Learning Outcomes:
- an ability to regularly and punctually attend classes on Thursday evenings at Belfield and at the National Gallery of Ireland, work to set deadlines, and submit original, non-plagiarised work in accordance with the standards expected at university and without recourse to AI tools.
- familiarity and understanding of a range of set texts and critical/ theoretical sources relevant to the course (available primarily through the Francoise Henry Reading Room, UCD Library, and in some cases at the National Gallery of Ireland Library) and be able to discuss relevant works under test conditions without reliance on supplementary notes.
- a connoisseurial ability to identify and discuss the main practitioners of the Caravaggesque style and their contribution to the development of European painting.
- how to place the work of Caravaggio and his followers within its social and cultural context.
- an analytical appreciation of Caravaggesque works in local collections.
- an understanding of the defining characteristics of the Caravaggesque style and how to relate them to a variety of analytical methodologies relevant to the history of art.
Indicative Module Content:
During a brief and violent career in Rome, Naples, Sicily and Malta, Caravaggio left an indelible mark on the history of art. His work was revolutionary in its vivid approach to narrative, unsettling realism, and dramatic manipulation of light and shade. Although Caravaggio discouraged imitators, this did not deter the development of a pan-European Caravaggist style in the decades after his death. The extraordinary nature of his critical rehabilitation during the 20th century also highlights his appeal to modern sensibilities.
This module will attempt to rationalise the Caravaggist phenomenon by addressing the cultural background of the period, taking into account the various demands of private and ecclesiastical patronage. In addition to gauging contemporary and modern perceptions of the artist and his followers, students will be encouraged to consider works in the context of psychoanalytical, feminist and other theoretical approaches relevant to the History of Art.