Universität Wien

080086 SE Seminar: Art and Exegesis. (2018S)

10.00 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. 20 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

March 6 and 13, 2018: Introduction
March 20, 2018: Excursion Klosterneuburg, paper assignment
2nd half of semester: blocked unit (2 days, weekend); Date will be announced
End of July 2018: Deadline for written paper (text and PPT)

  • Tuesday 06.03. 09:00 - 10:30 Seminarraum 5 d.Inst.f.Kunstg. (1.Stock) Uni-Campus Hof 9 3F-O1-22.A
  • Tuesday 13.03. 09:00 - 10:30 Seminarraum 5 d.Inst.f.Kunstg. (1.Stock) Uni-Campus Hof 9 3F-O1-22.A
  • Saturday 26.05. 09:00 - 18:00 Seminarraum 1 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-07
  • Sunday 27.05. 09:00 - 18:00 Seminarraum 1 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-07

Information

Aims, contents and method of the course

CONTENT AND PURPOSE

Brought into focus will be the covering of the pulpit of the collegiate church of the Canons Regular of St. Augustine in Klosterneuburg (Lower Austria), carried out by the Lotharingian goldsmith Nicolaus of Verdun at about 1170 to 1181, two hundred years later (1330/31) being re-build into the later so-called "Verdun Altarpiece", now in the Leopold Chapel of the monastery. This work of art is lying equal - in its evolutionary relevance - with the ceiling frescos of the Sistine Chapel. Nevertheless, regarding the degree of fame, light years are lying between the pulpit of the goldsmith Nicolaus of Verdun and the frescos of Michelangelo.
The seminar wants to attract attention to the pulpit executed at the transition of the High to the Late Middle Ages, and here especially to the content. In the center of attention will be the iconography of the single enamel plates as well as the similarity of, respectively the difference between the three plaques within one column.

The task of the students will be the iconographical and iconological analyzes, considering not only the iconographical models of the plaques, but also the exegesis (Patristics and medieval treatises). The students will get a special introduction into this field.

At the beginning of the seminar its head will present the work of art in a condensed way. Topics will be: places of execution, destination (Klosterneuburg) and purpose, content (the typologic basic program and the compositional coherence of the matching types and anti-types), history of the rebuilding and restoration of the two works, places of installation in its contexts, liturgical use etc.

METHODS

iconographical and iconological analyzes, transdisciplinary approach

Assessment and permitted materials

PERFORMANCE MONITORING

Participation and cooperation during the entire course; Presentation (professional presentation, PPT); written paper; contribution in discussions.

1: Pulpit, choir barrier, rood screen from early christian time to Naumburg
2–20: the 19 trias of plaques in the vertical columns

Minimum requirements and assessment criteria

see Performance Monitoring; Competence in the academic language of art history, excellent knowledge of Latin.

Examination topics

see performance monitoring

Reading list

Hans Rupprich, Das Klosterneuburger Tafelwerk des Nikolaus von Virdunensis und seine Komposition, Wien 1931.
Bernd Fäthke, Die Meister des Klosterneuburger Altares, phil. Diss., Marburg 1972.
Helmut Buschhausen, Der Verduner Altar. Das Emailwerk des Nikolaus von Verdun im Stift Klosterneuburg, Wien 1980.
Martina Pippal, Beobachtungen zur "zweiten" Ostermorgenplatte am Klosterneuburger Ambo des Nicolaus von Verdun, in: Wiener Jahrbuch für Kunstgeschichte, 35.1982, S. 107-119.
Erika Doberer, Die ehemalige Kanzelbrüstung des Nikolaus von Verdun im Augustiner Chorherrenstift Klosterneuburg, in: Jahrbuch des Stiftes Klosterneuburg, Bd. 12, Wien/Graz/Köln 1983, S. 19-36.
Floridus Röhrig, Der Verduner Altar und die Eschatologie, in: Jahrbuch des Stiftes Klosterneuburg, 12.1983, S. 7-17.
Wolfgang Kemp, Sermo Corporeus. Die Erzählung der mittelalterlichen Glasfenster, München 1987.
Martina Pippal, Von der gewußten zur geschauten Similtudo. Ein Beitrag zur Entwicklung der typologischen Darstellung bis 1181, in: Der Kunsthistoriker, 3/4.1987, S. 53-61.
Friedrich Dahm, Studien zur Ikonographie des Klosterneuburger Emailwerkes des Nicolaus von Verdun, Wien 1988.
Martina Pippal, Inhalt und Form bei Nicolaus von Verdun. Bemerkungen zum Klosterneuburger Ambo, in: Studien zur Geschichte der europäischen Skulptur im 12./13. Jahrhundert, hg. v. Herbert Beck/Kerstin Hengevoss-Dürkop, Frankfurt a. M. 1994, S. 367-380.
Arnulf Arwed, Studien zum Klosterneuburger Ambo und den theologischen Quellen bildlicher Typologien von der Spätantike bis 1200, in: Wiener Jahrbuch für Kunstgeschichte, Bd. 48, Wien/Köln/Graz 1995, S. 9-41.
Florius Röhrig, Der Verduner Altar, Klosterneuburg u. a. 20098.
Heike Schlie, Der Klosterneuburger Ambo des Nikolaus von Verdun. Das Kunstwerk als figura zwischen Inkarnation und Wiederkunft des Logos, in: Figura. Dynamiken der Zeichen und Zeiten im Mittelalter (Philologie der Kultur), hg. v. Christian Kiening/Katharina Mertens Fleury, 2013, S. 205-247.
Martina Pippal, Die Funktion der "Schedula" und die Rolle der Technik bei der Konstruktion von Wirklichkeit am Beispiel des Emailwerks des Nicolaus von Verdun in Klosterneuburg, in: Zwischen Kunsthandwerk und Kunst. Die "Schedula diversarum artium" (Miscellanea Mediavalia. Veröffentlichungen des Thomas-Instituts der Universität zu Köln, 37), hg. v. Andreas Speer/Maxime Maurège/Hiltrud Westermann-Angerhausen, Berlin/Boston 2014, S. 163-180, Tf. 27-32.

further literature will be announced during the seminar

Association in the course directory

Last modified: Mo 07.09.2020 15:31