Universität Wien
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080004 SE Claude Monet and the Birth of Impressionism (2024W)

Continuous assessment of course work

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Details

Language: German

Lecturers

Classes (iCal) - next class is marked with N

  • Friday 04.10. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 11.10. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 18.10. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 25.10. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 08.11. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 15.11. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 22.11. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 29.11. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 06.12. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 13.12. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 10.01. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 17.01. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Friday 24.01. 09:00 - 12:15 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Friday 31.01. 09:00 - 12:15 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27

Information

Aims, contents and method of the course

Paris in 1874 was the venue for the first exhibition of the later world-famous Impressionists, whose art was celebrated throughout Europe after initial rejection. Starting from the year 1863 and the Parisian "Salon des Refusés" initiated at that time, which can be described as a groundbreaking and important step for avant-garde art, the course will meticulously trace the early years of Impressionism - with Claude Monet in the centre - (till 1882). The seventh group exhibition (1882) also marks an important turning point, as from this point onwards the artists were mainly marketed individually.
The focus will be on the precise preconditions for the emergence of Impressionist painting, the forms of exhibition presentation and the diversity of the profiles of the artists involved, which soon led to the coexistence of very different forms of Impressionist painting. More than almost any other style, Impressionism was subject to the formation of myths, the problem areas of which are also part of the course. These include the relationship between painting and photography, painting in nature (‘en plein air’) and the question of the finished/unfinished nature of paintings. On this basis, the role of Impressionism in the genesis of modern art will be focussed on from different perspectives.

Presentation Topics:

Manet and Impressionism
1 Édouard Manet, The Croquet Game, 1873, Frankfurt on the Maine, Städel'sches Kunstinstitut
2 Édouard Manet, Music in the Tuileries Garden, 1862, London, The National Gallery

The early Monet
3 Claude Monet, The Magpie, 1869, Paris, Musée d'Orsay
4 Claude Monet, The Terrace of Sainte-Adresse, 1867, New York, The Metropolitan Museum of Art

Monet and Renoir: La Grenouillère
5 Auguste Renoir, La Grenouillière, 1869, Stockholm, National Museum
6 Claude Monet, La Grenouillère, 1869, New York. The Metropolitan Museum of Art

Monet in Argenteuil
7 Claude Monet, The Seine Basin at Argenteuil, 1872, Paris, Musée d'Orsay
8 Claude Monet, The railway bridge at Argenteuil, 1873, Private collection

Auguste Renoir
9 Auguste Renoir, The Seine at Argenteuil, 1874, Portland Art Museum
10 Auguste Renoir, Monet painting at Argenteuil, 1873, Hartford Wadsworth Atheneum

The first group exhibition of the Impressionists in 1874 I
11 Claude Monet, Boulevard des Capucines, 1873, Moscow, Pushkin Museum
12 Claude Monet, Impression. Sunrise, 1872/1873, Paris, Musée Marmottan

The first group exhibition of the Impressionists 1874 II
13 Camille Pissarro, Fruit Trees in Bloom at Louveciennes, 1872, National Gallery of Art, Washington, Ailsa Mellon Bruce Collection
14 Jean-Baptiste Armand Guillaumin, Rainy Weather, 1871, The Museum of Fine Arts Houston, Gift of Audrey Jones Beck

The second group exhibition of the Impressionists 1876
15 Claude Monet, Madame Monet in a Japanese Dress, 1876, Boston Museum of Fine Arts
16 Gustave Caillebotte, The Parquet Sander (first version), 1875, Paris Musée d'Orsay

The third group exhibition of the Impressionists 1877
17 Claude Monet, Saint-Lazare railway station. Arrival of a Train, 1877, Harvard, Fogg Art Museum
18 Gustave Caillebotte, Paris Street. Rainy Weather, 1877, The Art Institute of Chicago

The seventh group exhibition of the Impressionists 1882
19 Claude Monet, View of Vétheuil, 1880, New York, The Metropolitan Museum of Art
20 Claude Monet, Sunset over the Seine, 1880, Paris, Musée des Beaux-Arts de la ville de Paris

Assessment and permitted materials

- Active participation in discussions
- presentation
- Consolidation in the form of a written term paper (approx. 40,000 characters of continuous text)
- By registering for this course, you agree that the automated plagiarism checking software Turnitin will check all the written assignments you submit in moodle.
The introductory units of the course are a preparation for the presentations. The images of the presentations, selected text pdfs and a guideline for the organisation of the presentations can be found on moodle.

Minimum requirements and assessment criteria

Minimum requirement:
- Compulsory attendance. In the event of absence due to illness or exceptional family circumstances, written proof must be submitted.
- For a positive completion of the course, all partial performances must be completed.
- Seminar paper: To ensure good scientific practice, the course instructor may invite students to a grade-relevant discussion after submission of the paper, which must be completed positively.
Assessment criteria:
- Active participation in discussions 15%
- Paper and presentation 30%
- Consolidation in the form of a written term paper 55%

Examination topics

Prüfungsstoff ist der Inhalt der Lehrveranstaltung.

Reading list

John Rewald, Die Geschichte des Impressionismus, Cologne 1965
Werner Hofmann, Grundlagen der modernen Kunst. Eine Einführung in ihre symbolischen Formen, 3rd edition, Stuttgart 1987, pp. 179–190 (on the historical development of Impressionism)
Paul Tucker, The First Impressionist Exhibition and Monet's "Impression: Sunrise". A Tale of Timing, Commerce, and Patriotism, in: Art History 7/4 (1984), pp. 465–476
Steven Adams, The Barbizon School and the Origins of Impressionism, London 1994
Jane Mayo Roos, Early Impressionism and the French State (1866–1874), Cambridge 1996
Stephan Koja, Claude Monet, Exhibition Catalogue, Österreichische Galerie Belvedere, Munich-New York 1996
Anthea Callen, The Art of Impressionism. Painting Technique and the Making of Modernity, New Haven-London 2000
Iris Schäfer et al., Impressionismus. Wie das Licht auf die Leinwand kam, Exhibition Catalogue, Wallraf-Richartz-Museum Cologne, Cologne 2008
Felix Krämer, Monet und die Geburt des Impressionismus, Exhibition Catalogue, Städel Gallery, Frankfurt on the Main, Munich-London-New York 2015
George Shackelford (Ed.), Monet: The Early Years, Exhibition Catalogue, Kimbell Art Museum, Fort Worth, New Haven (CT) 2016
André Dombrowski, Impressionism and the Standardization of Time: Claude Monet at Gare Saint-Lazare, in: The Art Bulletin 102/2 (2020), pp. 91–120
André Dombrowski (Ed.), A Companion to Impressionism, Hoboken (US)-Chicester (UK) 2021
Barbara Schaefer (Ed.), 1863 Paris 1874: Revolution in der Kunst. Vom Salon zum Impressionismus, Exhibition Catalogue, Wallraf-Richartz-Museum Cologne, Cologne 2024
Sylvie Patry / Anne Robbins (Ed.), Paris 1874. The Impressionist Moment, Exhibition Catalogue, National Gallery of Art Washington, Yale 2024

Association in the course directory

Last modified: Tu 14.01.2025 10:25