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080065 SE Caspar David Friedrich and Romantic Landscape Painting (2021W)
Continuous assessment of course work
Labels
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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).
- Registration is open from We 15.09.2021 10:00 to We 22.09.2021 10:00
- Registration is open from Mo 27.09.2021 10:00 to Tu 28.09.2021 10:00
- Deregistration possible until We 13.10.2021 10:00
Details
max. 20 participants
Language: German
Lecturers
Classes (iCal) - next class is marked with N
Die Lehrveranstaltung wird in digitalem Format (Collaborate in Moodle) stattfinden. Die Sprechstunde wird ebenfalls online abgehalten (jeweils als zoom-Meetings, Freitag, 9-10 Uhr, gegebenenfalls in dringenden Fällen auch zu anderen Terminen).
- Friday 01.10. 10:45 - 12:15 Digital
- Friday 08.10. 10:45 - 12:15 Digital
- Friday 15.10. 10:45 - 12:15 Digital
- Friday 22.10. 10:45 - 12:15 Digital
- Friday 29.10. 10:45 - 12:15 Digital
- Friday 05.11. 10:45 - 12:15 Digital
- Friday 19.11. 10:45 - 12:15 Digital
- Friday 03.12. 10:45 - 12:15 Digital
- Friday 10.12. 10:45 - 12:15 Digital
- Friday 17.12. 10:45 - 12:15 Digital
- Friday 07.01. 10:45 - 12:15 Digital
- Friday 14.01. 10:45 - 12:15 Digital
- Friday 21.01. 10:45 - 12:15 Digital
- Friday 28.01. 10:45 - 12:15 Digital
Information
Aims, contents and method of the course
Caspar David Friedrich (1774-1840) is considered one of the most enigmatic personalities in German art history. His way of depicting landscape had a lasting influence on Romantic landscape art and its reception. On this basis, the course will ask what the formal and content-related principles of Romantic landscape painting in Europe are. It becomes apparent that precise definitions as well as precise distinctions to late classicism, Biedermeier and early realism are quite difficult. Rather, the spheres of influence of individual outstanding artistic personalities dominate, and it must be determined from case to case where the respective "romantic" lies in the capture of the landscape. A close look at and analysis of outstanding and lesser-known works makes it possible to trace cross-relationships, track down lines of tradition and look at the different facets of Romantic landscape art in the European dimension. It should also become clear that, within the framework of Western art, especially from 1800 onwards, artistic confrontations with nature represent one of the central foundations for the development of comprehensive world views and imaginary worlds.At the beginning of the course there are some introductory units, followed by presentations (always two per unit). All pictures of the introduction and the presentation topics are already available on moodle. The special literature on the individual topics will be discussed during office hours (Friday, 9-10 a.m.).1 Caspar David Friedrich, so-called Tetschener Altar, Dresden, State Art Collections, 18082 Caspar David Friedrich, Winter Landscape with Church, Dortmund, Museum of Art and Cultural History, 18113 Caspar David Friedrich, Chalk Cliffs on Rügen, Winterthur, Kunst Museum Winterthur - Reinhart, c. 18184 Caspar David Friedrich, Two Men Contemplating the Moon, Dresden, State Art Collections, 1819-18205 Caspar David Friedrich, The Evening Star, Freies Deutsches Hochstift, Frankfurt Goethe Institute, c. 18306 Caspar David Friedrich, The Stages of Life, Leipzig, Museum of Fine Arts, c. 18347 Johan Christian Dahl, View of Pillnitz Palace, Essen, Museum Folkwang, 18238 Johan Christian Dahl, View over a Rocky Gorge with Waterfall, New York, The Metropolitan Museum, 18239 Carl Gustav Carus, The Three Stones in the Giant Mountains, Dresden, State Art Collections, 182610 Carl Gustav Carus, Memory of a Wooded Island of the Baltic Sea (Oaks by the Sea), Dresden, State Art Collections, 183511 Ernst Ferdinand Oehme, Procession in the Fog, Dresden, State Art Collections, 182812 Ernst Ferdinand Oehme, Mountain Chapel in Winter, private collection, 184213 Adrian Ludwig Richter, The Crossing at Schreckenstein, Dresden, State Art Collections, 183714 Johann Wilhelm Schirmer, The "Wetterhorn", Düsseldorf, Museum Kunstpalast, 183815 Johann Wilhelm Schirmer, Large oak on a forest aisle ("Parthie"), Düsseldorf, Museum Kunstpalast, c. 184916 Matthäus Loder, The Conversation at Irdning, private collection, 182217 Ludwig Ferdinand Schnorr von Carolsfeld, The broad pine tree next to the Brühl near Moedling, Vienna, Belvedere, 183818 Jakob Alt, Steyr in Upper Austria, Vienna, Albertina, 184419 John Constable, The Leaping Horse, London, The Royal Academy of Arts, 182520 Joseph Mallord William Turner, Lucerne by Moonlight, 1843, London, The Tate Gallery
Assessment and permitted materials
By registering for these terms and conditions, you agree that the automated plagiarism detection software Turnitin will check all written partial services submitted by you in moodle.
