Introductory description

This modules will look at the broader implications of art making and production in the early modern period. For Leonardo as for many other artists of the early Renaissance art ought to be considered not on a par with, but as the very foundation of science. Study will focus on the hermeneutical components inherent in the practice and theory of Renaissance art.

Module aims

Outline syllabus

This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.

Leonardo’s Training and Education
Leonardo’s Treatise on Painting
Colour Theory: Shadow, Chiaroscuro, Sfumato
Experimenting with Optics and Perspective
Leonardo as Court Artist
Leonardo’s Machines
Military Engineering
Anatomical Studies
Leonardo as an Architect

Learning outcomes

By the end of the module, students should be able to:

• Demonstrate an in-depth understanding of the ways art and science were interrelated in the early modern period
• Demonstrate detailed knowledge of the works studied and their contexts
• Deploy these ideas critically in relation to other forms of art
• Show a critical awareness of current debates about Leonardo
• Initiate and sustain group discussion through intelligent questioning and debate at an appropriate level
• Ability to undertake research and to write up the results in the form of a well-structured argument, using accurately specific techniques of analysis and enquiry at an appropriate level
• Familiarity with essential ICT skills
• Ability to collaborate effectively with others
• Ability to evaluate one’s own needs and intellectual progress
• Ability to conduct independent research and analysis
• Show understanding of diverse viewpoints
• Ability to find, select, organize and synthesize evidence
• Ability to formulate a sustained argument
• Think conceptually and independently at an appropriate level
• Sophisticated visual analysis
• Bibliographical skills at an appropriate level
• Critical analysis of cultural artefacts in their context

Indicative reading list

Martin Kemp, “The Whole in the Parts and the Parts in the Whole: Leonardo and the Unity of Knowledge,” in Leonardo da Vinci: The Design of the World, edited by Pietro Marani and Maria Fiorio (Palazzo Reale, 2015) 353-367.
Daniel Arasse, “The Education of Leonardo” and “A Science in Movement” in Leonardo da Vinci: The Rhythm of the World (New York: Konecky & Konecky, 1998) 36- 70 and 74-96.
John Shearman, “Leonardo’s Color and Chiaroscuro,” Zeitschrift für Kunstgeschichte 25 (1962): 13-47.
Alexander Nagel, “Leonardo and Sfumato,” RES 24 (1993): 6-20.
Martin Kemp, Leonardo da Vinci: The Marvelous Works of Nature and Man (Cambridge: Harvard University Press, 1981) 32-36, 129-136, 325-333.
Janis Bell, “Leonardo’s prospettiva delle ombre: Another Branch of Non-Linear Perspective,” in Leonardo da Vinci and Optics: Theory and Pictorial Practice, edited by Francesca Fiorani and Alessandro Nova (Florence: Kunsthistorisches Institut in Florenz, 2013) 79-99.
Carlo Pedretti, “The Sforza Horse in Context” in Leonardo da Vinci’s Sforza Monument Horse: The Art and the Engineering, edited by Diane Ahl (Bethlehem: Lehigh University Press) 27-39.
Andrea Bernardoni, “Leonardo and His Equestrian Monuments: Issues of Casting and Technique,” in Leonardo da Vinci: The Design of the World, edited by Pietro Marani and Maria Fiorio, exhibition catalogue (Palazzo Reale, 2015) 143-153.
Andrea Bernardoni, “An Abiding Obsession: Leonardo ́s Equestrian Projects 1507- 1519,” in Leonardo da Vinci and the Art of Sculpture, edited by Gary Radke (High Museum of Art, 2009) 137-159.
Charles Carman, “Leonardo’s Vitruvian Man: A Renaissance Microcosm” in Images of Humanist Ideals in Italian Renaissance Art (Lewiston: Edwin Mellen Press, 2000) 69-90.
Martin Clayton, “The Anatomical Studies of Leonardo da Vinci” in Leonardo da Vinci: Anatomist (London: Royal Collection Publications, 2012) 7-29, 82, and 90.

View reading list on Talis Aspire

Subject specific skills

• Demonstrate an in-depth understanding of the ways art and science were interrelated in the early modern period
• demonstrate detailed knowledge of the works studied and their contexts
• Deploy these ideas critically in relation to other forms of art
• show a critical awareness of current debates about Leonardo
• sophisticated visual analysis
• critical analysis of cultural artefacts in their context

Transferable skills

• initiate and sustain group discussion through intelligent questioning and debate at an appropriate level
• ability to undertake research and to write up the results in the form of a well-structured argument, using accurately specific techniques of analysis and enquiry at an appropriate level
• familiarity with essential ICT skills
• ability to collaborate effectively with others
• ability to evaluate one’s own needs and intellectual progress
• ability to conduct independent research and analysis
• show understanding of diverse viewpoints
• ability to find, select, organize and synthesize evidence
• ability to formulate a sustained argument
• think conceptually and independently at an appropriate level
• bibliographical skills at an appropriate level