Italian and Northern European Baroque Painting

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Course Information
Discipline(s): 
Art History
Terms offered: 
Fall
Credits: 
3
Language of instruction: 
English
Prerequisites: 
  • Basic art history course
  • Basic art theory course or background 
  • Basic knowledge of Western or Southern European political and economic history. 
Description: 

The course will discuss and focus on classical Baroque painting of the first half of 17th century from Italy (Rome, Bologna), Spain, France, and the Flemish and Dutch Centers (Antwerp, Brussels, Utrecht, Amsterdam). The course will take place mainly in the Kunsthistorisches Museum, as well as in the Liechtenstein Collection and/or the Painting Collection of the Academy of Fine Arts. Its content is based on the rich examples of Southern and Northern Baroque painting in these collections. Special stress will also be laid on the history and the various types of collections in Vienna (Imperial – Kunsthistorisches Museum, princely – Liechtenstein, and “bourgeois” – Academy of Fine Arts). (3 credits)

Attendance policy: 

IES Abroad Vienna requires attendance at all class sessions, including field study excursions, internship meetings, scheduled rehearsals, and exams. Attendance will be monitored and unexcused absences will affect the student’s grade via the “Participation” component of each course’s final grade.

Excused Absences

  • Excused absences are permitted only when a student is ill, when class is held on a recognized religious holiday traditionally observed by the particular student, or in the case of a grave incident affecting family members.
  • To be granted an excused absence, the student must write an email to his/her professor in a timely manner stating the reason for the absence (and, if appropriate, how long they expect to be away) with a cc to Center administrative staff. In an emergency, the student may call Student Services or the Front Desk. If the student is unable to send an email (too sick, no computer), he/she may call the Student Assistant at the front desk (01/512 2601-11) who will then write the email described above and send it to said parties as stated above, with a cc to the student.
  • If a student is absent 3 consecutive days or more, he/she will need to obtain a doctor’s note and then submit this to the Registrar’s office.
Learning outcomes: 

Upon completing this course, students will be able to:

  • Attain specific knowledge of Baroque painting and its most important representatives as well as research skills to facilitate further endeavors in this field of art history.
  • Acquire a comprehensive knowledge of the period’s aims, style and techniques.
  • Develop a deeper awareness of historical as well as cultural contexts through the hands-on engagement with the fundamental questions of this period in art history.
Method of presentation: 
  • Viewing and discussions in front of artworks, mainly in the galleries of the above mentioned museums
  • Lectures/seminars in the classroom using PowerPoint and/or slide presentations.
  • If possible, a visit to the restoration lab either at the KHM or the Liechtenstein collection will be scheduled.
Required work and form of assessment: 
  • Oral Reports + Term Paper (written) - 50%
  • Midterm (oral) - 25%
  • Final (written) - 25%

Oral Reports and Term Paper
Students will be asked to give short oral reports on assigned art objects in front of the paintings. Themes for term papers will be assigned during the second week of instruction and should be developed out of the oral reports.

Note: Active participation in class/museum discussions and reading the assignments is expected.

content: 

The course begins with the revolutionary innovations of Caravaggio and the Carracci family and follows the evolution of Baroque painting in the works of their Italian and northern followers (Gentileschi father and daughter, Manfredi, Valentin de Boulogne, Honthorst, Terbrugghen, Guido Reni, Lanfranco) and those of Poussin, Velazquez, Rubens, Van Dyck, Rembrandt, Frans Hals and other selected artists from the Golden Age in Spain and the Netherlands.

 