Minimum requirements and assessment criteria
See here also chapter "Assessment standard".
Minimum requirement:
- Attendance requirement. In case of absence due to illness or exceptional family circumstances, written proof must be submitted.
- For a positive completion of the course, all partial performances must be provided.
- Seminar paper: In order to ensure good scientific practice, the course instructor may invite students to a notation-relevant interview after submission of the paper, which must be completed positively.
Assessment standard:
- active participation in discussions 15%.
- Speech and presentation 30
- Consolidation in the form of a written paper 55%
Minimum requirement:
- Attendance requirement. In case of absence due to illness or exceptional family circumstances, written proof must be submitted.
- For a positive completion of the course, all partial performances must be provided.
- Seminar paper: In order to ensure good scientific practice, the course instructor may invite students to a notation-relevant interview after submission of the paper, which must be completed positively.
Assessment standard:
- active participation in discussions 15%.
- Speech and presentation 30
- Consolidation in the form of a written paper 55%
Examination topics
See also the chapter "Assessment standard".
Learning and mastering basic art historical methods such as style analysis, history of visual types and iconology on the basis of one of the most essential periods of Central European art history of the modern era. In addition, the most important artistic personalities will be presented in detail in their biographical development.
In the course of the course, it is to be conveyed in which way the term "Romanticism", which is frequently used in research, can be meaningfully applied to the landscape art of the European countries.
Learning and mastering basic art historical methods such as style analysis, history of visual types and iconology on the basis of one of the most essential periods of Central European art history of the modern era. In addition, the most important artistic personalities will be presented in detail in their biographical development.
In the course of the course, it is to be conveyed in which way the term "Romanticism", which is frequently used in research, can be meaningfully applied to the landscape art of the European countries.
Reading list
Martin Warnke, Politische Landschaft: zur Kunstgeschichte der Natur, München-Wien 1992Eberhard Roters, Jenseits von Arkadien. Die romantische Landschaft, Cologne 1995Joseph Leo Koerner, Caspar David Friedrich. Landschaft und Subjekt (Epochen der deutschen Kunst 3), Munich 1998Norbert Schneider, Geschichte der Landschaftsmalerei: vom Spätmittelalter bis zur Romantik, Darmstadt 1999 (several editions)Werner Telesko, Die deutsche Romantik in ihrer Bedeutung für die Frühgeschichte des Historismus – Untersuchungen zu den Wechselwirkungen zwischen Literatur und bildender Kunst im frühen 19. Jahrhundert, in: Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft 44 (1999), Nr. 2, pp. 71–90Werner Hofmann, Caspar David Friedrich. Naturwirklichkeit und Kunstwahrheit, München 2000Werner Busch, Caspar David Friedrich. Ästhetik und Religion, Munich 2003Andreas Beyer (ed.), Klassizismus und Romantik (Geschichte der bildenden Kunst in Deutschland 6), Munich-Berlin-London-New York 2006, esp. pp. 351-437Johannes Grave, Caspar David Friedrich. Glaubensbild und Bildkritik, Zürich 2011Ludwig Trepl, Die Idee der Landschaft. Eine Kulturgeschichte von der Aufklärung bis zur Ökologiebewegung, Bielefeld 2012Nina Arnstutz, Das Bild der Natur in der Romantik: Kunst als Philosophie und Wissenschaft (Schriften der Deutschen Gesellschaft für die Erforschung des 19. Jahrhunderts 4), Paderborn 2021
Association in the course directory
Last modified: Fr 12.05.2023 00:14