Dutch Postgraduate School for Art History
English flagNederlands vlag
Agenda Oktober 2018
18 en 19 Oktober
18 t/m 20 Oktober
18 en 19 Oktober
18 Oktober
19 Oktober
23 Oktober
24 t/m 26 Oktober
25 t/m 27 Oktober
26 Oktober
26 Oktober
29 Oktober
31 Oktober
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1 November
5 November
5 en 6 November
8 en 9 November
8 November
8 en 9 November
9 November
9 November
15 en 16 November
15 en 16 November
16 en 17 November
16 November
22 November
22 t/m 24 November
23 en 24 November
26 t/m 28 November
28 t/m 30 November
Agenda December 2018
6 t/m 8 December
6 December
7 en 8 December
7 en 8 December
12 December
14 December
20 December
Agenda Januari 2019
24 en 25 Januari
25 Januari
Researchmaster onderwijs
OSK/NIKI Winter School (Florence): Images of art and artist. A seminar on the representation of histories, anecdotes & theories of art (15th-19th century) (DL: 9/10/11)
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Datum:
11 November t/m 27 Januari 2012
Bijeenkomsten:
4
Coördinatie:
Martijn van Beek MA
Voorwaarden:
see attachment
Kosten:
see attachment

We are all familiar with the presentation of ideas on art and art history in the form of texts. But obviously, such ideas were also expressed in a non-verbal manner – in monuments or paintings, drawings or prints. In the book Representing Renaissance Art, c. 1500-1600 for instance, Catherine E. King has recently discussed prints and paintings as sources for a study of ideas about the status and the nature of art during the Renaissance. But representing art was not restricted to the Renaissance period. In fact, due the increase of the status of the visual arts, the representation of art and artist became legitimate subjects for later periods as well, in the form both of allegories and anecdotes of artists. One could even argue that the painting of art anecdotes established itself as important subgenre of history painting, enjoying its greatest bloom in period of salon painting. Scenes from the life of Phidias, Michelangelo, Titian or Dürer were produced with increasing frequency until the rise of modern art (and the phenomenon continued in film, from Caravaggio to Pollock). The principal aim of this course is to investigate the development of the (self-) representation of the visual arts, to discuss important capita selecta of this history, from the Renaissance to the end of the 19th century, and lay the groundwork for research into the Vite of Vasari and his colleagues as sources for an extensive production of images of artists, in a way comparable to, say, Homer’s heroes or the Gods of Ovid. 

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