Week Readings
Week 1: Introduction
  • Martin, John Rupert, Baroque (Icon Edition) 1977. Haskell, Francis, Patrons and Painters, A Study in the relations between Italian Art and Society, London 1963 and later editions
  • Hibbert, Christopher, Rome – Biography of a City, pp. 165-199, Harmondsworth 1985
Week 2: Caravaggio
  • Wittkower, Rudolf, Art and Architecture in Italy 1600-1700, The Pelican History of Art, Harmondsworth 1958, pp. 45-56 and later editions
  • Freedberg, Sidney J., Circa 1600. A Revolution of Style in Italian Painting, Cambridge, Mass (The Belknap Press), 1983, pp.52-79
  • Langdon, Helen. Caravaggio: A Life, London 1998; John Varriano, Caravaggio: The Art of Realism, University Park 1992.
Week 3: Carracci family and their followers (Domenichino, Guido Reni, Lanfranco, Poussin)
  • Wittkower, Rudolf, Art and Architecture in Italy, 1600-1750; The Pelican History of Art, Harmondsworth 1958, pp.57-71, 78-89 and later corrected editions;
  • Freedberg, Sidney J., Circa 1600. A Revolution of Style in Italian Painting, Cambridge, Mass (The Belknap Press), 1983, 00. 1-50, 81-114;
  • Brown, Beverly L. (Ed.), Exhibition Catalogue: The Genius of Rome 1592 - 1623, The Royal Academy, London 2001, pp. 116-139, 338-371;
  • Dixon, Susan M. (Ed.), Italian Baroque Art, Oxford 2008, pp. 87-97;
  • Blunt, Anthony, Art and Architecture in France, 1500-1700, The Pelican History of Art 1953, pp. 272-297 and many subsequent editions;
  • Rosenberg, Pierre, Exhibition Catalogue: France in the Golden Age. Seventeenth Century French Paintings in American Collections, New York, The Metropolitan Museum of Art 1981, pp. 87-101
Week 4: Italian/French followers of Caravaggio (Gentileschi father & daughter, Caracciolo, Manfredi, Valentin, Honthorst, Terbrugghen, etc.)
  • Wittkower, Rudolf, Art and Architecture in Italy, 1600-1750; The Pelican History of Art, Harmondsworth 1958, pp. 73-89, and later corrected editions;
  • Brown, Beverly L. (Ed.), Exhibition Catalogue: The Genius of Rome 1592 - 1623, The Royal Academy, London 2001, pp. 42-66, 1-38, 203-242, 304-337; Blunt, Anthony, Art and Architecture in France, 1500-1700, The Pelican History of Art 1953, pp. 259-265;
  • Nicolson, Benedict, Vertova, Luisa (Ed.), Caravaggism in Europe, 3 vol., Turin 1990, see index;
  • Spear, Richard, Caravaggio and His Followers, New York London 1975 pp. 1-38, 203-245;
  • Slive, Seymour, Dutch Painting 1600-1800, The Pelican History of Art/Yale University Press, New Haven, London 1995, pp. 18-27;
  • Spicer, J.(Ed.), Exhibition Catalogue: Masters of Light, Dutch Painters in Utrecht during the Golden Age, Baltimore San Francisco, London, New Haven 1997, pp. 114-121
Week 5: The High Baroque in Rome (Bernini, Pietro da Cortona, Gualli)
  • Wittkower, Rudolf, Art and Architecture in Italy, 1600-1750; The Pelican History of Art, Harmondsworth 1958, pp. 143-173, 247-260 and later corrected editions;
  • Hibbard, Howard, Bernini, Penguin, London 1987
Week 6: Spain (Velazquez)
  • Brown, Jonathan, The Golden Age of Painting in Spain, New Haven, London 1991, pp. 128-153, 213-221;
  • Engass, Robert; Brown, Jonathan, Italian and Spanish Art 1600-1750: Sources and Documents, Northwestern University Press 1970
Week 7: Flanders I (Rubens)
  • Vlieghe, Hans, Flemish Art and Architecture 1585-1700, The Pelican History of Art/Yale University Press, New Haven, London 1998, pp. 13-130;
  • Sutton, Peter C. (Ed.), Exh. Cat.: The Age of Rubens, Museum of Fine Arts, Boston (Ludion Press, Ghent) 1993/94, pp. 107-145.
Week 8: Flanders II Van Dyck
  • Vlieghe, Hans, Flemish Art and Architecture 1585-1700, The Pelican History of Art/Yale University Press, New Haven, London 1998, pp. 27-68, 131-137;
  • Sutton, Peter C. (Ed.), Exh. Cat.: The Age of Rubens, Museum of Fine Arts, Boston (Ludion Press, Ghent) 1993/94, pp. 321-344;
  • Barnes, Susan J., Nora de Poorter, Oliver Millar, Horst Vey, Van Dyck: A Complete Catalogue of the Paintings, New Haven and London 2004
Week 9: Holland I (Rembrant, Fran Hals)
  • Rosenberg, J., Slive, Seymour, ter Kuile, E. H., Dutch Art and Architecture 1600- 1800, The Pelican History of Art, Harmondsworth 1972, 47-138, and later editions;
  • Slive, Seymour, Dutch Painting 1600-1800, The Pelican History of Art/Yale University Press, New Haven, London 1995, pp. 2-6, 28-97;
  • Alpers, Svetlana, Rembrandt’s Enterprise. The Studio and the Market, Chicago 1988
Week 10: Holland II (Vermeer, van Goyen, Ruysdael)
  • Rosenberg, J., Slive, Seymour, ter Kuile, E. H., Dutch Art and Architecture 1600- 1800, The Pelican History of Art, Harmondsworth 1972, 42-138, and later editions;
  • Slive, Seymour, Dutch Painting 1600-1800, The Pelican History of Art/Yale University Press, New Haven, London 1995, pp 2-6, 28-97;
  • Haak, Bob, The Golden Age, Dutch Painting of the Seventeenth Century, New York 1984 (see index);
  • Arthur K. Wheelock Jr. and Ben Broos /ed.), Exhibition Catalogue: Johannes Vermeer, National Gallery, Washington DC 1984
Week 11: Final Discussion and Feedback
  • None
Required readings: 

