauld as Patron and Collector, 1994, esp.
essay Impressionism and its Contexts.
House, J. et al., Landscapes of France: Impressionism and its Rivals, exh cat Hayward Gallery,
London, 1995
House, J., Impressionism: Paint and Politics, 2004
Hutton, J., Neo-Impressionism and the Search for Solid Ground: Art, Science and Anarchism in finde-sicle France, 1994
Moffett, C.S. The New Painting: Impressionism 1874-18861997 (original criticism of the
Impressionist group exhibitions)
Monet and Japan, exh cat, National Gallery of Australia, Canberra, 2001
Prettejohn, E. The Art of the Pre-Raphaelite, 2007
Rewald, J. The History of Impressionism, (1946) revised eds. 1961, 1973
Rouart, D., Degas: In Search of his Technique, 1988
Schaefer, Iris, et. al. Painting Light: The Hidden Techniques of the Impressionists, 2008
Spate, V., Claude Monet: The Colour of Time, 2002
Townsend, J.H., Ridge, J., Hackney, S. Pre-Raphaelite Painting Techniques, 2006
Thomson, R. (ed.), Framing France: The Representation of Landscape in France 1870-1914, 1998
Varnedoe, K., A Fine Disregard, 1990 (chapter 1, on the influence of photography & Japanese
prints)
White, H. & C. White, Canvases and Careers: Institutional Change in the French Painting World,
1965 (several editions)
Wilson Bareau, J., The Hidden Face of Manet: An Investigation of the Artists Working Processes,
1986
The Wallraf-Richartz Museum website has outstanding documentation on Impressionist techniques.
Go into http://www.wallraf.museum/index.php?id=28&L=1; then under Research Project
Painting Techniques of Impressionism and Postimpressionism click on Research
Project: Painting Techniques; choose artist from the scroll down list on the left and
you are spoilt for choice.

18

Modern Sculpture (Key texts for the lectures are preceded by *)

General
Blhm, A. et al., The Colour of Sculpture 1840-1910, 1996
Elsen, A., Pioneers of Modern Sculpture, 1973
Curtis, P., Sculpture 1900-1945, 1999, esp. intro and chap. 1
Curtis, P., The Hierarchy of the Sculptors Workshop in Jackie Heuman, ed., From Marble to
Chocolate, 1995
Hammacher, A., Modern Sculpture and Tradition, 1999
Hoffman, M., Sculpture Inside and Out, 1939
Potts, A., The Sculptural Imagination: Figurative, Modernist, Minimalist, 2000
Read, H., A Concise History of Modern Sculpture, 1964
The Workshops of Rodin and his Contemporaries
Butler, R., Rodin in Perspective, 1980
Durey, P., Techniques et organisation des ateliers au XIXe sicle, Monuments historique, VIII/ 2-3,
1985, pp.191-200
Elsen, A., In Rodins Studio: A Photographic Record of Sculpture in the Making, 1980
Elsen, A., Rodin Rediscovered, 1981
Hughes, A. & Ranfft, E., eds., Sculpture and its Reproductions, 1997, esp. intro and chap. 8
Krauss, R., Passages in Modern Sculpture, 1981, esp. chap. 1
Mitchell, C., ed., Rodin: The Zola of Sculpture, 2004
Tucker, W., The Language of Sculpture, 1974
Wagner, A.M., Rodins Reputation in L. Hunt, ed., Eroticism and the Body Politic, 1980
Welded Iron Sculpture
Collischan, J., Welded Sculpture of the 20th Century, 2005
Cowling, E., Picasso: Style and Meanin, 2002
Curtis, P., Sculpture 1900-45: After Rodin, 1999
Elsen, A., Origins of Modern Sculpture: Pioneers and Premises, 1978
Gimenez, C., Picasso and the Age of Iron, 1995
Hale, N.C. Creating Welded Sculpture, 1974
Hultn, P. Jean Tinguely Mta, 1975
Marcus, S. David Smith 1906-65, 1983
Moorhouse, P. Anthony Caro, 2005
Spies, W., Picasso: Sculpture,1972
Ullrich, F.& H.J. Schwalm, Julio Gonzalez: Sculpture and Drawing, 2002
Wagner C.J.R. van, Welded sculpture of the 20th Century, 2000
Withers, J., Julio Gonzalez: Sculpture in Iron, 1978

Papers 4/5: Part A, The Meaning of Architecture (Michaelmas Term Weeks 1-4)
Reference Books
Curl, J. Stevens, A Dictionary of Architecture, 1999
Curl, J. Stevens, Classical Architecture: An Introduction to its Vocabulary and Essentials, 1992
Fleming, J., H. Honour, N. Pevsner, The Penguin Dictionary of Architecture, 4th edn., 1991
Harris, J. & J. Lever, Illustrated Glossary of Architecture, 850-1830 (several editions)
Historical Surveys
Honour, H. & J. Fleming, A World History of Art, 1982
19

