It is not a bold statement to say that Dutch art is well-known throughout most of the world. It is not one painter or a certain artistic movement that stand out. Dutch artists from different centuries or art movements from different periods are equally admired and enjoyed by masses over the globe.
This course will therefore explore the distinctive periods in Dutch history such as the Early Renaissance, the productive Golden Age of the 17th century as well as specific styles of the 19th and 20th century. Students will have the opportunity to learn the general styles, concepts, purposes, and interpretations of Dutch art from the Renaissance through contemporary art. The focus will be on painting, and to a lesser degree, on architecture.
The development of Dutch artistic styles relates to the economic development of the Netherlands as well as the political and social systems in place at various times. These socio-economic and political drivers will be further explored as these are important to understand the art of each period. Dutch art is also influenced by various religious movements. Students will explore what these influences are and how certain religious symbols are represented.
Whilst the Dutch art scene was heavily dominated by men, this course will also focus on female artists throughout the ages. These artists may be less well known, their contribution to the arts is significant.
Additional student cost:
A few of the museums that will be visited are outside of Amsterdam. Therefore, additional travel expenses will be incurred. In addition, some museums may charge an additional fee for special exhibitions (despite the fact that entrance is free with the museum card). An estimated extra cost of €35.
Learning outcomes:
At the end of the course, still will:
• Be acquainted with the specific characteristics of Dutch Art
• Have gained knowledge about the social economic situation of Holland in as much as it has influenced the development of the arts
• Be able to analyze a painting and recognize the main styles
• Be able to recognize and identify the art of the main Dutch artists, like Rembrandt, Vermeer, van
Gogh, Mondriaan Willink, Rietveld, Appel, Steen, Maria Sibylla Merian, Marleen Dumas
• Have Gained confidence in public speaking through their own presentation
• Have Gained analyzing skills through their study of many different paintings
• Have gained insight in the collections of the visited museums (at least 5 museums will be visited)
Method of presentation:
Lectures, student presentations, discussions, and field study
Required work and form of assessment:
Participation: 10 %
Small assignments: 10 %
Presentation: 20 %
Final Exam: 30 %
Cultural Guide to the Netherlands: 30 %
Overview Assessment
Small Assignments (10%)
Students will write 3 small assignments (2 pages each) about the visited museums.
Assignment 1 consists of a comparison between 2 paintings. Composition, subject matter, style, use of color have to be compared.
Assignment 2 consists of a description of an exhibition. Intent of the curator and the lay out of the exhibition will be analyzed. A personal opinion will be attached about the exhibit as well.
Assignment 3 consists of an analysis of a chosen artwork that has a strong effect on the student. The
why and how of the effect has to be described.
Quizzes: There will be 3 short quizzes throughout the semester based on the reading of that week. These quizzes will not be announced.
Presentation (20%)
Students will present on a subject/artist connected to the course. Artists/subjects will be given in the syllabus. Students can come up with their own themes, if applicable to the course material.
Final Exam (30%)
The final exam consists of a slide show and one essay question. Students will have to tell which artist has made the shown artwork, describe stylistic characteristics and put it in correct chronology. In addition, they will have to answer one essay question. This question will be based on the readings of the past semester.
A Cultural Guide to Dutch Art (30%)
Students will write a Cultural Guide to Dutch Art (15 pages, excluding images and notes).
The guide will have a thematic focus (this can be a Dutch artist, a certain art style or period). The guide will draw on academic resources, but the student can also include places as to where this art can be seen and discuss the curatorship. The guide will be geared to highly educated and cultured visitors to the Netherlands.
content:
Week 1: Introduction to Dutch Art: Renaissance
• Introduction to the course, its participants and lecturer. What are participants’ background and familiarity with the arts?
First lecture:
• Familiarization with analyzing paintings.
• The oldest Dutch and Flemish artists like Van Eyck and Geertgen tot Sint Jans show a clear interest in one of the main characteristics of Dutch Art: texture and detail will be studied in the
famous artworks (the Arnolfini Marriage, the Gent Altarpiece) made by these artists. We will
compare these early Renaissance artists with the work of Giotto and Piero della Francesca to be able to see the difference between the Dutch and early Italian masters)
Required reading:
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 1 + 2
• Murray, P and Murray, L. (1963) The Art of the Renaissance, Thames and Hudson; London, pp
145-160
• Simpson, A. (2007) Van Eyck, The Complete Works, Chaucer Press; London, pp 9-11, 14-16
Week 2: Jeroen Bosch and Pieter Breughel
• Lecture and group discussion about the work of Jeroen Bosch and Breughel. We detect that their humorous landscapes and biblical scenes reflect a new sense of pride in cities and at the same time a growing unrest about the effect of city life on its citizens.
