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Netherlandish art 2 - KDKU265

Title:	Nizozemské umění 2
Guaranteed by:	Institute of Christian Art History (26-UDKU)
Faculty:	Catholic Theological Faculty
Actual:	from 2023
Semester:	summer
E-Credits:	4
Examination process:	summer s.:
Hours per week, examination:	summer s.:2/0, Ex [HT]
Capacity:	unlimited / unknown (unknown)
Min. number of students:	unlimited
4EU+:	no
Virtual mobility / capacity:	no
Key competences:
State of the course:	taught
Language:	Czech
Teaching methods:	full-time
Teaching methods:	full-time
Note:	course can be enrolled in outside the study plan enabled for web enrollment priority enrollment if the course is part of the study plan

Guarantor:	PhDr. Olga Kotková, Ph.D.
Teacher(s):	PhDr. Olga Kotková, Ph.D.

Examination dates Noticeboard

Annotation -

Last update: PhDr. Olga Kotková, Ph.D. (30.01.2021)

The cycle of the lectures is focused on knowledge and interpretation of Netherlandish art. The aim of the course is to present artistic production of one of the most economically prosperous areas of Europe. The course underlines relationships of the development of art to other parts of Europe, especially to the Lands of the Czech Crown.
The methodologically the course follows the lectures of the winter semester. In addition to lectures devoted to individual masters and schools, attention will be paid to the development of individual genres - especially landscape painting and still life painting, which developed in connection with contemporary interests in the knowledge of the outside world (macrocosm and microcosm). Landscape painting and still life painting were codified mainly during the second half of the 16th century.
In accordance with the aim of the course, the lectures focuse mainly on iconographic interpretation of the most important works of the 16th century; special attention will be paid to sociological and economic conditions modifying the painter's production. Due to technological analyzes and their interdisciplinary interpretation (see publications by Maryan Ainsworth, Jochen Sander and Lorne Campbell), fundamental discoveries in the field of Netherlandish painting have been made, so the cycle aims to give an overview of the latest methods of research.

Aim of the course -

Last update: PhDr. Jana Jansová, Ph.D. (03.02.2020)

The aim of teaching is to present the artistic production of one of europe's most economically prosperous regions. Teaching accentuates relations with the development of art in other parts of Europe, especially in the Czech Republic and Moravia.

Literature -

Last update: PhDr. Petra Oulíková, Ph.D. (24.02.2020)

Basic Literature:

Max J. Friedländer, Die altniederländische Malerei, I-XIV, Berlin-Leiden 1924-1837 / anglické vydání: Early Netherlandish Painting, I-XIV, Leiden – Brussels 1967-1976.

Erwin Panofsky, Early Netherlandish Painting, Its Origins and Character, Cambridge 1953 (1. vyd.).

Jarmila Vacková, Nizozemské malířství 15.-16. století v československých sbírkách, Praha 1989.

Hans Belting – Christiane Kruse, Die Erfindung des Gemäldes. Das erste Jahrhundert der niederländischen Malerei, München 1994.

Jochen Sander, Niederländische Gemälde im Städel 1400-1550, Mainz 1993.

Maryan Ainsworth, et al. (eds.), From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art, New York 1998.

Olga Kotková, The National Gallery in Prague. Netherlandish Painting 1480-1600. Illustrated Summary Catalogue I/1, Praha 1999.

Lorne Campbell, The sixteenth Century Netherlandish Paintings. I-II. National Gallery Catalogues, London 2014.

Larry Silver, Peasant Scenes and Landscapes. The Rise of Pictorial Genres in the Antwerp Art Market. Philadelphia 2006.

Svetlana Alpers, Bruegel´s Festive Peasants. Simiolus 6, 1972-1973, s. 163-176.

Reindert Falkenburg, Antithetical Iconography in Early Netherlandish Landscape Painting, in: Bruegel and Netherlandish Landscape Painting from the National Gallery in Prague, Tokyo 1990, s. 25-36.

Alice Hoppe-Harnoncourt – Elke Oberthaler – Sabine Pénot (eds.), Brugel. The Hand of the Master. (kat. výst.), Vienna 2018.

Reindert Falkenburg, Iconographical Connection Between Antwerp Landscapes, Market Scenes, and Kitchen Pieces. Oud Holland 102, 1998, s. 114-126.

Erwin Panofsky, Erasmus and the Visual Arts. Journal of the Warburg and Courtauld Institutes 32, 1969, 200-227.

Doporučená literatura k jednotlivým tématům:

Dominque Allart, Did Pieter Brueghel the Younger See His Father´s Paintings?, in: Peter Van den Brink, Brueghel Enterprises (kat. výstavy), Maastricht 2001, s. 46-57.

Mark Meadow, Pieter Bruegel the Elder´s Netherlandish Proverbs and the Practice of Rhetoric, Zwolle 2002.

Keith Moxey, Interpreting Pieter Aertsen: The Problem of Hidden Symbolism. Pieter Aertsen. Nederlands Kunsthitorisch Jaarbook 40, 1989, s. 29-39.

Walter S. Gibson, Mirror of the Earth: The World Ladscapes in Sixteenth Century Flemish Painting, Princeton 1989.

Paul Vandenbroeck, Verbeeck's peasant weddings: a study in iconography and social function. Simiolus 14, 1984, s. 79-124.

Ilja M. Veldman, Maarten van Heemskerck and Dutch Humanism in the Sixteenth Century, Amsterdam 1977.

Adri Mackor, Marinus Van Reymerswale: Painter, Lawyer and Iconoclast? Oud Holland 109, 1995, s. 191-200.

Larry Silver, Massys and Money. The Tax Collectiors Rediscovered. Journal of Historians of Netherlandish Art 2015: https://jhna.org/articles/massys-money-tax-collectors-rediscovered/

Olga Kotková, Joos van Cleve´s Triptych with the Adoration of the Magi. An Example of Workshop Practice, in: Hélène Verougstraete and Roger Van Schoute (eds.), Le dessin sous-jacent et la technologie dans la peinture. La Peinture dans les Pays-Bas au 16e siècle. Colloque XII, Leuven 1999, s. 87-97.

Maryan W. Ainsworth (ed.), Man, Myth, and Sensual Pleasures. Jan Gossart´s Renaisance (kat. výst.). New York 2010.

Last update: PhDr. Olga Kotková, Ph.D. (31.01.2020)

Základní literatura: