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080006 SE The Late Rembrandt: Old-Age Style as a Break with Tradition (2025S)
Continuous assessment of course work
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Details
Language: German
Lecturers
Classes (iCal) - next class is marked with N
- N Friday 07.03. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 14.03. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 21.03. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 28.03. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 04.04. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 11.04. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 02.05. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 09.05. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 16.05. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 23.05. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 30.05. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 06.06. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 13.06. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 20.06. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Friday 27.06. 10:45 - 12:15 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Information
Aims, contents and method of the course
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.
- 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%
- 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
- Otto Pächt, Rembrandt, hrsg. von Edwin Lachnit, München 1991.
- Der späte Rembrandt, Katalog zur Ausstellung im Rijksmuseum Amsterdam, München 2014.
- Marianne Koos, Verkörperung Entkörperung beiRembrandt, in: Zeitschrift für Kunstgeschichte 80 (2017), Nr. 3, S. 349-391.
- Der späte Rembrandt, Katalog zur Ausstellung im Rijksmuseum Amsterdam, München 2014.
- Marianne Koos, Verkörperung Entkörperung beiRembrandt, in: Zeitschrift für Kunstgeschichte 80 (2017), Nr. 3, S. 349-391.
Association in the course directory
Last modified: Fr 10.01.2025 00:01
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 GalleryThe 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 ArtMonet 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 ArtMonet 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 collectionAuguste Renoir
9 Auguste Renoir, The Seine at Argenteuil, 1874, Portland Art Museum
10 Auguste Renoir, Monet painting at Argenteuil, 1873, Hartford Wadsworth AtheneumThe 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 MarmottanThe 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 BeckThe 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'OrsayThe 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 ChicagoThe 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