• Student presentation on van Rogier der Weyden, Master of Flemalle, Hugo van der Goes.
Required Reading:
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, p 8-35
• Gibson, W.S. (1973) Hieronymus Bosch, Thames and Hudson; London, pp 69-86
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 2 + 3
Week 3: Dutch Artists Who Traveled to Rome to Get Acquainted with Antiquities
• Bloemaert and van Honthorst and ter Brugghen came back with a thorough knowledge of the antiquities and more as is clear studying their paintings.
• Student presentation on the painters Bloemaert, van Baburen or Jan van Scoorl
Required reading:
• Brown, C. (1997) Utrecht Painters of the Dutch Golden Age, National gallery Publications; London, pp 21-23, 29, 31-35
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 4 + 5
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, introduction + chapter 1
Week 4: The Golden Age of Dutch Art I: Rembrandt
• Rembrandt’s paintings will be the subject for a lecture, his etchings will be studied at the Rembrandt House, Amsterdam, we will also visit the Palace on Dam Square, the former Town hall, designed by Jacob an Campen
• Student presentation on architect van Campen, the painter Jan Lievens or Gerard Dou.
• Please note that the trip to the Rembrandt house will be scheduled later in the week.
Required reading:
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, pp.
45-97
• Wetering, van de, E. (2000), Rembrandt, the painter at work, Amsterdam University Press, pp XI- XVI, 3-9, 46-61
• Winkel, de, M. (2006) Fashion + Fancy. Dress and Meaning in Rembrandt's paintings, Amsterdam
University Press, pp 11-40, 53-72, 93-132
Week 5: The Golden Age of Dutch Art II
• How the Dutch artists reconciled the abundance of baroque art with their protestant belief in their paintings. The lecture will cover Jan Steen and Frans Hals.
• Student presentations: painters Jacob van Ruysdael, Adriaen van Ostade, Rachel Ruysch and
architect Henrick de Keijser or Lieven de Key or the then internationally well known sculptor
Adriaen de Vries.
• Visit to the Rijksmuseum in Amsterdam.
Required reading:
• Berger, J. (1980) About Looking, Pantheon Books; New York, pp 162-170
• Pavord, A. (1999) The Tulip, Bloomsbury, New York, pp 129-161
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, chapter 4 + 5
Week 6: The Golden Age of Dutch Art III
• Vermeer and artists like Nicolaes Maes, Gerard Dou and Metsu excelled in interior scenes. These scenes and the symbols used often have more than one meaning as will be explained in the lecture.
• Visit the private house/museum van Loon, in Amsterdam.
Required reading:
• Kemme, G. (ed) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 10-28
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 6
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, chapter 6
Week 7: Scientific Paintings of Pieter Post, Albert Eckhout, and Maria Sibylla Merian
• Their paintings, engravings and buildings reflect the global economy and interest in the world outside as will be shown in the power point.
• Student presentations on the cartographers Blaeu, Hondius or Plancius or the architect Pieter Post and de Mauritshuis, The Hague
• Visit to Teylers Museum
Required reading:
• Kemme, G. (ed) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 53-55
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 7
• Rice, T. (2002) Voyages of Discovery, Scriptum Publishers, pp. 56-115 (ISBN 9781902686028)
Week 8: Dutch Art of the Nineteenth Century
• Dutch art of the 19th century shows strong influences of the French Realist and Impressionist movement as is evident in the work of Willem and his wife Sien Mesdag, and Weissenbruch.
• Student presentations Jozef Israëls, Matthijs Maris or Therese Schwartze
Required reading:
• Kemme, G. (ed) (2010) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 72-75
• Lucie-Smith, E. (1972) Symbolist Art, Thames & Hidson, pp. 167-173
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 8
Week 9: Vincent van Gogh
• Van Gogh reflects the changing scene in the arts as no other before him, he can be considered as one of the fathers of the expressionist movement as will be explained in the lecture.
• Visit to the van Gogh Museum after the lecture in class.
• Student presentations on specific artworks by van Gogh in the museum.
Required reading:
• Bazin, G. (1958) Impressionist Paintings in the Louvre, Thames & Hudson Ltd., pp 225-238
• Dawtrey, L. (ed) (1996) Investigating Modern Art, Yale University Press, pp 71-87
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, pp 143-175
• Harrison, C. (ed) (1998) Art in Theory 1815-1900: An Anthology of Changing Ideas, Blackwell
Publishers, pp. 896-903
• Lloyd, J. (2006) Vincent van Gogh and Expressionism, Van Gogh Museum, pp 11-32
Week 10: Dutch Arts at the Turn of the 20th Century
• Jan Sluijters and Kees van Dongen reflect the expressionist tendencies in Paris in their vibrant, colorful paintings. In the buildings of the Amsterdam School Architects (like van der Mey) we see a similar expressionist international outlook.
• We will go a guided bike tour along the main apartment blocks, offices and school buildings of the
Amsterdam School architects.
• Student presentation on one of the architects, (Berlage, de Klerk, Kramer) or on the sculptor
Hildo Krop.
Required reading:
• Kemme, G. (ed) (2010) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 94-97
• Eliëns, T.M., Groot, M., and Frans Leidelmeyer: Dutch Decorative Arts. V+K Publishing, Bussum, pp. 27-46, 134-140
• House, J. (ed) (1979) Post Impressionism: Cross-Currents in European Painting, Royal Academy
of Arts (Great Britain), pp. 255-279
• Tuchman, M. (ed) The Spiritual in Art: Abstract Painting, 1890-1985 cat. Exhibition 1987, Los
Angeles County Museum of Art, Art Institute of Chicago and the Haags gemeentemuseum (ISBN
0875871305) pp 89-111
Week 11: Mondriaan and the STIJL movement
• The STIJL movement had a great impact on modern architects like Rietveld, Breuer and Gropius.
• Student presentation on the Rietveld Schröder house or painter Bart van der Leck.
• Visit to de Gemeente Museum, The Hague (class will last longer due to travel time to The Hague)
Required reading:
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, pp 176-190
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 9
• Stangos, N. (ed) (1994) Concepts of Modern Art: from Fauvism to Postmodernism, Thames and
Hudson, pp. 141-159
Week 12: The Inter Bellum Period 1918-1940
• This period is best reflected in the art work of Willink, Pijke Koch and Raoul Hijnckes as is explored in the lecture.
• Student presentation on Jessurun de Mesquita or on the book of Charlotte Salomon.
• Watching the movie Holland by Bert Haanstra.
Required reading:
• Dooijes, D. A history of the Dutch poster 1890-1960, Scheltema & Holkema, pp 36-46
• Salomon, C. (1981) Charlotte: Life or Theatre, (preface by Judith Herzberg) pp. V-XV, 1-175,
607-689
Week 13: The Impact of World War II
• The impact of World War II is strongly present in the works of the CoBrA artists Appel, Corneille and Constant. Their paintings, theater designs, sculptures and architectural drawings show their affinity with societal events and international politics.
• Student presentation on: Senkichi Tajiri, Corneille,Alechinsky or the connection between the work of Jackson Pollock and Karel Appel
Required reading:
• Escher, M.C. and J.W. Vermeulen (1989) Escher on Escher; Exploring the Infinite, Harry N Abrams Inc, pp 139-153
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, pp 190-207
• Kemme, G. (ed) (2010) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 115-117
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 10
• Stokvis, W. (1999) CoBrA: 3 Dimensions, V+K Publishing, pp. 62-85
Week 14: Marleen Dumas+ Amsterdam as Graphic Design Haven
• This best selling female artist of the last decade shows a keen understanding of the concerns of our present society and makes heart rendering and at the same time shocking images in her representational art.
• Student presentations on Jacobien de Rooij, Robbie Cornelissen, Rem Koolhaas, Claudie Jongstra
or Esther Polak and Ivar Bekkum. The artists of the last decade use a variety of tools like felt, or pastel, or GPS data to make intricate and compelling art works.
• Hand in the Culture Guides.
Required reading:
• Stiles, K. and Peter Selz (eds) (1996) Theories and documents of Contemporary Art; a source book of artists’ writings, University of California Press, pp 657-662
• Boogerd, van den, D., Bloom, B. and M. Casadio (1999) Marlene Dumas, Phaidon Press, pp 8-28,
32-82
• Hodgson, F. (2011) Anton Corbijn, inwards and onwardsI, Schirmer/Mosel Publishers, Munich, pp.