Kostof, S., A History of Architecture: Settings and Rituals, 1985 (several editions)
Pevsner, N., An Outline of European Architecture, 1958 (several editions)
Trachtenberg, M. & I. Hyman, Architecture: from Prehistory to Post-modernism: the Western
Tradition, 1986
Watkin, D., A History of Western Architecture (several editions)
Architecture and Human Experience
Conway, H. and R. Roenisch, Understanding Architecture, 1994
Martienssen, H., The Shapes of Structure, 1976
Norberg-Schulz, C., Meaning in Western Architecture, 1980
Padovan, R., Proportion: Science, Philosophy, Architecture, 1999
Rasmussen, S. Eiler, Experiencing Architecture, 1959
Rendell, J., B. Penner, I. Borden, eds., Gender, Space, Architecture: an Interdisciplinary
Introduction, 1999
Roth, L., Understanding Architecture: Its Elements, History and Meaning, 1993 (Part I)
The Classical Tradition
Coulton, J. J., Ancient Greek Architects at Work: Problems of Structure and Design, 1977
Jones, Mark Wilson, Principles of Roman Architecture, 2000
Sear, F., Roman Architecture, 2nd edn., 1989
Vitruvius, Ten Books on Architecture, trans. I. Rowland, 1999
Smith, T. Gordon, Vitruvius on Architecture, 2003 (very well-illustrated version of Books I, III, IV,
V and VI)
Architectural Language
Clarke, G. & P. Crossley, eds., Architecture and Language, 2000
Hersey, G., The Lost Meaning of Classical Architecture: Speculations on Ornament from
Vitruvius to Venturi, 1988
Krautheimer, R., Introduction to an Iconography of Medieval Architecture, Journal of the
Courtald and Warburg Institutes 5 (1942): 133, reprinted in: Studies in Early Christian, Medieval
and Renaissance Art. edited by James S. Ackerman et al., 1969
Kruft, H.-W., A History of Architectural Theory: from Vitruvius to the Present, trans. R. Taylor, E.
Callander & A. Wood, 1994
Onians, J., Bearers of Meaning: the Classical Orders in Antiquity, the Middle Ages, and the
Renaissance, 1988
Rykwert, J., The Dancing Column: On Order in Architecture, 1996
Summerson, J., The Classical Language of Architecture, 198021
Sacred Space
Baldwin Smith, E., The Dome. A Study in the History of Ideas, 1971
Camille, M., Gothic Art: Visions and Revelations of the Medieval World, 1996
Hart, V. & P. Hicks, Paper Palaces: the Rise of the Renaissance Architectural Treatise, 1998
Howard, D., and Moretti, L., Sound and Space in Renaissance Venice, 2009
Krautheimer, R., Early Christian and Byzantine Architecture, 1965 (several editions)
McClendon, Charles B., The Origins of Medieval Architecture: Building in Europe AD600-900,
2005
Panofsky, Erwin, ed., Abbot Suger on the Abbey Church of St Denis and its Art Treasures, 1948
Stalley, R., Early Medieval Architecture, 1999
Renaissance Theory
Alberti, Leon Battista, On the Art of Building in Ten Books, trans. J. Rykwert, N. Leach & R.
Tavernor, 1988
Palladio, Andrea, The Four Books on Architecture, trans. R. Tavernor & R. Schofield, 1997
20

Serlio, Sebastiano, On Architecture, intro, trans. and ed. V. Hart & P. Hicks, Volume 1: Books I-V,
1996
Wittkower, R., Architectural Principles in the Age of Humanism, 1952 (and later editions)
Renaissance Practice
Ackerman, J. S., Palladio, 1966 (several editions)
Heydenreich, H. L., Architecture in Italy, 1400-1500, intro by P. Davies, 1996
Howard, D., The Architectural History of Venice, 1980, 1987
Lotz, W., Architecture in Italy, 1500-1600, intro by D. Howard, 1995
Shearman, J., Mannerism, 1990
Tavernor, R., On Alberti and the Art of Building, c. 1998

Papers 4/5: Part B, The Meaning of Art (Michaelmas Term Weeks 5-8)
General Reading on Pictorial Narrative and Methodolgy
Baxandall, M., Patterns of Intention, 1985
Gombrich, E., Norm and Form, 1978, esp. intro
Narrating the Old and New Testament
Baxandall, M., Painting and Experience in 15th-Century Italy, 1972
Baxandall, M., Giotto and the Orators: Humanist Observers of Painting in Italy and the
Discovery of Pictorial Composition, 1350-1450, 1971
Cuttler, C. D., Northern Painting from Pucelle to Bruegel. Fourteenth, Fifteenth and Sixteenth
Centuries, 1968 (several editions)
De Hamel, C., A History of Illuminated Manuscripts, 1986
Dunkerton, J. et al., Giotto to Durer. Early Renaissance Painting in The National Gallery, 1991,
esp. 22-76
Huizinga, J., The Waning of the Middle Ages, 1924 (several editions)
Humfrey, P., ed., The Altarpiece in Renaissance Italy, 1988
Lavin, M. A., The Place of Narrative. Mural Decoration in Italian Churches, 431-1600, 1990
Mle, E., Lart religieux du XIIIe sicle en France, 1898 (sometimes trans. in English as The
Gothic Image) Meditations on the Life of Christ, trans. and ed. I. Ragusa & R. B. Green, 1961
Os, H. van, The Art of Devotion in the Late Middle Ages in Europe, 1300-1500, 1994
Snyder, J., Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575,
1985
Thomas, A., An Illustrated Dictionary of Narrative Painting, 1994
Devotional Imagery
Hope, C., Altarpieces and the Requirements of Patrons, in T. Verdon & J. Henderson, eds.,
Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento, 1990,
536-571
Hope, C., Religious Narrative in Renaissance Art, Society for the Encouragement of Arts,
Manufactures and Commerce Journal, CXXXIV (1986), 804-818
Kaftal, G., Iconography of the Saints in Tuscan Painting, 1952, esp. XXIX-XXXIII
Marrow, J., Passion Iconography in Northern European Art, 1979
Schapiro, M., Words and Pictures. On the Literal and the Symbolical in the Illustration of a Text,
1973
Saxl, F., Lectures, I-II, 1937, esp. 58-124
Schiller, G., Iconography of Christian Art, I-II, 1971
Wilson, S., ed., Saints and Their Cults. Studies in Religious Sociology, Folklore and History,
1983

