Parijs Excursie (Propedeuse)

Voor een kunsthistorische opleiding is een excursie een belangrijke en discipline-eigen onderwijsvorm. De kunstgeschiedenis kent namelijk een grote mate van plaatsbepaaldheid. Daarom kan de kunsthistoricus niet alle kennis thuis of in bibliotheken vergaren, maar moeten kunstcentra bezocht worden. De keuze om daarvoor Parijs te kiezen ligt voor de hand, aangezien deze stad eeuwenlang gold als culturele hoofdstad van de wereld. De inleidende colleges behandelen Parijs als kunststad, waarbij belangrijke momenten en thema’s uit de Franse kunstgeschiedenis, kunstenaarsleven, en verzamelgeschiedenis aan de orde komen. Daarnaast presenteren de docenten die de excursie in Parijs ter plekke begeleiden van tevoren een excursiethema met referaatonderwerpen. In Parijs wordt onder leiding van de docent een thematisch samenhangend programma gevolgd in een groep van ten hoogste 12 studenten. Binnen dit thema presenteert de student een referaat. Na afloop schrijft hij/zij over hetzelfde onderwerp een eindwerkstuk van 3500 woorden. De paper wordt beoordeeld; de docent zal het toegekende cijfer motiveren.

Paris 2009 - Studiehandleiding

Dutch Art from the 19th to the 21st Century: Between Anachronism and Topicality

During the Venice Biennale of 2003 the Dutch Pavilion presented several artists that were not born in the Netherlands. ‘We are the world’, the 1980s hit, was the motto of the show, which seems to hint at internationalism or even globalism. However, in interviews, the artists suggested that the works presented were in fact ‘typically Dutch.’ This ambiguity between the national and international is the starting point of this course in which we will investigate the ‘Dutchness’ of Dutch art at a time when the concept of national identity is often considered to be an anachronism. Starting with Vincent vanGogh, we will move from De Stijl, Cobra, Pop, Conceptual and Performance art to the postmodern celebration of painting, video, photography and art in public space. We will investigate inwhat ways Dutch artists and their critics define their ‘Dutchness’ or tried to escape such a definition (or both at the same time). Theoretical texts on the intricate relationship between nationalism and internationalism will help us gain a better understanding of the constant movement between these two poles in modern and postmodern Dutch art.

Syllabus Dutch Art

The aim of the annual Van Gogh Museum Visiting Scholar in the History of Nineteenth-Century Art Seminaris to provide Master’s students with the opportunity to study a single yet wide-ranging subject in nineteenth-century art through an intensive one-week workshop taught by a leading scholar in the field and supported by the Van Gogh Museum. The seminar will introduce students to important issues in the study of nineteenth-century art and provide an impulse for further research. Its aim is to encourage interest in various aspects of the discipline, and to provide students not only with factual information, but more importantly with new methodological and theoretical perspectives on this important period in the history of art.

For more information see the UvA Studiegids

Van Gogh Museum Visiting Fellow in Nineteenth-Century Art 2009

Professor June Hargrove, University of Maryland, 24-29 May 2009

Inlittle more than two decades, Paul Gauguin made the leap from an artist dependant on the observation of nature to a visionary plunged into the subjective realm of the imagination to stimulate the next generation “to dare all.” This seminar will explore the artist’s changing perceptions about the creative process over three phases of his career. The goal is to examine the development of his art and ideas in a largercontext.  An autodidact, he drew inspiration from everywhere – from Old Masters to his contemporaries and from poets and musicians to fellow artists, prompting accusations of plagiarism and of literary excess. It also made him one of the most audacious innovators of his day. 

Syllabus - Gauguin

Van Gogh Museum Visiting Scholar in Nineteenth-Century Art 2008

ProfessorPatricia Mainardi, City University of New York
14, 16 and 18 April

This series of four three-hour seminars will examine the printed image from 1780 to 1900, with an emphasis on more popular manifestations where the word/image relationship is mostmarked, namely in broadsheets, caricatures,comics, and illustrations. The period saw the developmentofnew processes such as aquatint, mezzotint, wood engraving, lithography, as well as photomechanical processes including photography and color printing. There were new genres such as illustrated periodicals, comicbooks, illustrated travel accounts, advertising and children’s picture books. This popularization of images resulted in their widespreaddissemination  - attimesplagiarization - acrossnational borders. Arthistory as a discipline has, however, not been able to encompass the study of the vernacular printed image, focusing instead on images produced by the “peintre-graveur,”the artist who made prints. This seminar, however, will look at the broad spectrum of printed imagery produced during this period in an attempt to integrate it into our understanding of nineteenth-century art production. The seminar will consist of lectures and discussions covering the basic reproductive methods, basic methodological issues, and major landmarks, witha visit to the Van Gogh Museum print room.

