Universität Wien

080041 VO Jan van Eyck and the New Pictorial Concept of Early Netherlandish Painting (2025S)


Diese Vorlesung hat bereits im 2020W stattgefunden. Die Prüfung darf kein zweites Mal abgelegt werden (weder BA noch MA)!

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

Language: German

Examination dates

Lecturers

Classes (iCal) - next class is marked with N

  • Monday 03.03. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 10.03. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 17.03. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 24.03. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 31.03. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 07.04. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 28.04. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 05.05. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 12.05. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 19.05. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 26.05. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 02.06. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03
  • Monday 23.06. 15:00 - 16:30 Hörsaal C1 UniCampus Hof 2 2G-O1-03

Information

Aims, contents and method of the course

With its innovative oil technique, precise observation of the visible world and high level of aesthetic and intellectual reflection, Jan van Eyck's art is not only the brilliant founding moment of Netherlandish painting. At the same time, the transition from the late Middle Ages to the early modern period saw a profound change in the concept of the image. Building on the artistic ideas and achievements of Jan van Eyck, early Netherlandish painting developed a deceptive liveliness and presence, on the one hand, by appropriating the viewer's gaze, which operated according to the rules of reality perception, and, on the other hand, by regularly exhibiting self-reflexive moments of deliberate disruption of precisely this evidence, in order to identify the image as a representational achievement and to evoke in the viewer an attitude that was not only sensually experiencing but also thinking. By tracing this new conception of the image, the lecture aims to provide an introduction to the painting of Jan van Eyck and his contemporaries (The Master of Flemalle, Rogier van der Weyden, Hans Memling and others) that is both visual and theoretical. The individual sessions will focus on important aspects, motifs and themes of early Netherlandish painting - across artists and works: The main themes will be, for example, the phenomenon of the grisaille, threshold situations, the play with the edge of the picture, the motif of the mirror, external and internal vision, the image of St Luke and Christ, etc.

Assessment and permitted materials

- schriftliche Prüfung (multiple choice)
- erlaubte Hilfsmittel: Wörterbücher (für Nichtmuttersprachler/innen)

Minimum requirements and assessment criteria

Für eine positive Note müssen mindestens 50% der Punkte erreicht werden.

Notenschlüssel:
87% bis 100%: 1
75% bis 86,99%: 2
63% bis 74,99%: 3
50% bis 62,99%: 4
0% bis 49,99: 5

Examination topics

Prüfungsstoff ist der Inhalt der Lehrveranstaltung.

Reading list

- Hans Belting/Christiane Kruse: Die Erfindung des Gemäldes, München 1994
- Zu jeder Sitzung wird ein Einführungstext zum jeweiligen Schwerpunktthema bereitgestellt.

Association in the course directory

Last modified: Tu 04.03.2025 13:06