21

The Classical Tradition

Dempsey, C., Annibale Carracci and the Beginnings of Baroque Style, 1977
Martin, J. R., The Farnese Gallery, 1965
Martin, J. R., The Baroque, Style and Civilisation, 1989
Posner, D., Annibale Carracci: a Study in the Reform of Italian Painting around 1590, 1971
Rosentahl, L., Seizing Opportunity: Rubenss Occasio and the Violence of Allegory, Jaarboek
Koninklijk Museum voor Schone Kunsten Antwerpen 2000, 2000
Rosenthal, L., Manhood and Statehood: Rubens Construction of Heroic Virtue, Oxford Art
Journal, XVI (1993), 92-111
Rosenthal, L., The Parens Patriae: Familial Imagery in Rubens Minerva Protects Pax from
Mars, Art History, XII (1989), 22-38
Rossholm Lagerlf, M., Ideal Landscape. Annibale Carracci, Nicolas Poussin and Claude
Lorrain, 1990
Stechow, W., Rubens and the Classical Tradition, 1968
Wittkower, R., \\jay\cgi-bin\Pwebrecon.cgi?
SC=Author&SEQ=20030929150110&PID=11451&SA=Wittkower,+R.Allegory and the
Migration of Symbols, 1977
Secular Themes: General
Franits, W., ed., Looking at Seventeenth-Century Dutch Art. Realism Reconsidered, 1997
Freedberg, D. & J. de Vries, Art in History, History in Art, 1992
Haak, B., The Golden Age: Dutch Painters of the Seventeenth Century, 1994
Millner Kahr, M., Dutch Painting in the Seventeenth Century, 1993
Slive S., Dutch Painting 1600-1800, 1995
Dutch Genre Painting
Alpers, S., Bruegels festive peasants, Simiolus VI (1972/73), 163-176
Alpers, S., Realism as a Comic Mode: Low-life Painting seen through Brederos Eyes, Simiolus
VIII (1975/76), 115-144
Alpers, S., Taking Pictures Seriously: a Reply to Hessel Mediema, Simiolus X (1978/79), 52-6
Alpers, S., The Art of Describing, 1983
Bedaux, J.-B., The Reality of Symbols, 1990
Hecht, P., Dutch Seventeenth-Century Genre Painting: a Reassessment of some Current
Hypothesis, Simiolus 21 (1992), 85-95
Hecht, P., The Debate on Symbol and Meaning in Dutch Seventeenth-century Art: An Appeal to
Common Sense, Simiolus 16 (1986), 173-178
Honig, E. A., An Enterprise of Describing Svetlana Alpers Art Historical Strategies,
Theoretische Geschiedenis 17 (1990), 33-9
Jongh, E., Review of Svetlana Alpers, The Art of Describing, Simiolus 14 (1984), 51-9
Miedema, H., Realism and Comic Mode: the Peasant, Simiolus XI (1977), 205-19
Moxey, K. P. F, Panofskys Concept of Iconology and the Problem of Interpretation in the
History of Art, New Literary History 17 (1985-6), 265-74
Panofsky, E., Early Netherlandish Painting: Its Origins and Character, 2 vols., 1953
Panofsky, E., Studies in Iconology, 1939 (several editions)
Portraits and Still-Life
Brilliant, R., On Portraits, in Zeitschrift fuer Aesthetik und Kunstwissenschaft, 16/1 (1971),
11-26
Brilliant, R., Portraiture, 1991, esp. 141-174
Brilliant, R., Portraits: The Limitations of Likeness, Art Journal 46/3 (1987), 171-2
Campbell, L., Renaissance Portraits: European Portrait-Painting in the 14th, 15th and 16th
Centuries, 1990
Taylor, P., Dutch Flower Painting 1600-1720, 1995
22

Taylor, P. & P. Mitchell, Dutch Flower Painting 1600-1750, exh. cat., 1996
Sutton, P. et al., Masters of 17th-century Dutch Landscape Painting, 1987

Cambridge Bibliography for Paper 1 and Short Dissertation

This reference bibliography is intended to be used for the Part 1 Short Dissertation - hence its
length. The section on architecture and works of art also provides a basic reading list for Paper 1.
It is not a requirement of the course that it should be read in its entirety.
Cambridge and Cambridgeshire
Brooke, C. & R. Highfield, Oxford and Cambridge, 1988
Pevsner, N., Cambridgeshire, 1954 (several editions)
Willis, R. & J.W. Clark, The Architectural History of the University of Cambridge..., I-IV, 1886;
repr. 1988, intro. D. Watkin
Rawle, T., Cambridge Architecture, 1985
Roach, J. P. C. ed., A History of the County of Cambridge and the Isle of Ely, III (The City and
University of Cambridge), 1959
Royal Commission on Historical Monuments, An Inventory of the Historical Monuments in the
City of Cambridge, I-II, 1959
Watkin, D., The Triumph of the Classical. Cambridge Architecture 1804-1834, 1977
Taylor, N. & P. Booth, Cambridge New Architecture, 1970
McKean, C., Architectural Guide to Cambridge and East Anglia since 1920, 1982
Colleges
Crook, A. C., From the Foundation to Gilbert Scott. A History of the Building of St Johns
College, Cambridge, 1511-1885, 1980
Doig, A., The Architectural Drawings Collection of Kings College, 1979
Kersting, A. F. & D. Watkin, Peterhouse. An Architectural Record, 1984
McKitterick, D., ed., The Making of the Wren Library, 1995
Sicca, C. M., Committed to Classicism. The Building of Downing College Cambridge, 1987
Wayment, H.G., The Windows of Kings College Chapel, Cambridge, 1972
Wayment, H. G., Kings College Chapel, Cambridge. The Great Windows, 1982
Wayment, H. G., Kings College Chapel, Cambridge. The Side-Chapel Glass, 1988
Fitzwilliam Museum
General
Treasures of the Fitzwilliam Museum, 1993
Treasures of the Fitzwilliam Museum, 2005
The Fitzwilliam Museum 1848-1998: One hundred and fifty years of collecting, 1998
The Dutch Connection. The Founding of the Fitzwilliam Museum, exh. cat., 1988
The Bulletins of the Hamilton Kerr Institute
Handbooks
Humphrey, C., Samples, 1997
Munro, J. et al., French Impressionists, 2003
Poole, J., English Pottery, 1995
Poole, J., Italian Maiolica, 1997
Reynolds, G., British Portrait Miniatures, 1998
Scrase, D., Flower Drawings, 1997
Vassilika, E., Egyptian Art, 1995
23

