If you go to the main DASE site, you will find a lot of digital images of works by both artists and those masters in their circles.

Transcription

1 ARH 385 (20310) - Rembrandt and Vermeer Fall 2016 Professor Jeffrey Smith Monday 12:00-3:00; ART Office: DFA Hours: Wednesday 10:00-12:00 or by appointment chipps@austin.utexas.edu Texts: 1) Mariët Westermann, Rembrandt (available from the University Coop). Although specific sections are listed below, you should read this entire book within the first two or three weeks of the semester. 2) Wayne Franits, Vermeer (available from the University Coop). Although specific sections are listed below, you should read this entire book within the first two or three weeks of the semester. 3) On-line reading assignments: I have placed readings, arranged alphabetically, on Canvas for our class. From UT homepage, click on Resources and then Canvas. The pdfs are under Files: Class readings. Remember if the pdf is sideways, you can rotate it with a right click of the mouse. Fine Arts Library Reserves: I have placed numerous books on reserve for our class in the Fine Arts Library. See the list posted on Canvas. These offer excellent sources as you begin to research your semester paper. On-line digital image reserve: Our class has no digital image reserve. If, however, you wish to view the site that I have for my ARH 333 The Age of Rembrandt and Rubens course, you have two options for accessing the images. Click on the following http address (or copy it and paste it into your browser): ocache=1. Or from the UT home page, go to Libraries, next Research Tools and click on databases. Go to D and click on DASE (Digital Archive Services). At the left side of the page, click on Public and Shared Sets. Scroll down and click on Smith, Jeffrey The Age of Rembrandt and Rubens. If you go to the main DASE site, you will find a lot of digital images of works by both artists and those masters in their circles. August 28 Rembrandt, Vermeer, and the Dutch Golden Age (SUNDAY 2 pm in the Art History conference room, DFA 2.506) - Mariët Westermann, A Worldly Art: The Dutch Republic , pp ( Making and Marketing Pictures in the Dutch Republic ) - Marten Jan Bok, The Rise of Amsterdam as a Cultural Centre: The Market for Paintings, , in: Patrick O Brien et al., eds., Urban

2 Achievements in Early Modern Europe: Golden Ages in Antwerp, Amsterdam and London (Zwolle, 2000), pp Ernst van de Wetering, Rembrandt: The Painter Thinking (Berkeley, 2016), pp ( Profession: Painter ) 29 No class. Prof. Smith is traveling. September 5 Labor Day holiday. No class. 12 Creating Artistic Identities - Arthur K. Wheelock, Jr., Rembrandt Inventing Himself, in: Alan Chong, ed., Rembrandt Creates Rembrandt: Art and Ambition in Leiden, , exh. cat., Isabella Stewart Gardner Museum, Boston (Zwolle, 2000), pp A. Th. Van Deursen, Rembrandt and His Age: The Life of an Amsterdam Burgher, in: Christopher Brown et al., Rembrandt: The Master & His Workshop: Paintings, exh. cat., Berlin, Amsterdam, and London (New Haven, 1991), pp Arthur K. Wheelock, Jr., Vermeer of Delft: His Life and His Artistry, in: Arthur K. Wheelock, Jr., ed., Johannes Vermeer, exh. cat., National Gallery of Art, Washington (Washington, 1995), pp Assignment: Prepare (for discussion) a brief critique/assessment of the Rembrandt and Vermeer articles on Wikipedia. Since this source is often the first place students and the general public go to learn about these artists, what do you think about the quality of the articles, their organization, the balance between facts and opinion, and their coverage? In your opinion is anything missing or in need of editing? 19 Methods for Studying Rembrandt and Vermeer - Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2 (The Hague, 1982), pp (A 51 The Anatomy Lesson of Dr. Nicolas Tulp) - John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, 1989), pp and Ivan Gaskell, Vermeer s Wager: Speculations on Art History, Theory, and Art Museums (London, 2000), ( Problems ) 26 Rembrandt s Women vs. Vermeer s Women - Julia Lloyd Williams, An Introduction to Rembrandt s Women, in: Julia Lloyd Williams, ed., Rembrandt s Women, exh. cat., National Gallery of Scotland, Edinburgh (Munich, 2001), pp Ann Jensen Adams, ed., Rembrandt s Bathsheba Reading King David s Letter (Cambridge, 1998), 1-26 ( Introduction: Perspectives on Rembrandt and His Works ) - Volker Manuth, As stark naked as one could possibly be painted : The Reputation of the Nude Female Model in the Age of Rembrandt, in: Julia Lloyd Williams, ed., Rembrandt s Women, exh. cat., National Gallery of Scotland, Edinburgh (Munich, 2001), pp H. Perry Chapman, Women in Vermeer s Home: Mimesis and Ideation, in Marjorie Wieseman, ed., Vermeer s Women: Secrets and Silence, exh. cat., Fitzwilliam Museum, Cambridge (New Haven, 2011), pp

