Warning! The directory is not yet complete and will be amended until the beginning of the term.
080065 SE Seminar: Hans Makart and Nineteenth-century Salon Painting in Europe (2020W)
Continuous assessment of course work
Labels
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).
- Registration is open from We 09.09.2020 10:00 to We 16.09.2020 10:00
- Deregistration possible until Mo 12.10.2020 10:00
Details
max. 22 participants
Language: German
Lecturers
Classes (iCal) - next class is marked with N
The first two units of the course (see below for Details) take place in seminar room 1. Due to the current situation, this room is approved for a maximum of 23 persons and is therefore the only seminar room in the institute that allows for normal (physical) instruction. Therefore, only the colleagues who are permanently attending (maximum 22) can attend these units.
Update 3.10.2020: Teaching method will be adapted after October, 23th to the actual pandemic situation.The course will take place on the following days:9.10.2020: Seminarraum 1: changed time: 11.30-13.00 o'clock16.10.2020: Seminarraum 1: changed time: 9.00-10.30 o'clock
23.10.2020
30.10.2020
6.11.2020
13.11.2020
20.11.2020
27.11.2020
4.12.2020
11.12.2020
18.12.2020
8.1.2021
15.1.2021
22.1.2021
29.1.2021
- Friday 09.10. 11:30 - 13:00 Seminarraum 1 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-07
- Friday 16.10. 09:00 - 10:30 Seminarraum 1 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-07
Information
Aims, contents and method of the course
Assessment and permitted materials
By registering for these terms and conditions, you agree that the automated plagiarism detection software Turnitin will check all written partial services submitted by you in moodle.
Minimum requirements and assessment criteria
See here also chapter "Assessment standard".
Minimum requirement:
- Attendance requirement. In case 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 provided.
- Seminar paper: In order to ensure good scientific practice, the course instructor may invite students to a notation-relevant interview after submission of the paper, which must be completed positively.
Assessment standard:
- active participation in discussions 15%.
- Speech and presentation 30
- Consolidation in the form of a written paper 55%
Minimum requirement:
- Attendance requirement. In case 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 provided.
- Seminar paper: In order to ensure good scientific practice, the course instructor may invite students to a notation-relevant interview after submission of the paper, which must be completed positively.
Assessment standard:
- active participation in discussions 15%.
- Speech and presentation 30
- Consolidation in the form of a written paper 55%
Examination topics
See here also chapter "Assessment standard".
Learning and mastering basic art historical methods such as style analysis, iconography and iconology on the basis of an essential epoch of Central European art history.
Learning and mastering basic art historical methods such as style analysis, iconography and iconology on the basis of an essential epoch of Central European art history.
Reading list
Frodl, Gerbert, Hans Makart. Monographie und Werkverzeichnis, mit einem Beitrag von Renata-Mikula, Salzburg 1974Lehmann, Doris H., Historienmalerei in Wien: Anselm Feuerbach und Hans Makart im Spiegel zeitgenössischer Kritik, Köln / Wien 2011Gleis, Ralph (Hg.), Makart. Ein Künstler regiert die Stadt, Ausstellungskatalog, Wien Museum, München 2011Telesko, Werner, Historie als „poetische Erfindung“. Makart und die österreichische Geschichtsmalerei im 19. Jahrhundert, in: Agnes Husslein-Arco / Alexander Klee (Hg.), Makart. Maler der Sinne, Ausstellungskatalog Belvedere, München-London-New York 2011, 37–45 (auch in englischer Fassung erschienen)Diederen, Roger und Cars, Laurence des (Hg.), Gut • Wahr • Schön.
Meisterwerke des Pariser Salons aus dem Musée d’Orsay, Ausstellungskatalog, Kunsthalle München, München 2017In addition, the literature folder on Moodle contains nine important German-English language essays as well as selected catalogue contributions of the Viennese Makart exhibitions of 2000 (Wien Museum) and 2011 (Belvedere) as scans or pdf files, which underline the most important topics of recent research.After the topics have been assigned and in the course of preparing the papers, specific references for special literature and comparative examples will again be given.
Meisterwerke des Pariser Salons aus dem Musée d’Orsay, Ausstellungskatalog, Kunsthalle München, München 2017In addition, the literature folder on Moodle contains nine important German-English language essays as well as selected catalogue contributions of the Viennese Makart exhibitions of 2000 (Wien Museum) and 2011 (Belvedere) as scans or pdf files, which underline the most important topics of recent research.After the topics have been assigned and in the course of preparing the papers, specific references for special literature and comparative examples will again be given.
Association in the course directory
Last modified: Fr 09.10.2020 14:28
After several introductory units (Here are already the pictures of the first introductory units are available on Moodle), the following presentations are to be given.Topics of the presentations (The pictures are available on Moodle):Hans Makart – Biografie
Hans Makart, Pest in Florenz (1868, Schweinfurt)
Hans Makart, Moderne Amoretten (1868, Wien)
Hans Makart, Caterina Cornaro (1873, Wien)
Hans Makart, Triumph der Ariadne (1874, Wien)
Hans Makart, Charlotte Wolter als Messalina (um 1875, Wien)
Hans Makart, Der Einzug Karls V. in Antwerpen (1878, Hamburg)
Der Makart-Festzug in Wien 1879
Hans Makart, Die fünf Sinne (1879, Wien)
Hans Makart, Die Lünetten im Stiegenhaus des Wiener Kunsthistorischen Museums (ab 1881)
Hans Makart, Hanna Klinkosch (1884, Wien)
Eugen Felix, Zwei Bacchantinnen (1874, Wien)
Julius Victor Berger, Die Mäzene des Hauses Habsburg (Kunsthistorisches Museum) (1891)
Eduard Veith, Porträt der Louise Dobner von Dobenau, geb. Schönach (art market, 1904)
Franz Xaver Winterhalter, Kaiserin Elisabeth im Galakleid mit diamantbesetzten Sternen (1865, Wien)
Carl Theodor von Piloty, Thusnelda im Triumphzug des Germanicus (1873, München)
Jean-Léon Gérôme, Junge Griechen lassen Hähne kämpfen (Hahnenkampf) (1846, Paris)
William Bouguereau, Dante und Vergil in der Hölle (1850, Paris)
Joseph Blanc, Perseus (1869, Paris)
Alexandre Cabanel, Gefallener Engel (1868, Privatbesitz)
Alexandre Cabanel, Phaedra (1880, Montpellier)
Léon Bonnat, Hiob (1880, Paris)The presentations should focus on the following questions in particular:
Which pictorial traditions (of the early modern period and the 19th century) does the respective painter take up? In the case of historical subjects, does he have knowledge of the historical circumstances of the event? Is he generally interested in history and religious traditions? Does one know today how the respective painting was exhibited and how it was received by contemporary art criticism?
The works compiled in the Moodle folder "References Comparative Images" are intended to provide orientation for the individual presentations and facilitate concrete access.