Vassilika, E., Greek and Roman Art, 1998

Egyptian and Classical Art
Bourriau, J. D., Pharaohs and Mortals: Egyptian Art in the Middle Kingdom, exh. cat., 1988
Budde, L. & R. Nicholls, A Catalogue of the Greek and Roman Sculpture, 1964
Nicholls, R. V., Corpus Speculorum Etruscorum (Great Britain 2: Cambridge), 1993
Lamb, W., Corpus Vasorum Antiquorum (Great Britain, Fascicules 6 and 11: Cambridge,
Fitzwilliam Museum), 1930, 1936
Henig, M., Whiting & D. Scarisbrick, Classical Gems. Ancient and Modern Intaglios and
Cameos in the Fitzwilliam Museum, Cambridge, 1994
Chesterman, J., Classical Terracotta Figures, 1974
Manuscripts
Arnould, A. & J.M. Massing, Splendours of Flanders: Late Medieval Art in Cambridge Colleges,
exh. cat., 1993
Binski, P. & S. Panayotova, eds., The Cambridge Illuminations: Ten Centuries of Book
Production in the Medieval West, 2005
Fenlon, I., ed., Cambridge Music Manuscripts, 900-1700, 1982
Illuminated Manuscripts in the Fitzwilliam Museum, 1966
Illuminated Manuscripts in the Fitzwilliam Museum, 2 vols., 1982
James, M. R., A Descriptive Catalogue of the Manuscripts in the Fitzwilliam Museum, 1895
James, M. R., A Descriptive Catalogue of the McClean Collection of Manuscripts in the
Fitzwilliam Museum, 1912
The Fitzwilliam Virginal Book, ed. J. A. Fuller Maitland and W. Barclay Squire, 1963
Paintings
Bayne-Powell, R., Catalogue of Portrait Miniatures in the Fitzwilliam Museum, 1985
Cambridge Portraits from Lily to Hockney, exh. cat., 1978
Fitzwilliam Museum, Cambridge. Catalogue of Paintings, various vols., 1960Goodison, J. W., Catalogue of Cambridge Portraits I: The University Collection, 1955
Scrase, D. & P. Croft, Maynard Keynes: Collection of Pictures, Books and Manuscripts, exh.
cat., 1983
The John Tillotson Bequest: Paintings and Drawings of the Barbizon School, exh. cat., 1985
Prints, Drawings
Bicknell, P. & J. Munro, Gilpin to Ruskin. Drawing Masters and their Manuals 1800-1860, exh.
cat., 1987
Bicknell, P., Beauty, Horror and Immensity. Picturesque Landscape in Britain, 1750-1850, exh.
cat., 1981
Cent dessins franais du Fitzwilliam Museum, Cambridge, exh. cat., 1976
European Drawings from the Fitzwilliam, exh. cat., 1976
Hartley, C. & S. Lidyard, Text and Image: English Woodblock Illustration, Thomas Bewick to
Eric Gill, exh. cat., 1985
Hartley, C., Prints of the Floating World, exh. cat., 1997
Munro, J., British Landscape Watercolours 1750-1850, 1994
Robinson, D., Town, Country, Shore and Sea: British Drawings and Watercolours from Anthony
Van Dyck to Paul Nash, exh. cat., 1982
Scrase, D., Da Pisanello a Tiepolo, exh. cat., 1992
Scrase, D., The Golden Century. Dutch Master Drawings from the Fitzwilliam Museum,
Cambridge, exh. cat., 1995
Specific Artists
Bindman, D., William Blake. Catalogue of the Collection in the Fitzwilliam Museum, 1970
24

Cormack, M., J.M.W. Turner, R. A., 1775-1851. A Catalogue of Drawings and Watercolours in
the Fitzwilliam Museum, Cambridge, exh. cat., 1975
Cormack, M., Rembrandt and his Circle, exh. cat., 1966
Hartley, C., Adolphe Appian: Etchings and Lithographs from the G. and A. Burton Collection,
exh. cat., 1994
Hartley, C., Rubens and Printmaking, exh. cat., 1990
Jaff, P., Fitzwilliam Museum. Cambridge Drawings by George Romney, exh. cat., 1977
Lister, R., Samuel Palmer and The Ancients, exh. cat., 1992
Munro, J. & P. Stirton, Burne-Jones and William Morris: Illustrations for the Kelmscott
Chaucer and the Aeneid, exh. cat., 1996
Munro, J., James Ward R.A., 1769-1859, exh. cat., 1992
Munro, J., Shakespeare and the Eighteenth Century, exh. cat., 1997
Robinson, D. & S. Wildman, Morris and Company in Cambridge, exh. cat., 1980
Scrase, D. E., Drawings and Watercolours by Peter de Wint, exh. cat., 1979
William Blake and his Contemporaries, exh. cat., 1986
Sculpture
Avery, V. & J. Dillon, Renaissance and Baroque Bronzes from the Fitzwilliam Museum,
Cambridge, exh. cat., 2002
Crighton, R., The Boscawen Collection: Renaissance Bronzes and other Sculpture, The
Fitzwilliam Museum supplement to The Burlington Magazine (December 1997), i-vi
Decorative Arts
Armstrong, N. et al., Fans from the Fitzwilliam, 1985
Crighton, R. A., Cambridge Plate, exh. cat., 1975
Dalton, O. M., Fitzwilliam Museum, McClean Bequest. Catalogue of the Mediaeval Ivories,
Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank
McClean, M.A., F.R.S., 1912
Poole, J. E., Italian Maiolica and Incised Slipware in the Fitzwilliam Museum, 1995
Rackham, B., Catalogue of the Glaisher Collection of Pottery and Porcelain in the Fitzwilliam
Museum Cambridge, 1935, 1987
Kettles Yard
Ede, H. S., A Way of Life. Kettles Yard, 1984
Lewison, J., Kettles Yard: An Illustrated Guide, n.d.