1-13
• Wanders, M. (2009) Amsterdam Creative Capital , Jonge Hond B.V., pp 3, 14-15, 53-57, 72-84,
320
Required readings:
Some readings will be made available on Moodle except for the Fuchs chapters.
Bazin, G. (1958) Impressionist Paintings in the Louvre, Thames & Hudson Ltd. Berger, J. (1980) About Looking, Pantheon Books; New York.
Boogerd, van den, D., Bloom, B. and M. Casadio (1999) Marlene Dumas, Phaidon Press.
Brown, C. (1997) Utrecht Painters of the Dutch Golden Age, National gallery Publications; London.
Dawtrey, L. (ed) (1996) Investigating Modern Art, Yale University Press. Dooijes, D. A history of the Dutch poster 1890-1960, Scheltema & Holkema.
Eliëns, T.M., Groot, M., and Frans Leidelmeyer: Dutch Decorative Arts. V+K Publishing, Bussum.
Escher, M.C. and J.W. Vermeulen (1989) Escher on Escher; Exploring the Infinite, Harry N Abrams Inc. Fuchs, R.H. (1985) Dutch Art, Oxford University Press.
Gibson, W.S. (1973) Hieronymus Bosch, Thames and Hudson; London.
Harrison, C. (ed) (1998) Art in Theory 1815-1900: An Anthology of Changing Ideas, Blackwell Publishers.
Hodgson, F. (2011) Anton Corbijn, inwards and onwards, Schirmer/Mosel Publishers, Munich.
House, J. (ed) (1979) Post Impressionism: Cross-Currents in European Painting, Royal Academy of Arts (Great Britain).
Kemme, G. (ed) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum. Lloyd, J. (2006) Vincent van Gogh and Expressionism, Van Gogh Museum. Lucie-Smith, E. (1972) Symbolist Art, Thames & Hidson.
Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam.
Murray, P and Murray, L. (1963) The Art of the Renaissance, Thames and Hudson; London. Pavord, A. (1999) The Tulip, Bloomsbury, New York.
Rice, T. (2002) Voyages of Discovery, Scriptum Publishers.
Salomon, C. (1981) Charlotte: Life or Theatre, (preface by Judith Herzberg). Simpson, A. (2007) Van Eyck, The Complete Works, Chaucer Press; London.
Stangos, N. (ed) (1994) Concepts of Modern Art: from Fauvism to Postmodernism, Thames and Hudson. Stiles, K. and Peter Selz (eds) (1996) Theories and documents of Contemporary Art; a source book of artists’ writings, University of California Press.
Stokvis, W. (1999) CoBrA: 3 Dimensions, V+K Publishing.
Tuchman, M. (ed) The Spiritual in Art: Abstract Painting, 1890-1985 cat. Exhibition 1987, Los Angeles County Museum of Art, Art Institute of Chicago and the Haags gemeentemuseum. Wanders, M. (2009) Amsterdam Creative Capital , Jonge Hond B.V.
Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press. Wetering, van de, E. (2000), Rembrandt, the painter at work, Amsterdam University Press.
Winkel, de, M. (2006) Fashion + Fancy. Dress and Meaning in Rembrandt's paintings, Amsterdam University Press.
Brief Biography of Instructor:
Mariette de Bruïne studied History and Art History at the University Leiden and the University of Amsterdam. Upon completing her MA in Art History in 1979, she has been teaching Art History to various audiences in Amsterdam, South Africa and the United States. Since 1998 she has taught various Art History courses at the University of Amsterdam (Capita Selecta
19th Century European Art, Art of the 20th Century, Colour and Colour, Mythology in World Art, Capita
Selecta European Art 1850-1940: from Monet to Salvador Dali). She has taught at Webster College in
Leiden, New Business School Amsterdam and lectured for Virginia Tech University in Barcelona.
Since 1985 she also leads art history tours in the Netherlands and abroad (Barcelona, Bilbao, Budapest and Saint Petersburg to name just a few). Furthermore she makes drawn journals from her many travels, and sculpts in her spare time. She regularly teaches creative courses like "artists journals"—on how to appreciate them and make them yourself.
It is not a bold statement to say that Dutch art is well-known throughout most of the world. It is not one painter or a certain artistic movement that stand out. Dutch artists from different centuries or art movements from different periods are equally admired and enjoyed by masses over the globe.