3 October 3 Quintessential(?) Rembrandt and Vermeer: The Nightwatch and The Girl with the Pearl Earring Group A: The Nightwatch - Westermann, Rembrandt, pp Egbert Haverkamp-Begemann, Rembrandt: The Night Watch (Princeton, 1982), pp Ernst van de Wetering, Rembrandt: The Painter at Work (Berkeley, 2000), pp Group B: The Girl with the Pearl Earring - Arthur K. Wheelock, Jr., ed., Johannes Vermeer, exh. cat., National Gallery of Art, Washington (Washington, 1995), pp , cat. no Edward A. Snow, A Study of Vermeer (Berkeley, 1979), pp ( Prologue ) - Karin M. Groen et al., Scientific Examination of Vermeer s Girl with a Pearl Earring, in: Ivan Gaskell and Michiel Jonker, eds., Vermeer Studies, [Studies in the History of Art, 33] (Washington, 1998), pp Vermeer in the Mauritshuis (The Hague, 2005), pp ( Girl with the Pearl Earring ). 10 Staging of Place and Space - Svetlana Alpers, Rembrandt s Enterprise: The Studio and the Market (Chicago, 1988), pp ( The Theatrical Model ) - Walter Liedtke, Vermeer: The Complete Paintings (Ghent, 2008), pp ( Vermeer and the Camera Obscura ) - Vermeer in the Mauritshuis (The Hague, 2005), pp ( View of Delft ) 17 The Role of the Senses - Svetlana Alpers, Rembrandt s Enterprise, pp ( The Master s Touch ). - Julius Held, Rembrandt Studies (Princeton, 1991), pp ( The Spoken Style ) 24 Prof. Stephanie Dickey (Queen s University) - Rembrandt, Vermeer, and the Tronie Dr. Dickey s description: A variety of Dutch artists contributed to the development of a pictorial category that bridges the gap between portraiture and genre painting: the representation of a single figure, bust or half-length, often with evocative expression or attributes. For lack of a better word, it has come to be known by the Dutch term tronie, originally a colloquial word for face. What is the appeal of this pictorial type? How do elements like physiognomy, facial expression, gesture, and pose convey human qualities such as emotion or character? How can costume transform a studio model into an allegory or a personage from the historical past and are we meant to see through the illusion? What unique perspectives did Rembrandt and Vermeer bring to this genre? A focal point for discussion can be their depictions of women, with examples

4 ranging from Rembrandt s Saskia Smiling (1633, Dresden, Gemäldegalerie) to Vermeer s Girl with a Pearl Earring (ca. 1665, The Hague, Mauritshuis). - Dagmar Hirschfelder, Portrait or Character Head? The Term Tronie and Its Meaning in the Seventeenth Century, in: Ernst van de Wetering and Bernard Schnackenburg, eds., The Mystery of the Young Rembrandt, exh. cat. Museum het Rembrandtshuis, Amsterdam (Amsterdam, 2001), pp Lyckle de Vries, Tronies and other single-figured Netherlandish paintings, Leids Kunsthistorisch Jaarboek 8 (1989): Mariet Westermann, Jan Steen, Frans Hals, and the Edges of Portraiture, Nederlands Kunsthistorisch Jaarboek 46 (1995): Stephanie Dickey, Rembrandt and Saskia: Art, Commerce and the Poetics of Portraiture, in Alan Chong and Michael Zell, eds., Rethinking Rembrandt (Zwolle 2002): Wayne Franits, Vermeer (London 2015): E.H. Gombrich, The Image and the Eye (Ithaca 1982), pp ( The Mask and the Face: the Perception of Physiognomic Likeness in Life and Art ) 4 pm - Dr. Dickey s public lecture Rembrandt Arrives 7 pm - seminar potluck dinner at Prof. Smith s house. 31 Rembrandt s Drawings - Westermann, Rembrandt, Peter Schatborn, Aspects of Rembrandt s Draughtsmanship, in: Holm Bevers et al., Rembrandt: The Master & His Workshop: Drawings & Etchings, exh. cat., Berlin, Amsterdam, and London (New Haven, 1991), pp van de Wetering, Rembrandt: The Painter at Work, pp November 7 Rembrandt s Prints - Christopher White, Rembrandt as an Etcher (New Haven, nd revised ed.), pp. 1-18, Erik Hinterding, Rembrandt as an Etcher: The Practice of Production and Distribution (Ouderkerk, 2006), pp ( Rembrandt s Papers ) 14 Audiences - Paul Crenshaw, Rembrandt s Bankruptcy (Cambridge, 2006), pp Ben Broos, Un celebre Peijntre nommé Verme[e]r, in: Arthur K. Wheelock, Jr., ed., Johannes Vermeer, exh. cat., National Gallery of Art, Washington (Washington, 1995), pp Receptions - Westermann, Rembrandt, ( Epilogue )