Part I Timetables:
PART 1, PAPER 1: THE OBJECTS OF ART HISTORY

25

The Art Critic, Georges Croegaert, 1907

Oil on Canvas, Private Collection

2012-2013

26

This paper runs throughout the year from the beginning of the Michaelmas Term to the end of the
teaching period in the middle of the Easter Term, and is compulsory for all Part 1 students. It usually
requires attendance at two seminars each week during full term.
The purpose of the paper is to give students a broad overview of art and architecture from the
Classical period to the present day. In doing this it draws on the extraordinarily rich artistic and
architectural resources available in and around Cambridge. Each seminar involves a first-hand
engagement with the materials to be explored and is led by a relevant expert in the field. There are
no supervisions or weekly essay requirements for this paper, but students are strongly encouraged to
read about and explore the objects studied in their own time, based on the supplementary
bibliographies and hand-outs provided by the lecturers each session. The course will be examined by
one three-hour visual analysis paper in the Easter Term.
For most sessions the group will be split in two and the sessions will be delivered to each group
separately. This is to enable all to engage with both the objects and the lecturers as easily as possible.
You MUST attend the session to which you have been assigned. If this is impossible you must
arrange a swap with a member of the other group and inform the co-ordinator (Dr Munns) ahead of
time. If you turn up to the wrong session you will be turned away.
Each weekend you will receive an email detailing where and when you are to meet for that weeks
sessions. Please make sure you read this carefully and follow the instructions contained in it.
The overall co-ordinator for this course is: Dr John Munns
Fitzwilliam College
jmm89@cam.ac.uk
Please contact Dr Munns with any problem or questions.

27

OUTLINE OF SEMINARS
(this may be subject to change)
Michaelmas Term 2012
Architecture to circa 1700
Tuesday 9th October

St Benets and Little St Marys Churches

Gabriel Byng (PhD candidate)

Thursday 11th October

Ely Cathedral
Dr John Munns

HALF-DAY TRIP

Tuesday 16th October

Kings College Chapel

Dr John Munns

Thursday 18th October

Kings College stained glass

Professor Richard Marks

Tuesday 23rd October

Emmanuel College
Professor Deborah Howard

Thursday 25thOctober

Peterhouse and Pembroke College

Dr David Oldfield

Tuesday 30th October

Trinity College Library

Dr James Campbell

Thursday 1st November

The Senate House & The Gibbs Building

Professor D. Howard

Art and Architecture in the Modern period

Monday 5th November
(NB MONDAY)
Thursday 8th November
(ONE SESSION)

Kettles Yard
Andrew Nairne (Director, Kettles Yard)
The Sidgwick Site
Professor Deborah Howard

Monday 12th November

(NB MONDAY)

Kettles Yard Exhibition (Winifred Nicholson)

Lizzie Fisher (Curator of Exhibitions, Kettles Yard)

Thursday 15th November

Twentieth-century painting (Fitzwilliam Museum)

Dr Karolina Watras

Tuesday 20th November

Friday 23rd November
(NB FRIDAY)
Tuesday 27th November
(ONE SESSION)
Thursday 29th November

New Hall Art Collection

Dr David Oldfield
Jesus College sculpture
Dr Karolina Watras
Hill Colleges Architecture
Dr Alistair Fair (Research Fellow, Dept. of Architecture)
Churchill College Art Collection

28

Barry Phipps (Curator, Churchill College Art Collection)

Lent Term 2013

Medieval and Early Modern Painting and Printmaking
Tuesday 22nd January

Medieval manuscripts in the Parker Library

Dr Christopher de Hamel (Parker Fellow Librarian)

Thursday 24th January

Spanish art (Fitzwilliam Museum)

Dr David Oldfield

Tuesday 29th January

Portraiture (Fitzwilliam Museum)

Vivien Perutz

Thursday 31st January

Medieval Italian art (Fitzwilliam Museum)

Dr John Munns

Tuesday 5th February

Venetian Painting (Fitzwilliam Museum)

Professor Paul Joannides

Thursday 7th February

Flemish art (Fitzwilliam Museum)

Dr David Oldfield

Tuesday 12th February

Seventeenth-century Dutch painting (Fitz. Museum)

Dr Meredith Hale

Eighteenth-century Painting and Printmaking

Thursday 14th February

Eighteenth-century painting (Fitzwilliam Museum)

Jonathan Yarker (PhD candidate)

Tuesday 19th February

Eighteenth-century British prints (Fitz. Museum)

Dr Olivia Horsfall Turner (English Heritage)

Thursday 21st February

Day Trip to Boughton House

Dr Meredith Hale

Non-western Painting and Printmaking

Tuesday 26th February

Islamic Art (Fitzwilliam Museum)

Professor Gulru Necipoglu (Visiting Slade Professor)

Thursday 28th February

Japanese prints (Fitzwilliam Museum)

Craig Hartley (Senior Assistant Keeper, Fitz. Museum)

Tuesday 5th March

Rajput Indian Miniatures (Fitzwilliam Museum)

Imma Ramos (PhD candidate)

Nineteenth-century Art

29

DAY TRIP

Thursday 7th March

Pre-Raphaelite painting (Fitzwilliam Museum)

Amanda Morgan (PhD candidate)

