Universität Wien

080031 PS Case Study II/III: Paintings, Frames and Gallery Walls in the 19th and 20th Century (2018W)

5.00 ECTS (2.00 SWS), SPL 8 - Kunstgeschichte und Europäische Ethnologie
Continuous assessment of course work
Moodle

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 25 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

  • Tuesday 02.10. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 09.10. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 16.10. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 23.10. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 30.10. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 06.11. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 13.11. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 20.11. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 27.11. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 04.12. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 11.12. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 08.01. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 15.01. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 22.01. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
  • Tuesday 29.01. 16:30 - 18:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20

Information

Aims, contents and method of the course

The discipline of art history has the peculiar habit of isolating works of art from their original (spatial) context. This becomes particularly clear with picture frames. In publications and lectures, reproductions of paintings are usually not only reduced or enlarged, cut and straightened, but above all presented frameless against an immaterial, monochrome background. The treatment of artist frames is a rare exception. More and more often, they are recognised as part of the artwork, and thus reproduced and included in art historical analyses (cf. Mendgen 1991 u. 1995, Cahn 1989). Even for picture frames, artistic authorship is therefore the decisive criterion for what is considered part of the artwork (Beyer). Reciprocal with the increasing artistic design of the frame and the change in its form, its function is also changing in the 19th and 20th century. For a long time the frame was seen as a boundary between the picture and its environment, between fictional and non-fictional space; this function is increasingly called into question and new tasks are assigned to the frame (cf. e.g. Beyer 2008). Since the institutionalisation of the exhibition, the design and the layout of the gallery wall has also been changing drastically (cf. Ackermann 2003, Klonk 2009, O’Doherty 1996). As the artwork’s background and immediate environment, the wall should therefore be included as a third component in the considerations of the relationship between picture and frame.
In the first part of the seminar, students will identify and discuss the various functions of the picture frame using theoretical texts. In the second part, students will present and analyse individual artist frames of the 19th and the first half of the 20th century (by Hans Thoma, Max Klinger, Gustav Klimt, Wassily Kandinsky, Francis Picabia, Giacomo Balla, René Magritte, Frida Kahlo, Florine Stettheimer, among others) and discuss their relationship to painting and wall.

Assessment and permitted materials

The overall grade of seminar is composed of the following achievements of the students: Punctual and regular attendance, active participation in discussions, preparation of compulsory reading, oral presentation/lecture, and written seminar paper.

Minimum requirements and assessment criteria

For a positive grade, all assignments must be completed. A negative grade in the seminar paper results in a negative overall grade.

Examination topics

See above.

Reading list

Introductory Literature:
Marion Ackermann, Farbige Wände: Zur Gestaltung des Ausstellungsraumes von 1880 bis 1930, Wolfratshausen 2003.
Vera Beyer, Rahmenbestimmungen. Funktionen von Rahmen bei Goya, Velázquez, Degas und van Eyck, München 2008.
Isabelle Cahn, Cadres de peintres, Paris 1989.
Charlotte Klonk, Spaces of Experience: Art gallery interiors from 1800 to 2000, New Haven 2009.
Renate Kübler, Der Bilderrahmen im Lichte seiner wichtigsten Funktionen [Tübingen, Univ., Diss., 1969].
Eva Mendgen, Künstler rahmen ihre Bilder. Zur Geschichte des Bilderrahmens zwischen Akademie und Sezession, Konstanz 1991.
Eva Mendgen (Hg.), In Perfect Harmony. Bild + Rahmen 1850-1920, Amsterdam/Zwolle 1995.
Brian O’Doherty, In der weißen Zelle/Inside the White Cube, hg. v. Wolfgang Kemp, Berlin 1996 [zuerst 1976].
Hilde Zaloscer, Versuch einer Phänomenologie des Rahmens, in: Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, Band 19/2, 1974, S. 189-224.

Encyclopedias:
Paul Mitchell/Lynn Roberts, A History of European Picture Frames, London 1996.
Tobias Schmitz, Lexikon Europäischer Bilderrahmen, Bd. I+II, Solingen 2009.

Mandatory reading will be announced in the course of the semester.

Association in the course directory

Last modified: Mo 07.09.2020 15:31