080004 SE Biedermeier in Europe: the Visual Arts from 1815 to 1848 (2024S)

The period between 1815 and 1848, between the Congress of Vienna on the one hand and the European revolutions of 1848 on the other, is commonly referred to as the "Biedermeier period". This term is misleading, as it represents a mere vague cultural-historical category that can say little about the culture of this period. The course asks which artistic movements dominated Europe in the period between 1815 and 1848 and whether there are parameters that play an important role in cross-national views. On this basis, the view usually focussed on Austria and Germany with the term "Biedermeier" can be made fruitful for the whole of Europe.

Presentation topics:
1. Biedermeier as an epochal concept? The historical and cultural-historical framework between 1815 and 1848
2. The (re)discovery of the Austrian and German Biedermeier in (art) historical research after 1945 (Grimschitz, Feuchtmüller, Pötschner, Ottomeyer and others)
3. Is there an architecture of the Biedermeier period? (Joseph Kornhäusel, Library of the Schottenstift, Vienna, 1832)
4. The monument in public space (Christian Daniel Rauch, Monument to the Bavarian King Maximilian I Joseph, Munich, 1835)
5. Austrian monumental art in the pre-March period (Johann Nepomuk Schaller, Monument to Andreas Hofer in the Innsbruck Court Church, 1834)
6. The “militarisation” of everyday life as a result of the wars against Napoleon (Franz Krüger, Parade on the Opera Square in Berlin, Berlin State Museums, 1830)
7. The city in focus: vedute and topographies (Rudolf von Alt, St Stephen’s Cathedral, Vienna, Belvedere, 1832)
8. Social criticism in painting (Carl Wilhelm Hübner, The silesian weavers, Bonn, Rhenish State Museum, 1844)
9. The “Biedermeier landscape” and the autopsy of nature (Thomas Ender, Großglockner with the Pasterze, Vienna, Belvedere, 1832)
10. The “atmospheric landscape” (Johan Christian Clausen Dahl, The Lohmener Grund by moonlight with the ruins of Tharandt, Düsseldorf, Museum Kunstpalast, 1819)
11. Moralising themes (Josef Danhauser, The Rich Prasser / The Monastery Soup, Vienna, Belvedere, 1836 and 1838)
12. Focussing on people – the revival of the portrait (Friedrich von Amerling, Rudolf von Arthaber with his children, Vienna, Belvedere, 1837)
13. The new meaning of the past – historical painting (Carl Friedrich Lessing, Jan Hus under interrogation, Frankfurt/M., Städelsches Art Institute, 1842)
14. Contemporary history (Peter Fendi, Scene from the Vienna Flood of 1830, Vienna Museum, 1830)
15. The text in the picture: literature in painting (Johann Peter Krafft, Manfred and the chamois hunter, Vienna, Schottenstift Abbey, 1821)
16. The animal painting (Friedrich Gauermann, The fountain of Zell/See, Liechtenstein Collections, before 1842)
17. Biedermeier and Realism – contrast or synergy? (Carl Blechen, Afternoon on Capri, Vienna, Belvedere, c. 1829)
18. Caricatures as biting critiques (caricatures by Charles Philipon of the French King Louis Philippe, 1830 to 1848)
19. The revolution of 1848 in pictorial reportage – the example of Vienna in October 1848
20. 1848 – the “failed” revolution? Awakening and/or resignation (Adolph von Menzel, The Laying in State of the March Fallen, Hamburger Kunsthalle, 1848

Students have familiarised themselves with a specific art historical topic and have independently and critically studied the relevant specialist literature. They are able to observe and precisely describe art historical phenomena, meaningfully narrow down topics, pose research questions, form hypotheses and discuss them in dialogue with the specialist literature. They are also able to present the results of their research, observations and reflections convincingly in oral and written form. The focus is on the application of methods such as stylistic analysis and iconography. Aspects of social history are also relevant.