ITALIAN RENAISSANCE VISUAL CULTURE II (PVSC Fall 2024 6-week in-person course)
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ITALIAN RENAISSANCE VISUAL CULTURE II
Day change to Fridays
PVSC Fall 2024 6-week In-Person course- will not be recorded
Instructor: Michael Grillo
Classes are held at UMA-Bangor, Texas Ave. Eastport Hall Room 105
Fridays 2:30-4:30 Sept. 26, Oct. 3, 10, 17, 24, 31
Minimum 7 Maximum 15
Why is it that the works of Michelangelo, Raphael, and Leonardo DaVinci still captivate such a wide range of audiences globally, fully six-hundred years after the High Renaissance? Spanning three hundred years in a tumultuous, rapidly changing world, surprisingly much like our own in its challenges, the Italian Renaissance explored a diversity of political, religious, philosophical, and scientific ideas through its artworks.
The course will continue on from the Spring 2024 coverage of the first half of the era, to explore the Art and Architecture from 1425 – 1550, specifically the late fifteenth-century reconceptualization of Classicism, the continuing influence of the International Gothic, the High Renaissance as an era exploring the fullest potentials and limits of Classical revival, and the Mannerist decades that questioned the premises and then-assumed truths of the Renaissance.
The instructor will provide an article or two (distributed as .pdf files) for each week’s topic, representing a diversity of perspectives for each era, as we look to major artworks that give us a window into how the Renaissance saw its world.
Attend even if you did not participate in the Spring 2024 course.
Instructor: MICHAEL GRILLO
A specialist in fourteenth-century Italian History of Art, Dr. Michael Grillo focuses on how painting and sculpture served as a means of visual thinking that complemented written texts. He has written on how the 1348 Plague provided a surprising catalyst for the transition from Late Mediaeval to Early Renaissance conceptions of space, and the role of Memory Theatre throughout the Renaissance era. Current research explores how artworks functioned within their specific environments, not just in serving rituals, but more deeply, as phenomenological extensions of their audiences’ perceptions of their world.