This course will therefore explore the distinctive periods in Dutch history such as the Early Renaissance, the productive Golden Age of the 17th century as well as specific styles of the 19th and 20th century. Students will have the opportunity to learn the general styles, concepts, purposes, and interpretations of Dutch art from the Renaissance through contemporary art. The focus will be on painting, and to a lesser degree, on architecture.
The development of Dutch artistic styles relates to the economic development of the Netherlands as well as the political and social systems in place at various times. These socio-economic and political drivers will be further explored as these are important to understand the art of each period. Dutch art is also influenced by various religious movements. Students will explore what these influences are and how certain religious symbols are represented.
Whilst the Dutch art scene was heavily dominated by men, this course will also focus on female artists throughout the ages. These artists may be less well known, their contribution to the arts is significant.
A few of the museums that will be visited are outside of Amsterdam. Therefore, additional travel expenses will be incurred. In addition, some museums may charge an additional fee for special exhibitions (despite the fact that entrance is free with the museum card). An estimated extra cost of €35.
At the end of the course, still will:
• Be acquainted with the specific characteristics of Dutch Art
• Have gained knowledge about the social economic situation of Holland in as much as it has influenced the development of the arts
• Be able to analyze a painting and recognize the main styles
• Be able to recognize and identify the art of the main Dutch artists, like Rembrandt, Vermeer, van
Gogh, Mondriaan Willink, Rietveld, Appel, Steen, Maria Sibylla Merian, Marleen Dumas
• Have Gained confidence in public speaking through their own presentation
• Have Gained analyzing skills through their study of many different paintings
• Have gained insight in the collections of the visited museums (at least 5 museums will be visited)
Lectures, student presentations, discussions, and field study
Participation: 10 %
Small assignments: 10 %
Presentation: 20 %
Final Exam: 30 %
Cultural Guide to the Netherlands: 30 %
Overview Assessment
Small Assignments (10%)
Students will write 3 small assignments (2 pages each) about the visited museums.
Assignment 1 consists of a comparison between 2 paintings. Composition, subject matter, style, use of color have to be compared.
Assignment 2 consists of a description of an exhibition. Intent of the curator and the lay out of the exhibition will be analyzed. A personal opinion will be attached about the exhibit as well.
Assignment 3 consists of an analysis of a chosen artwork that has a strong effect on the student. The
why and how of the effect has to be described.
Quizzes: There will be 3 short quizzes throughout the semester based on the reading of that week. These quizzes will not be announced.
Presentation (20%)
Students will present on a subject/artist connected to the course. Artists/subjects will be given in the syllabus. Students can come up with their own themes, if applicable to the course material.
Final Exam (30%)
The final exam consists of a slide show and one essay question. Students will have to tell which artist has made the shown artwork, describe stylistic characteristics and put it in correct chronology. In addition, they will have to answer one essay question. This question will be based on the readings of the past semester.
A Cultural Guide to Dutch Art (30%)
Students will write a Cultural Guide to Dutch Art (15 pages, excluding images and notes).
The guide will have a thematic focus (this can be a Dutch artist, a certain art style or period). The guide will draw on academic resources, but the student can also include places as to where this art can be seen and discuss the curatorship. The guide will be geared to highly educated and cultured visitors to the Netherlands.
Week 1: Introduction to Dutch Art: Renaissance
• Introduction to the course, its participants and lecturer. What are participants’ background and familiarity with the arts?
First lecture:
• Familiarization with analyzing paintings.
• The oldest Dutch and Flemish artists like Van Eyck and Geertgen tot Sint Jans show a clear interest in one of the main characteristics of Dutch Art: texture and detail will be studied in the
famous artworks (the Arnolfini Marriage, the Gent Altarpiece) made by these artists. We will
compare these early Renaissance artists with the work of Giotto and Piero della Francesca to be able to see the difference between the Dutch and early Italian masters)
Required reading:
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 1 + 2
• Murray, P and Murray, L. (1963) The Art of the Renaissance, Thames and Hudson; London, pp
145-160
• Simpson, A. (2007) Van Eyck, The Complete Works, Chaucer Press; London, pp 9-11, 14-16
Week 2: Jeroen Bosch and Pieter Breughel
• Lecture and group discussion about the work of Jeroen Bosch and Breughel. We detect that their humorous landscapes and biblical scenes reflect a new sense of pride in cities and at the same time a growing unrest about the effect of city life on its citizens.