Syllabus Word and Image

Van Gogh Museum Visiting Scholar in Nineteenth Century Art 2007

Professor Richard Thomson, Watson Gordon Professor of Art History, University of Edinburgh
23, 24 and 26 April 2007

This series of three three-hour seminars will take as its premise that naturalism was the favoured aesthetic of the Third Republic, preferredbecause its ostensiblecharacteristics –legibility, modernity, accuracy – matched the state’s ideology of social egalitarianism and scientific progress. First the different manifestations of naturalism will be considered, dealing with both urban and rural subjects and idioms as different as the narrativepainting and the grand mural. This will cover artists as different as Jean Béraud, Léon Lhermitte and Jean-Paul Laurens. Second, the avant-garde’sresistances to naturalism will be assessed, notably in artists’ conscioussearch for ‘style’ as an antidote to description. Georges Seurat’s Neo-impressionism, Maurice Denis’ ‘deformation’, and Van Gogh’s awareness of style will be discussed. The third meeting will explorehow artists we normally view as avant-garde made adaptations of naturalism or eventually surrenderedto it. This will bringinto play Henri de Toulouse-Lautrec and the caricatural, and the failure of Nabism withPierre Bonnard and Edouard Vuillard. The seminar series will consistentlyenquire towhat extent such varied artistic idioms were integrated with or responded to thebroader patterns of political and social culture.

Syllabus Style vs. the State

• 19th-Century French Painting
• Art and Artists on Film
• Topics in German Modernism(Menzel to Jugendstil)
• Art History in Pictures
• World’s Fairs
• Artistic Exchange in the Nineteenth Century
• Nineteenth-Century Art Criticism
• Situationism and Artistic Practice
• The Myth of the Artist

BA:

• Nina Fabel, The North American Indian Photographs of Edward S. Curtis (2008)
• Claire van Els, Women Artists and Global Feminism: een vergelijking (2008)
• Barbara Bos, Artemesia Gentilischi: Feministische perspectieven (2008)
• Sasha Stone, Walter Benjamin and Sasha Stone: Fotografietheorieen in woord en beeld (2008)
• Victoria Anastasyadis, Art Nouveau anno nu: de herinnering aan Siegfried Bing in de 20e en 21e eeuw (2007)
• Melissa van Vliet, Feministische kunsthistorici over 'de badende vrouwen' van Edgar Degas (2007)
• Irene de Craen, Art & Language: Taalenandere media (2007)
• Renske CohenTervaert, CamilleClaudel: Een leven in literatuur (2007)
• Melissa van Vliet, Feministische kunsthistorici over ‘de badende vrouwen’ van Degas (2007)
• Yvonne Colijn, Bronnen van kennis en inspiratie: Het boekenlandschap in Nederlandse kunstenaarskringen (2006)
• Marylee van der Meulen, Alfred Stieglitzen de nationale identiteit van de Amerikaanse kunst (2006)
• Riske Ackerman, Cézanne: Een 19e- of 20e-eeuwse schilder? (2006)
• Adrienne Bakker, Van Gogh brengt Schiele nieuw levenin (2005)
• Nina Stuurman, Jozef Israëls: Een onderzoek naarzijn boerenmaaltijden (2005)
• Vincent Verhoef, Het grid: De manifestatie van een volmaakt idee (2005)
• Jokede Wolf, Het beeld van de keizer: Het gebruik van de carte-de-visite fotografie door keizer Napoleon III (2005)
• Nelleke van Oosterhout, Cuypers en het ontstaan van het praktijkonderwijs op dekunstnijverheid-tekenschool ‘Quellinus’ (2005)
• Maitevan Dijk,Les Célébrités duJuste Milieu van Honoré Daumier (2004)
  

MA:

• Joke de Wolf, Charles Marville (2008)
• Renske Cohen-Tervaert, De Nederlandse kunstmarkt in de 19de eeuw (2008)
• Marie-Therese van de Kamp, Van Goghs artistieke proces(2008)
• Carien Kanters, De wortels van Becassine: Sporen van karikatuur in de weergave van Bretonse vrouwen in de 19de eeuw (2008)
• Laura Prins, Hysterie in beeld (2008)
• Camelia Errouane, The Impossibility of Picturing the Past: OnPhotography, the Archive and the Colonial Legacy (2007)
• Marloes van Vugt, Edouard Manet en de noordelijke Barokkunst (2007)
• Maite van Dijk, Een analyse van Vincent van Goghsstreven om het licht in het donker teschilderen (2007)
• Erin Hennessy, Vincent van Gogh: Self-fashioning, Artistic Identityand Neurasthenia(2007)
• Anna Komierowska, Rembrandt Through the Eyes of Van Gogh (2006)
• Floor Wullems, Prix de Rome beeldhouwen, 1885-1913 (2006)
• Maartje Smitskamp, De entartete Van Gogh: Van volksheld tot vijand? (2006)
• Hugo Engberts, Myth versus banality: What do you mean cartoonsare beautiful drawings? (2006)
• MiepVlag, Zadkine’s Maternité (2006)
• Irene Meyes, Johanna van Gogh-Bonger: Kunsthandelaar? (2005)
• Roger Boulay,Images of Mediation: Dutch Photography, 1920-1940 (2004)
• Elissa McGillivrary, Mondrian: Purity of Vision in a Time of Transition, 1900-1914(2004)