Tuesday 12th March

(NB 1-3pm)

The Arts and Crafts Movement (Fitzwilliam Museum)

Dr Polly Blakesley

Thursday 14th March

Post-Impressionism (Fitzwilliam Museum)

Dr James Fox

Easter Term 2013

(first half only)
Sculpture and Material Culture
Thursday 25th April

Revision and Exam Preparation Seminar

Dr John Munns
LECTURE ROOM 2

Tuesday 30th April

Museum of Classical Archaeology

Dr Carrie Vout (Senior Lecturer in Classics)

Thursday 2nd May

Greek vases (Fitzwilliam Museum)

Dr Lucilla Burn (Keeper of Antiquities, Fitz. Museum)

Tuesday 7th May

Coins (Fitzwilliam Museum)

Dr Anna Gannon

Thursday 9th May

Russian icons at Girton College

Professor Richard Marks

Tuesday 14th May

Medieval enamels (Fitzwilliam Museum)

Dr John Munns

Thursday 16th May

Sculpture (Fitzwilliam Museum)

Dr Vicky Avery (Keeper of Applied Arts, Fitz. Museum)

Tuesday 21st May

Museum of Archaeology and Anthropology

Dr Damian Skinner (Visiting Fellow, Fitzwilliam College)

Thursday 23rd May

Bronzes (Fitzwilliam Museum)

Dr Vicky Avery

Part I Papers 4/5: The Meaning of Architecture

Paper 4/5
First Half Michaelmas Term 2012

Meaning of Architecture
Convenor: Prof Deborah Howard

Format
One seminar and three lectures each week. Lectures take place in Lecture Room 2.
Seminar classes are taught in two groups, for an hour each, in the Departments Seminar Room.

30

Seminars include one on academic skills and three on texts/ideas which will be given out a week in
advance of each seminar.
Date and Time

Subject

Lecturer

Part A: The Meaning of Architecture

I. Introducing the Language of Architecture
Monday 8 October
2-3 (group A)
3-4 (group B)

Seminar: Academic Skills

Dr David Oldfield

Tuesday 9 October
10-11

Why Architecture Matters

Prof. Deborah Howard

Wednesday 10 October
10-11

Vitruvius, Alberti, Palladio and Perrault

Prof. David Watkin

Thursday 11 October
10-11

Precedents of the Past

Prof. Deborah Howard

II. The Meaning of Materials and Proportions

Monday 15 October
2-3 (group A)
3-4 (group B)

Seminar: Sticks and Stones

The Vitruvian Primitive Hut and the
Concept and Meaning of Rustication

Prof. Deborah Howard

Tuesday 16 October
10-11

The Iconography of Materials

Gabriel Byng

Wednesday 17 October
10-11

Geometry and Proportion

Dr James Campbell

Thursday 28 October
10-11

Architecture and Music

Prof. Deborah Howard

III. Architecture and the Body

Monday 22 October
2-3 (group A)
3-4 (group B)

Seminar: Architecture and the Body

Architectural Books and Writers

Dr James Campbell

Tuesday 23 October
10-11

The Architecture of Masculinity

Prof. David Watkin

Wednesday 24 October
10-11

The Architecture of Femininity

Prof. David Watkin

31

Thursday 25 October
10-11

Disordering the Orders

Prof. Deborah Howard

IV: Secular and Sacred Symbolism in Architecture

Monday 29 October
2-3 (group A)
3-4 (group B)

Seminar: The Dome of Heaven

Meanings, Relationships and Reappropriations of Domes

Prof Deborah Howard

Tuesday 30 October
10-11

The Architecture of Triumph

Prof. Deborah Howard

Wednesday 31 October
10-11

Light in sacred architecture

Dr John Munns

Thursday 1 November
10-11

All the Worlds a Stage

Prof. Deborah Howard

Michaelmas 2012
Part 1 Paper 4/5 Meaning of Art
Co-ordinated by Dr. David Oldfield (dao26@cam.ac.uk)
Date and Time

Subject and Venue

Lecturer

I. Devotional Imagery 14th-16th centuries

Monday 5 November
2 or 3.30 pm.

Seminar: Set Text

Gombrich, 'Aims and Limits of Iconology,'
from Symbolic Images
Seminar room, Scroope Terrace

Dr. David Oldfield

Tuesday 6 November
10.15 or 11.15am.

Veneration of Saints
Fitzwilliam Museum

Dr. David Oldfield

Wednesday 7 November
10 am.

Giottos Arena Chapel

Lecture Room 2

Thursday 8 November
10 am.

Lives of St. Francis

Lecture room 2

II. Symbolism and Narrative 15th-17th centuries

32

Dr. John Munns

Dr. John Munns

Monday 12 NovemberSeminar: Set Text

2 pm. or 3 pm.
Panofsky and Campbell on the
Arnolfini portrait
Seminar room, 4a Trumpington St.

Richard Braude

Tuesday 13 NovemberVirgin Mary

10.15 or 11.15 am.
Fitzwilliam Museum

Dr. David Oldfield

Wednesday 14 November
3-4 pm.

Disguised Symbolism
Lecture Room 2

Dr. Paul Taylor

Wednesday 14 November
4.30 - 5.30pm.

Interpreting Still-Life
Lecture Room 2

Dr. Paul Taylor

Thursday 15 November
10.15 or 11.15 am.

Religious narrative
Fitzwilliam Museum

Dr. David Oldfield

III. The Classical Tradition

Monday 19 NovemberSeminar: Set Text
2 or 3 pm.
Alberti and Veroneses trial
Seminar Room, Scroope Terrace

Dr. David Oldfield

Tuesday 20 November16th century Venetian Myth and Allegory

10.15 or 11.15 am.
Fitzwilliam Museum

Dr. David Oldfield

Wednesday 21 November
10 am.