• Student presentation on van Rogier der Weyden, Master of Flemalle, Hugo van der Goes.
Required Reading:
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, p 8-35
• Gibson, W.S. (1973) Hieronymus Bosch, Thames and Hudson; London, pp 69-86
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 2 + 3
Week 3: Dutch Artists Who Traveled to Rome to Get Acquainted with Antiquities
• Bloemaert and van Honthorst and ter Brugghen came back with a thorough knowledge of the antiquities and more as is clear studying their paintings.
• Student presentation on the painters Bloemaert, van Baburen or Jan van Scoorl
Required reading:
• Brown, C. (1997) Utrecht Painters of the Dutch Golden Age, National gallery Publications; London, pp 21-23, 29, 31-35
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 4 + 5
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, introduction + chapter 1
Week 4: The Golden Age of Dutch Art I: Rembrandt
• Rembrandt’s paintings will be the subject for a lecture, his etchings will be studied at the Rembrandt House, Amsterdam, we will also visit the Palace on Dam Square, the former Town hall, designed by Jacob an Campen
• Student presentation on architect van Campen, the painter Jan Lievens or Gerard Dou.
• Please note that the trip to the Rembrandt house will be scheduled later in the week.
Required reading:
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, pp.
45-97
• Wetering, van de, E. (2000), Rembrandt, the painter at work, Amsterdam University Press, pp XI- XVI, 3-9, 46-61
• Winkel, de, M. (2006) Fashion + Fancy. Dress and Meaning in Rembrandt's paintings, Amsterdam
University Press, pp 11-40, 53-72, 93-132
Week 5: The Golden Age of Dutch Art II
• How the Dutch artists reconciled the abundance of baroque art with their protestant belief in their paintings. The lecture will cover Jan Steen and Frans Hals.
• Student presentations: painters Jacob van Ruysdael, Adriaen van Ostade, Rachel Ruysch and
architect Henrick de Keijser or Lieven de Key or the then internationally well known sculptor
Adriaen de Vries.
• Visit to the Rijksmuseum in Amsterdam.
Required reading:
• Berger, J. (1980) About Looking, Pantheon Books; New York, pp 162-170
• Pavord, A. (1999) The Tulip, Bloomsbury, New York, pp 129-161
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, chapter 4 + 5
Week 6: The Golden Age of Dutch Art III
• Vermeer and artists like Nicolaes Maes, Gerard Dou and Metsu excelled in interior scenes. These scenes and the symbols used often have more than one meaning as will be explained in the lecture.
• Visit the private house/museum van Loon, in Amsterdam.
Required reading:
• Kemme, G. (ed) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 10-28
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 6
• Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press, chapter 6
Week 7: Scientific Paintings of Pieter Post, Albert Eckhout, and Maria Sibylla Merian
• Their paintings, engravings and buildings reflect the global economy and interest in the world outside as will be shown in the power point.
• Student presentations on the cartographers Blaeu, Hondius or Plancius or the architect Pieter Post and de Mauritshuis, The Hague
• Visit to Teylers Museum
Required reading:
• Kemme, G. (ed) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 53-55
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 7
• Rice, T. (2002) Voyages of Discovery, Scriptum Publishers, pp. 56-115 (ISBN 9781902686028)
Week 8: Dutch Art of the Nineteenth Century
• Dutch art of the 19th century shows strong influences of the French Realist and Impressionist movement as is evident in the work of Willem and his wife Sien Mesdag, and Weissenbruch.
• Student presentations Jozef Israëls, Matthijs Maris or Therese Schwartze
Required reading:
• Kemme, G. (ed) (2010) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 72-75
• Lucie-Smith, E. (1972) Symbolist Art, Thames & Hidson, pp. 167-173
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 8
Week 9: Vincent van Gogh
• Van Gogh reflects the changing scene in the arts as no other before him, he can be considered as one of the fathers of the expressionist movement as will be explained in the lecture.
• Visit to the van Gogh Museum after the lecture in class.
• Student presentations on specific artworks by van Gogh in the museum.
