Universität Wien

080074 UE Technique and Motives in Paul Cézanne's Painting (2016S)

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

The attendance of our first meeting (17.03.: introduction, briefing and assignements) is absolutely
compulsory!
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. 20 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

  • Thursday 17.03. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 07.04. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 21.04. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 12.05. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 19.05. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 02.06. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 16.06. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 30.06. 13:00 - 16:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27

Information

Aims, contents and method of the course

Classic formalist readings of Cézanne's painting are often guided by the aim of its interpretation as foreshadowing the evolution of modern non-figurative painting or cubism. This position was argued for by influential authors in reference to the constructive composition and brushstroke in many of Cézanne's later paintings. Focussing on this particular aspect often had the side effect of neglecting the interpretation of recurring pictorial motives as well as of peculiarities of a decidedly technical nature in Cézanne's painting (colorism and layerd application of paint e.g.). Therefore, this course is intended to serve the investigation of central motives in exemplary cases of Cézanne's imagery, in a double sense: on the one hand, by inquiring the concrete use and references of Cézanne's visual themes which escape a neat iconographic treatment. On the other hand, by asking for potential motives (reasons) for Cézanne's specific technical handling of his medium within the historical context. Within this task of inquiry, the detailled observation of images will be as important as the
discussion of classic and recent art historical contributions alongside certain primary sources.

Assessment and permitted materials

Regelmäßige und aktive Teilnahme an Sitzungen und Diskussionen, Ausarbeitung sorgfältig recherchierter Referate zu einzelnen Themen, Abfassung und Präsentation von Stundenprotokollen, sowie fragenbasierte Leitung von Textdiskussionen.

Minimum requirements and assessment criteria

Die Studierenden müssen bereits in der Lage sein, eigenständige Recherchen anzustellen, argumentativ fundierte Bildanalysen zu entwickeln, sowie zentrale Argumente von AutorInnen verständlich zusammenzufassen und zu präsentieren. Beurteilungsgrundlage ist die Bereitschaft und Fähigkeit, in den jeweiligen Aufgaben konstruktive Beiträge zur hermeneutischen Lektüre der
Bilder Cézannes zu liefern.

Examination topics

Synthetische Kenntnis des Werks von Paul Cézanne und maßgeblicher Interpretationen desselben. Vertiefende Aneignung von Fähigkeiten in der Analyse einzelner Werke und deren Präsentation.

Reading list

Wayne, ANDERSEN: Cézanne and the Eternal Feminine, Cambridge (Cambridge University Press)
2004.
Hubert DAMISCH: The judgement of Paris, Chicago/London (University of Chicago Press) 1996.
André DOMBROWSKI: Cézanne, Murder and Modern Life, Berkeley/Los Angeles/London
(University of California Press) 2012.
Rogar FRY: Cézanne - A Study of his Development, New York (Noonday Press) 1960.
Max IMDAHL: Farbe - Kunsttheoretische Reflexionen in Frankreich, München/Paderborn (Fink) 2003.
Jean-Claude LEBENSZTEJN: Études cézanniennes, Paris (Flammarion) 2006.
Robert William RATCLIFFE: Cézanne’s working methods and their theoretical background,
unpubl. Diss., Courtauld Institute of Art/University of London 1960.
Theodore REFF: Cézanne's Constructive Stroke, Art Quarterly 25 (Autumn 1962), 214-226.
Meyer SCHAPIRO: The Apples of Cézanne - An Essay on the Meaning of Still-life, in ders.:
Modern Art - 19th and 20th Centuries, selected Papers, New York (George Braziller) 1978.
Richard SHIFF: Cézanne and the End of Impressionism - A Study of the Theory, Technique, and
Critical Evaluation of Modern Art, Chicago/London (The University of Chicago Press) 1984.
Die Literatur wird über Moodle und den Handapparat zur Verfügung gestellt.

Association in the course directory

Last modified: Mo 07.09.2020 15:31