Universität Wien
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080006 SE The Late Rembrandt: Old-Age Style as a Break with Tradition (2025S)

Continuous assessment of course work

Details

Language: German

Lecturers

    Classes (iCal) - next class is marked with N

    • 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

    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

    - 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.

    Association in the course directory

    Last modified: Fr 10.01.2025 00:01