Required reading:
• Bazin, G. (1958) Impressionist Paintings in the Louvre, Thames & Hudson Ltd., pp 225-238
• Dawtrey, L. (ed) (1996) Investigating Modern Art, Yale University Press, pp 71-87
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, pp 143-175
• Harrison, C. (ed) (1998) Art in Theory 1815-1900: An Anthology of Changing Ideas, Blackwell
Publishers, pp. 896-903
• Lloyd, J. (2006) Vincent van Gogh and Expressionism, Van Gogh Museum, pp 11-32
Week 10: Dutch Arts at the Turn of the 20th Century
• Jan Sluijters and Kees van Dongen reflect the expressionist tendencies in Paris in their vibrant, colorful paintings. In the buildings of the Amsterdam School Architects (like van der Mey) we see a similar expressionist international outlook.
• We will go a guided bike tour along the main apartment blocks, offices and school buildings of the
Amsterdam School architects.
• Student presentation on one of the architects, (Berlage, de Klerk, Kramer) or on the sculptor
Hildo Krop.
Required reading:
• Kemme, G. (ed) (2010) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 94-97
• Eliëns, T.M., Groot, M., and Frans Leidelmeyer: Dutch Decorative Arts. V+K Publishing, Bussum, pp. 27-46, 134-140
• House, J. (ed) (1979) Post Impressionism: Cross-Currents in European Painting, Royal Academy
of Arts (Great Britain), pp. 255-279
• Tuchman, M. (ed) The Spiritual in Art: Abstract Painting, 1890-1985 cat. Exhibition 1987, Los
Angeles County Museum of Art, Art Institute of Chicago and the Haags gemeentemuseum (ISBN
0875871305) pp 89-111
Week 11: Mondriaan and the STIJL movement
• The STIJL movement had a great impact on modern architects like Rietveld, Breuer and Gropius.
• Student presentation on the Rietveld Schröder house or painter Bart van der Leck.
• Visit to de Gemeente Museum, The Hague (class will last longer due to travel time to The Hague)
Required reading:
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, pp 176-190
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 9
• Stangos, N. (ed) (1994) Concepts of Modern Art: from Fauvism to Postmodernism, Thames and
Hudson, pp. 141-159
Week 12: The Inter Bellum Period 1918-1940
• This period is best reflected in the art work of Willink, Pijke Koch and Raoul Hijnckes as is explored in the lecture.
• Student presentation on Jessurun de Mesquita or on the book of Charlotte Salomon.
• Watching the movie Holland by Bert Haanstra.
Required reading:
• Dooijes, D. A history of the Dutch poster 1890-1960, Scheltema & Holkema, pp 36-46
• Salomon, C. (1981) Charlotte: Life or Theatre, (preface by Judith Herzberg) pp. V-XV, 1-175,
607-689
Week 13: The Impact of World War II
• The impact of World War II is strongly present in the works of the CoBrA artists Appel, Corneille and Constant. Their paintings, theater designs, sculptures and architectural drawings show their affinity with societal events and international politics.
• Student presentation on: Senkichi Tajiri, Corneille,Alechinsky or the connection between the work of Jackson Pollock and Karel Appel
Required reading:
• Escher, M.C. and J.W. Vermeulen (1989) Escher on Escher; Exploring the Infinite, Harry N Abrams Inc, pp 139-153
• Fuchs, R.H. (1985) Dutch Art, Oxford University Press, pp 190-207
• Kemme, G. (ed) (2010) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum, pp 115-117
• Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam, chapter 10
• Stokvis, W. (1999) CoBrA: 3 Dimensions, V+K Publishing, pp. 62-85
Week 14: Marleen Dumas+ Amsterdam as Graphic Design Haven
• This best selling female artist of the last decade shows a keen understanding of the concerns of our present society and makes heart rendering and at the same time shocking images in her representational art.
• Student presentations on Jacobien de Rooij, Robbie Cornelissen, Rem Koolhaas, Claudie Jongstra
or Esther Polak and Ivar Bekkum. The artists of the last decade use a variety of tools like felt, or pastel, or GPS data to make intricate and compelling art works.
• Hand in the Culture Guides.
Required reading:
• Stiles, K. and Peter Selz (eds) (1996) Theories and documents of Contemporary Art; a source book of artists’ writings, University of California Press, pp 657-662
• Boogerd, van den, D., Bloom, B. and M. Casadio (1999) Marlene Dumas, Phaidon Press, pp 8-28,
32-82
• Hodgson, F. (2011) Anton Corbijn, inwards and onwardsI, Schirmer/Mosel Publishers, Munich, pp.
