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080022 SE SE: Vasari & his Co-Authors: Artist, Historiographer, Architect - and the Rise of the Mod. Art World (2021S)

Continuous assessment of course work

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Details

max. 20 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

Liebe Kolleginnen und Kollegen,
Die Vorbesprechung am 5.3. findet digital statt.
Unmittelbar vor 10 Uhr am 5.3. werde ich Ihnen über Moodle / E-Mail
einen (offiziellen, datengeschützen) Zoom-Link meiner Hochschule senden. Das ist ein einfaches Programm, in dem wir die Vorbesprechung digital abhalten können werden.
Die Blöcke im Mai und Juli hoffe ich mit Ihnen im Seminarraum 4, in Wien auf dem Uni-Campus abhalten zu können. Falls dies aber nicht möglich sein sollte, werden wir das Seminar digital abhalten. Im letzten Sommer hat das sehr gut geklappt.

Friday 05.03. 10:00 - 13:00 Digital
Friday 14.05. 10:00 - 18:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Saturday 15.05. 10:00 - 18:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Thursday 01.07. 10:00 - 18:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Friday 02.07. 10:00 - 18:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Saturday 03.07. 10:00 - 18:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Sunday 04.07. 10:00 - 13:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27

Information

Aims, contents and method of the course

‘All of art history is footnotes to Giorgio Vasari.’ With these words of praise for Giorgio Vasari Robert Williams was invoking a famous line from Bertrand Russell: ‘All European Philosophy is a series of footnotes to Plato.’
Giorgio Vasari’s Lives of the Most Excellent
Italian Architects, Painters, and Sculptors appeared in 1550 in Florence, where it was published by the official ducal printer to Duke Cosimo I de’ Medici. The Lives are not only the first book on the
history of art and architecture printed in the West but also the most influential western book on the history of art ever written – as well as being the most important source on the art and
artists of the Italian Renaissance.
As a painter Vasari created allegorical portraits of the Medici rulers and, with his fresco cycles of the history of the Medici and the history of Florence, a ‘grand narrative’ of the cultural history of Florence and Tuscany culminating in the Medici Grand Duke, Cosimo I (the
frescoes adorned the new apartments of the Medici family in what we now call the Palazzo Vecchio, the former town hall of Florence, and the great reception room of the same building, which Vasari modified according to Michelangelo’s specifications). He decorated his own houses with paintings about painting (‘meta-paintings’). At the same time, Vasari was an architect and a town planner who, looking back on an era that was coming to an end, shaped the city of
Florence as an ideal Renaissance city by erecting the Uffizi and redesigning the major Florentine churches in the Renaissance style as late as a hundred years after the pioneers of the Florentine
Early Renaissance. Vasari was heavily involved in the completion of Michelangelo’s major Florentine works after Michelangelo’s departure for Rome: the New Sacristy and the Laurentian
Library. He also built the world-famous Florentine bridge, the Ponte Vecchio. As a collector he assembled an extensive early collection of drawings in the form of a portable museum: his Libro
dei Disegni or album of drawings. As an ‘academician’ and cultural functionary he was heavily involved in the creation of the first art academy in Europe, the Accademia del Disegno in
Florence (est. 1563, its first honorary president was Michelangelo). As an author he not only formed the canon of Italian Renaissance art but also canonized a new genre of iconographical
image description – the explanation of complex visual content and symbols that could not be understood without ‘instructions for reading’ – and thus created the ‘iconological’ method of
interpretation. As an interlocutor and correspondent (c. 1000 letters to and from him survive) he was in contact with many of the famous scholars and artists of his time; Michelangelo, for
instance, wrote letters and dedicated poems to him. As a highly successful court artist and an
independent artist-entrepreneur who provided decorations for the emperor’s ceremonial entry to
Bologna and Florence, he recorded his income in a ledger which has been preserved. Along with
his autobiography – the first printed autobiography by an artist – a multitude of records and
letters collected by Vasari and his descendants make him one of the best documented artists of
the early modern era.
As an author, architect and artist, town planner, executor of Michelangelo’s unfinished Florentine
works, and designer of Michelangelo’s tomb, Vasari has influenced the early modern, the modern
and the contemporary art world. The first books on Netherlandish, Spanish and German art
history are effectively sequels to Vasari’s Lives. Vasari coined the concept of the divine artist, of
the artist as genius, albeit before the term genius came in use. Such an extraordinarily gifted, even
blessed artist was embodied for him in Raphael and Michelangelo, whose global fame he established. He defined the visual arts as the autonomous arti del disegno (arts of design and
drawing), a conception borrowed from a medieval Encyclopdia from his native Arezz

Assessment and permitted materials

16. Vasari und die Große Politik: Bauten für den Stefans-Orden Orden in Pisa; Bilder von Schlacht und Massaker Orden in Pisa; Bilder von Schlacht und Massaker im Vatikan

SAMSTAG
17. Vasaris Autobiographie und die Vorkehrungen für seinen Nachlass.

18. Säkularisierung und Ausdifferenzierung: Vasari über Künstler* - Kunstwerk – Kunst – Kunstbetrachter*: Die Art World zwischen 1500 und 1650

19. Sakralisierung von Kunst und Künstler: Geniekult und Kunstreligion – am Beispiel der Rezeption von Vasaris Michelangelo-Vita und seiner Beschreibung von Michelangelos Moses (Goethe – Heine – Nietzsche – Thomas Mann…)

20. Vasari und die Anderen: Vasari über Künstler*innen und über jüdische Künstler aus Vergangenheit und Gegenwart. Und die Vasari-Kritik seit den 1980er Jahren.
Die Kritik Nanette Salomons an Vasari aus Perspektive der Genderforschung (pdf des Aufsatzes im Learnweb) und von Belting aus der Perspektive der postmodernen Kritik an den „Großen Erzählungen“ (Lyotard)
Siehe auch Blum, „Vasari on the Jews“, Art Bulletin 2013 und Soussloff, „The Absolute Artist”

Minimum requirements and assessment criteria

Mindestanforderung:
- Anwesenheitspflicht. Bei Absenz wegen Krankheit oder familiärer Ausnahmesituation ist ein schriftlicher Nachweis vorzulegen. Maximal kann bei valider Entschuldigung während zweier Teilsitzungen á 1.5. Stunden gefehlt werden.
- Für einen positiven Abschluss der Lehrveranstaltung müssen alle Teilleistungen erbracht werden.
- Seminararbeit: Zur Sicherung der guten wissenschaftlichen Praxis kann der/die Lehrveranstaltungsleiter/in Studierende zu einem notenrelevanten (Online-)Gespräch nach Abgabe der Arbeit einladen, welches positiv zu absolvieren ist.
Beurteilungsmaßstab:
- aktive Beteiligung an Diskussionen 15%
- Referat und Präsentation 30 %
- Vertiefung in Form einer schriftlichen Hausarbeit 55%

Referate: mind. 30, max. 40 Min. Zu jedem Referat bitte Handout mit stichwortartiger Darstellung der wichtigsten Fakten und Kernaussagen der KünstlerInnen sowie mit Auflistung der spezifischen Literatur (Quellen/Sekundärliteratur).

Umfang der Hausarbeit: 35.000 bis max. 40.000 Zeichen, zuzügl. Lit. Verz., Abb. und fremdsprachiger Abstract (ca. 10 Zeilen). Bitte Korrekturrand (3cm) berücksichtigen. Abgabe bis (voraussichtlich - besprechen wir gemeinsam) 14.9. am Infopoint (ausgedruckt, aber nicht fest gebunden).

Examination topics

Reading list

Not in the Bibiography mentioned are translations of Vasari's Lives in many languages (see kubikat.org and WordCat).Well knwon are the English translation ed. De Vere / ed. G. Bull and the commented French edition ed. A. Chastel. Critical Edition: ed. Barocchi/Bettarini. Famous commented edition: ed. Milanesi.

Association in the course directory

Last modified: Fr 05.03.2021 07:28