ARTH
552
Mantegna and Early Renaissance Court Culture
Instructor: Professor Stephen J. Campbell
W 4-6 p.m.
Course Description
This course
will be devoted to the distinct nature of Italian court society in the period
before Absolutism (1300-1500), with a particular focus on the Este court in
Ferrara and that of the Gonzaga in Mantua. We will consider court society according
to several ‘classic' and recent models - those of Burckhardt, Huizinga, Elias,
Geertz, Starn and Partridge - and to defining characteristics of the princely
court as proposed by these: magnificence, legitimacy, the gift, and the ‘civilizing
process.' In particular we will examine the working conditions of the court
artist, as manifest in his administrative, practical and possible ceremonial
roles, taking the career of Andrea Mantegna (1445-1506) at the Gonzaga court
as a paradigm. Mantegna provides an apt case study because of the range of his
artistic and courtly activities, his creation of new pictorial genres, his aspirations
to nobility, and the fairly abundant documentation of his career. We will consider
such questions as how did his terms of employment might have compared with those
of other court functionaries, such as musicians. At what point could art and
artists be seen as "ennobled" by working in the household of a prince? To what
extent did court employment correspond with the development of the elevated
characterizations of art that begin to appear in the art treatises of Filarete,
Francesco di Giorgio, and Leonardo? In what ways were Renaissance theories of
disegno - which elevated the intellectual conception of the work of art over
its material realization and execution - determined by one of the most characteristic
circumstances of the court artist's operation - the division of labor involved
in the production of designs for a whole sphere of artistic media, including
painting, tapestry, festival decorations, medals and metalwork? By considering
these questions, the claim of Martin Warnke - that the court artist constituted
the beginnings of the modern conception of the artist - will be subjected to
debate and review.