1-13
• Wanders, M. (2009) Amsterdam Creative Capital , Jonge Hond B.V., pp 3, 14-15, 53-57, 72-84,
320
Some readings will be made available on Moodle except for the Fuchs chapters.
Bazin, G. (1958) Impressionist Paintings in the Louvre, Thames & Hudson Ltd. Berger, J. (1980) About Looking, Pantheon Books; New York.
Boogerd, van den, D., Bloom, B. and M. Casadio (1999) Marlene Dumas, Phaidon Press.
Brown, C. (1997) Utrecht Painters of the Dutch Golden Age, National gallery Publications; London.
Dawtrey, L. (ed) (1996) Investigating Modern Art, Yale University Press. Dooijes, D. A history of the Dutch poster 1890-1960, Scheltema & Holkema.
Eliëns, T.M., Groot, M., and Frans Leidelmeyer: Dutch Decorative Arts. V+K Publishing, Bussum.
Escher, M.C. and J.W. Vermeulen (1989) Escher on Escher; Exploring the Infinite, Harry N Abrams Inc. Fuchs, R.H. (1985) Dutch Art, Oxford University Press.
Gibson, W.S. (1973) Hieronymus Bosch, Thames and Hudson; London.
Harrison, C. (ed) (1998) Art in Theory 1815-1900: An Anthology of Changing Ideas, Blackwell Publishers.
Hodgson, F. (2011) Anton Corbijn, inwards and onwards, Schirmer/Mosel Publishers, Munich.
House, J. (ed) (1979) Post Impressionism: Cross-Currents in European Painting, Royal Academy of Arts (Great Britain).
Kemme, G. (ed) Amsterdam Architecture, a guide, Thoth Uitgeverij, Bussum. Lloyd, J. (2006) Vincent van Gogh and Expressionism, Van Gogh Museum. Lucie-Smith, E. (1972) Symbolist Art, Thames & Hidson.
Mak, G. (1995) Amsterdam: The brief life of a city, Uitgeverij Atlas, Amsterdam.
Murray, P and Murray, L. (1963) The Art of the Renaissance, Thames and Hudson; London. Pavord, A. (1999) The Tulip, Bloomsbury, New York.
Rice, T. (2002) Voyages of Discovery, Scriptum Publishers.
Salomon, C. (1981) Charlotte: Life or Theatre, (preface by Judith Herzberg). Simpson, A. (2007) Van Eyck, The Complete Works, Chaucer Press; London.
Stangos, N. (ed) (1994) Concepts of Modern Art: from Fauvism to Postmodernism, Thames and Hudson. Stiles, K. and Peter Selz (eds) (1996) Theories and documents of Contemporary Art; a source book of artists’ writings, University of California Press.
Stokvis, W. (1999) CoBrA: 3 Dimensions, V+K Publishing.
Tuchman, M. (ed) The Spiritual in Art: Abstract Painting, 1890-1985 cat. Exhibition 1987, Los Angeles County Museum of Art, Art Institute of Chicago and the Haags gemeentemuseum. Wanders, M. (2009) Amsterdam Creative Capital , Jonge Hond B.V.
Westermann, M. (1996) A Worldly Art – The Dutch republic 1585-1718, Yale University Press. Wetering, van de, E. (2000), Rembrandt, the painter at work, Amsterdam University Press.
Winkel, de, M. (2006) Fashion + Fancy. Dress and Meaning in Rembrandt's paintings, Amsterdam University Press.
Mariette de Bruïne studied History and Art History at the University Leiden and the University of Amsterdam. Upon completing her MA in Art History in 1979, she has been teaching Art History to various audiences in Amsterdam, South Africa and the United States. Since 1998 she has taught various Art History courses at the University of Amsterdam (Capita Selecta
19th Century European Art, Art of the 20th Century, Colour and Colour, Mythology in World Art, Capita
Selecta European Art 1850-1940: from Monet to Salvador Dali). She has taught at Webster College in
Leiden, New Business School Amsterdam and lectured for Virginia Tech University in Barcelona.
Since 1985 she also leads art history tours in the Netherlands and abroad (Barcelona, Bilbao, Budapest and Saint Petersburg to name just a few). Furthermore she makes drawn journals from her many travels, and sculpts in her spare time. She regularly teaches creative courses like "artists journals"—on how to appreciate them and make them yourself.