General

  • Martin, John Rupert, Baroque (Icon Edition) 1977.

Southern Netherlands (today Belgium)

  • Vlieghe, Hans, Flemish Art and Architecture 1585-1700, The Pelican History of Art/Yale University Press, New Haven, London 1998.
  • Sutton, Peter C. (Ed.), Exh. Cat., Boston, Toledo (Ohio), The Age of Rubens, Museum of Fine Arts, Boston (Ludion Press, Ghent) 1993/94.
  • Jaffé, Michael, Rubens and Italy, Oxford 1977.
  • Rubens in Vienna, exhibit. catalogue 2004

Spain/Italy

  • Wittkower, Rudolf, Art and Architecture in Italy, 1600-1750; The Pelican History of Art, Harmondsworth 1958 and later corrected editions (classic introduction to Italian art of the period).
  • Brown, Jonathan, Painting in Spain, 1500-1700, The Pelican History of Art, Yale University Press New Haven, 1998.
  • Haskell, Francis, Patrons and Painters, A Study in the relations between Italian Art and Society, London 1963 and later editions.
  • Freedberg, Sidney J., Circa 1600. A Revolution of Style in Italian Painting, Cambridge, Mass (The Belknap Press), 1983
  • Langdon, Helen. Caravaggio: A Life, London 1998.
  • SpearRichard, Caravaggio and His Followers, New York London, 1975.
  • Mahon, Sir Denis, Studies in Seicento Art and Theory, London 1947 and later editions (the    Carracci and their students, Guercino, Caravaggio).
  • Brown, Beverly L. (Ed.), Exhibition Catalogue: The Genius of Rome 1592 - 1623, The Royal Academy, London 2001 (international art in Rome around 1600).
  • Jaffé, Michael, Rubens and Italy, Oxford 1977.
  • Dixon, Susan M. (Ed.), Italian Baroque Art, Oxford 2008
  • Brown, Jonathan, Velazquez Painter and Courtier, Yale Univ. Press 1998
  • Hibbard, Howard, Bernini, London 1987
  • Engass, Robert; Brown, Jonathan, Italian and Spanish Art 1600-1750: Sources and Documents, Northwestern University Press 1970.

Northern Netherlands

  • Rosenberg, J., Slive, S., ter Kuile, E. H., Dutch Art and Architecture 1600- 1800, The Pelican History of Art, Harmondsworth 1972, pp. 47-138, and later editions
  • Spicer, J.(Ed.), Exhibition Catalogue: Masters of Light, Dutch Painters in Utrecht during the Golden Age, Baltimore San Francisco, London, New Haven 1997.  
  • Alpers, Svetlana, The Art of Describing, Dutch Art in the Seventeenth Century, Pelican London 1989
  • Alpers, Svetlana, Rembandt’s Enterprise. The Studio and the Market, Chicago 1988
  • Haak, Bob, The Golden Age. Dutch Painting of the Seventeenth Century. New York 1984
  • Arthur K. Wheelock Jr. and Ben Broos/ ed.) Exhibition Catalogue: Johannes Vermeer, National Gallery, Washington, DC 1984

France

  • Blunt, Anthony, Art and Architecture in France, 1500-1700, The Pelican History of Art 1953 and many subsequent editions