5 - Catherine B. Scallen, Rembrandt, Reputation, and the Practice of Connoisseurship (Amsterdam, 2004), pp Jeroen Boomgaard and Robert Scheller, A Delicate Balance: A Brief Survey of Rembrandt Criticism, in: Christopher Brown et al., Rembrandt: The Master & His Workshop: Paintings, exh. cat., Berlin, Amsterdam, and London (New Haven, 1991), pp George Keyes et al., Rembrandt in America: Collecting and Connoisseurship, exh. cat., Cleveland Museum of Art (New York, 2011), pp (Keyes, Rembrandt Paintings in America ) - Christiane Hertel, Seven Vermeers: Collection, Reception, Response, in: Wayne E. Franits, ed., The Cambridge Companion to Vermeer (Cambridge, 2001), pp Franits, Vermeer, ( A Man for All Seasons, ) 28 Student Reports December 5 Student Reports & Conclusion Grading 50% Class participation and weekly oral presentations (specific assignments will be made in class.) 15% Final oral report 35% Final written research paper. A polished page paper will be due on Wednesday, 7 December, at 2 pm. Earlier papers will be welcomed. Attendance is required. You may have one unexcused absence. For each additional absence, your final grade will be lowered by an additional 5 points. If you need to be absent of medical reasons, family emergencies, or UT-recognized religious holidays, please let me know in advance. The University of Texas grading system: A (4.00) = ; A- (3.67) = 90-93; B+ (3.33) = 87-89; B (3.00) = 84-86; B- (2.67) = 80-83; C+ (2.33) = 77-79; C (2.00) = 74-76; C- (1.67) = 70-73; D+ (1.33) = 67-69; D (1.00) = 64-66; D- (0.67) = 60-63; F (0.00) = 0-59 Academic Honesty: As students at the University of Texas, I expect honesty and the highest ethical behavior. Any type of cheating, including plagiarism (which will be clearly defined for the writing assignments), will result in an immediate F in this class and, in some cases, expulsion from The University. Cheating is unfair to your fellow students, to the faculty member, and, ultimately, to yourself. If you are ever uncertain about this matter, please talk with me.

6 Learning Differences and Disabilities: The University of Texas at Austin provides, upon request, appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at , TTY. Please inform me privately, well in advance of any assignment, if you have the official University paperwork, and I will accommodate your special needs. University Writing Center: For information on the center, whose basic services are free for undergraduates, see Located at the UT Learning Commons at Perry-Castañeda Library (PCL 2.330). For appointments, call or register online. Helpful Books about Writing: Copies of the following are available in the Fine Arts Library. Any edition of these books should prove helpful as you think about writing. Sylvan Barnet, A Short Guide to Writing about Art (Upper Saddle River, NJ, th ed. and later editions) Anne D Alleva, Look! The Fundamentals of Art History (Upper Saddle River, NJ, rd ed. and later editions) Henry M. Sayre, Writing about Art (Upper Saddle River, NJ, th ed. and later editions). U.T. Copyright: The materials used in this class, including, but not limited to, exams, quizzes, homework assignments, and all digital image content are copyright protected works. Any unauthorized copying of the class materials is a violation of federal law and may result in disciplinary actions being taken against the student. Additionally, the sharing of class materials without the specific, express approval of the instructor may be a violation of the University's Student Honor Code and an act of academic dishonesty, which could result in further disciplinary action. This includes, among other things, uploading class materials to websites for the purpose of sharing those materials with other current or future students.