Meaning in 16th century Venetian

painting
Lecture Room 2

Prof. Joannides

Thursday 22 November
10 am.

Allegory
Fitzwilliam Museum

Prof. Massing

IV. Secular Themes

Monday 26 NovemberSeminar: Set text
2 or 3 pm.
Alpers and Miedema
Seminar room, Scroope Terrace

Dr. Alex Marr

Tuesday 27 NovemberVermeer and Dutch genre painting

10 am.
Lecture room 2

Dr. David Oldfield

Wednesday 28 November
10.15 or 11.15 am.

Meaning in landscape
Fitzwilliam Museum

Dr. David Oldfield

Thursday 29 December
10 am.

Meaning in Tudor Portraiture

Lecture Room 2

33

Dr. Alex Marr

Part I Papers 2/3

Lent Term 2013

THE MAKING OF ART

Convenors: Ms Vivien Perutz and Mr
Paul Shakeshaft

Format
The course The Making of Art is divided into Parts A, B and C:

Part A (Weeks 0-2): Painting and Drawing, c. 1300-1700

Part B (Weeks 3-4) Printmaking and Sculpture c.1400-1650
Part C (Weeks 5-8): Painting, Sculpture and Photography, c. 1700-2000

Organization:

Lectures are in Lecture Room 2 unless otherwise stated.

All Seminars on Monday afternoons are on set texts and are taught in two groups at 2pm and
3pm in the Department Seminar Room. Students should study the prescribed readings in
advance.
All Site Seminars are held outside the department, usually on Fridays (though there is some
variation to this). Please arrive promptly and note varying times and locations, as indicated. For
all seminars in the Fitzwilliam Museum, meet at the Courtyard Entrance ten minutes before the
scheduled start time.
Many seminars are taught in two groups, A & B, divided alphabetically. If you cannot attend at
the specified time, please arrange a swap with a student from the other group. Anyone else who
attends the wrong session will be turned away.

Date and Time

Subject and Venue

Lecturer

PART A: TECHNIQUES AND DEVELOPMENTS IN PAINTING AND DRAWING, C. 1300-1700

Week 0: Painting to the late Middle Ages
Thursday 17th January
10.0-11.0

Early Painting:
Tempera and Fresco

I. Cooper

Friday 18th January

10-11 (Group A)
11-12 (Group B)

Illuminating Manuscripts
Fitzwilliam Museum, Founders Library

Dr C. De-Hamel

Friday 18th January

2.0-3.0
3.0-4.0

Site seminar on Cimabue, Fisher House

(Catholic Chaplaincy)

Dr B.Kress

Week 1: Oil Painting in the Fifteenth and Sixteenth Centuries

Monday 21 January
11.20

From Eggs to Oil: The Conquest of Light (DVD)

12.0-1.0
Quash

15th-century Italian and Northern Painting:

The Rise of Oil Technique
34

Dr S. Avery-

Monday 21 January
2.00-3.00 (group A)
3.00-4.00 (group B)

Seminar: Set Texts on Pigments

Cennino Cennini, chapter LXII on lapis lazuli
(pp. 36-9 in 1960 Dover edn.)

Dr S. Bucklow

Tuesday 22 January
Quash
10.0-11.0

The Venetian School in the 16th Century

Dr S. Avery-

Wednesday 23 January
Lecture room 2 2-4

Essay Writing: The Short Dissertation

Professor
J.M. Massing

Wednesday 23 January
Lecture room 2 4-5

From Illusion to Emotion and Old Tricks

and New Pigments (DVD)

Friday 25 January
10.00-12.00 (A & B)
1.00-2.00 (A & B)

Site Seminar: Fitzwilliam Museum

Studio Traditional Techniques of Painting
and Drawing
Note: all students are to come to BOTH
morning (painting) and afternoon
(drawing) sessions

Ms P. Abrahams

Week 2: Drawing in the Fifteenth and Sixteenth Centuries and the Oil Paintings of Rubens
and Rembrandt
Monday 28 January
12.0-1.0

Techniques and Choices in Renaissance

Drawings

Mr D. Godfrey

Monday 28 January
2-3 (group A)
3-4 (group B)

Seminar: Set Texts on Disegno vs colore

Ms V. Perutz

Tuesday 29 January
10.00-11 (group A)
11.00-12 (group B)

Site Seminar: Graham Robertson Room

(Fitzwilliam Museum)
Looking at Italian Drawings

Mr D. Scrase

Thursday 31 January
10.0-11.0

Northern Approaches: Rubens and

Rembrandt

Ms V. Perutz

Friday 1 February
10:00-11:00 (group A)
11:00-12:00 (group B)

Site Seminar: Fitzwilliam Museum

Oil painting from the 15th to the 17th Centuries

Ms H Glanville

Friday 1 February
2.0-4.0

Site Seminar: St Barnabas Press 1

Printmaking techniques

Mr J. Hill

35

PART B: TECHNIQUES AND DEVELOPMENTS IN PRINTMAKING AND SCULPTURE

c. 1400-1650
Week 3: Printmaking
Monday 4 February
12.0-1.0

Printmaking

Monday 4 February
2-3 (group A)
3-4 (group B)

Seminar: Set Text on Prints

David Landau and Peter Parshall, How
prints became works of art in The
Renaissance Print 1470-1550, 1994,
pp. 33-102

Professor J.M.
Massing

Tuesday 5 February
10-11 (group A)
11-12 (group B)

Site Seminar: Graham Robertson Room

Fitzwilliam Museum
Printmaking Techniques: Drer
and Rembrandt

Ms. E. Ling

Thursday 7 February

Site Seminar: The Fitzwilliam Museum

Lacey
The Manufacture of Bronzes by Lost
Wax Casting

Mr Andrew

10.30 -12 (groups A & B)

Friday 8 February
10-11.15 (group A)
11.15- 12.30 (group B)

Professor JeanMichel Massing .

Site Seminar: Carcozo Kindersley

Workshop 2
Stone Carving

Ms Julie Dawson
Ms. Jo Dillon
Mrs Lida
Kindersley

Week 4 High Renaissance and Baroque Sculpture

Monday 11 February
12.0-1.0

Marble Reliefs from Donatello to Michelangelo

Monday 11 February
2 -3 (group A)
3 -4 (group B)

Seminar: Set Texts on Sculpture

Michelangelos Sonnets
Baldinuccis Life of Bernini

Ms Vivien Perutz

Tuesday 12 February
10.11
11-12

Italian Renaissance
Bronze Sculpture
The Sacred Made Real (DVD)

Ms Vivien Perutz

Thursday 14 February
Deborah 10-11

Berninis Fountains

Professor
Howard

Friday 15 February
12-1

Italian and German Sculpture in Wood

Ms Vivien Perutz

36

Dr Victoria Avery

PART C: TECHNIQUES AND DEVELOPMENTS IN PAINTING AND SCULPTURE,

C1700-2000
Week 5 Watercolour and Changes in Oil Technique
Monday 18 February
Johns
12-1.0
Monday 18 February
2 3 (group A)
3 4 (group B)

Tuesday 19 February
10 -11 (group A)
11 -12 (group B)
Thursday 21 February
10 - 11
Friday 22 February
morning and afternoon.
Please bring
a packed lunch

The Ascent of Watercolour

Dr Richard

Seminar: Set Text on c19th Painting

John Ruskin, The Elements of Drawing (1857)

Mr Paul
Shakeshaft

Site Seminar: Graham Robertson Room

Johns
British Watercolours
From Neo-Classicism to Realism:
The Techniques of Truth

Dr Richard

Professor Paul
Joannides

Site Seminar: Hamilton Kerr Institute 3

Conservation of oil paintings.

Mrs Mary
Kempski
Ms Helen
Glanville

Manet and the Politics of Paint

Perutz

Ms Vivien

Week 6 Impressionism
Monday 25 February
12-1.0

Monday 25 February
2 -3 (group A)
3 -4 (group B)

Tuesday 26 February
10 -11 (group A)
11 -12 (group B)
Thursday 28 February
10 -11

Seminar: Set Text on Impressionism

Eugne Chevreul, On Colouring in
Painting and Of the Complex Associations
of Colours, viewed critically and
Jules Laforgue, Impressionism
Site Seminar: Fitzwilliam Museum
Perutz
Impressionist Paintings
Techniques of Early Photography

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Ms Vivien Perutz

Ms Vivien

Dr Chitr
Ramalingam

Friday 1 March
10 -11 (group A)
11 -12 (group B)

Site Seminar: Fitzwilliam Museum

How Paintings Age

Mr Rupert
Featherstone

Week 7 Early Modern Sculpture

Monday 4 March
12 1

Rodin and His Workshop

Mr Paul
Shakeshaft

Monday 4 March
2 3 (group A)
3 4 (group B)

Seminar: Set Text on Modern Sculpture

Malvina Hoffmann, Sculpture Inside and Out
and A Sculptors Odyssey; Billy Klver, The
Garden Party

Mr Paul
Shakeshaft

Tuesday 5 March
10-11 (Group A)
11-12 (Group B)
1.30-2.30 (Group B)
3.30-4.30 (Group A)
Thursday 8 March
10-11

Site Seminar: Anglia Ruskin University

Olzac
Welding4

Ms. Susan

Site Seminar: Studio of Issam Kourbaj

Artist in Residence (Christs College)

Mr Issam
Kourbaj

Constructivist Sculpture: Techniques of Assembly

Mr Paul
Shakeshaft

Week 8 Modern and Contemporary Practice

Monday 11 March

Contemporary Art Practices

Fisher
11 -12 Note different lecture and seminar times
Monday 11 March
Thursday 14 March
10 -11

Ms. Lizzie

Seminar: Set Texts on

The Practice of Katie Paterson, Artist in Residence at
the Wellcome Sanger Institute.

National Gallery Revision Day

6 May

Mr Andrew
Nairne
Ms Vivien Perutz
Mr Paul Shakeshaft

1. Please allow 45-50 mins from the faculty. Take Citi bus 3 in St Andrews St either from the stop
outside Downing College or from the city centre stop S2. (It runs every 10 min.in theory; you will
find the timetable on the Stagecoach website.) Alight at River Lane. Cross the main road
(Newmarket Road) and make for the superstore complex.. At the far end on your right you will see
Home Base. Cars can also drive into their car park from Coldhams Lane which lies at right angles
to Newmarket Road. You need to head for that. Theres a mini roundabout there. Turn left to walk
up Coldhams Lane and over the railway bridge. At the bottom of the bridge theres a pub, The
Greyhound. You need to turn sharp left there into Coldhams Road. Its more of a drive than a
road. You walk past some warehouses, cross the railway line and turn sharp right. Ahead, beyond
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the Belfast Linen Co,. you will see St Barnabas Press. To cycle there, I suggest you take a map.
There are lots of possible routes off the main roads.
2.Use the Google map on the Kindersley Workshop website. What the map does not show is that
the entrance is immediately after St Lukes Church as you head down the hill.
3.Catch the 9.21 train to Whittlesford which arrives at 9.30. Walk down Station Road West (turn left
from station). At the time of writing the return fare with a student rail card is 2.70. If you travel in
groups of four, one of you goes free. Turn right into Duxford Road and eventually right into Mill
Lane. The Hamilton Kerr Institute is in the Mill House at the end of the lane. If you have a bike,
you might like to take it on the train.
4. Please assemble punctually in the main foyer of Anglia Ruskin University; the entrance is on East
Road. From there you will be taken to the studio.

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