Notice: It is the responsibility of the student to enrolled in the class by the add deadline (http://www.sa.utah.edu/regist/pages/Deadlines.html). Late slips will not be signed by the department. It is also the responsibility of the student to make sure that dropping or withdrawing from the class has been officially completed in the Registrar's office.

Course Description

Class meetings T/TH 12:55-1:45 PM in Room 158 ART Building.

Course Fee

Course Text and Other Readings

The main texts for the course are Dutch Painting 1600-1800 by Seymour Slive (Rev. ed., New Haven: Yale University Press, Pelican History of Art, 1999); and Rembrandt's “Bathsheba Reading King David's Letter” by Ann Jensen Adams  (Cambridge: Cambridge Univ. Press, Masterpieces of Western Painting, 1998).  

Other sources deemed useful in the course are on Reserve in Marriott Library:

Ackley, Clifford, ed. Printmaking in the Age of Rembrandt.

Alpers, Svetlana, The Art of Describing.

Franits, Wayne, ed., Looking at Seventeenth-Century Dutch Art: Realism Reconsidered.

      Muller, Sheila, ed., Dutch Art: An Encyclopedia (in Fine Arts Area Reserve).
     
      Schwartz, Gary, Rembrandt, His Life, His Art.

      Wetering, E. van der. Rembrandt: The Painter at Work.

Attendance Policy

Evaluation Methods and Grading Scale

Assignments for assessment of learning
      1) Abstracts/Outlines.  There will four topics assigned, one each during the second, fifth, ninth, and thirteenth weeks of the semester.  For each assigned topic you will be expected to prepare an outline (1-2 typed pages) or an abstract (250 words), plus a working bibliography, for a paper you would write on that topic. Detailed instructions with a style sheet will be handed out, and it is important for your grade that you follow them closely. Your response is expected to take into account the art, the lectures and the reading for the course up to that point, and to demonstrate how you would apply the ideas from all three to the analysis of specific works of art. For example, you may be asked to analyze a seventeenth-century Dutch painting in the UMFA's collection and to connect your observations with the issues that come up in viewing works of art produced in a similar manner or with similar content. The topics will be assigned on a Thursday and your response will be due in class on the following Thursday.

      2) Final essay. In place of a final examination in this course, you are being asked to choose one of the topics for which you prepared an abstract or outline and, expanding on it, to write a final essay (8-10 pages, plus end notes and a complete bibliography).  The essay should address comments you received on the original abstract or outline as well as bring a broader perspective to the topic, informed by the additional reading and study of works of art that you will have accomplished by the end of the semester.  The final essay is due on Wednesday, April 30, by 12:30 PM. 

Schedule of Class Topics (approximate)
Reading Slive in advance of each week's topic is strongly recommended. In addition, you are encouraged to read in Franits, Ackley, and Alpers early in the course.  The essays in Adams and the books by Schwartz and van der Wetering are to be read in connection with Rembrandt. An asterisk refers to a week in which a written assignment is given. 

Wk 1            The difference of Dutch art: style, culture, context     

Wk 2*            Dutch artists and Italy:
            Haarlem - Karel van Mander, Hendrik Goltzius, Cornelis van                   Haarlem;
Utrecht “Caravaggisti” - Abraham Bloemaert, Hendrik Terbrugghen, Gerard van Honthorst, Dirck van Baburen

Wk 3             New directions in Haarlem: Dutch Realism -
            Willem Buytewech, Esaias van de Velde, Jan van Goyen

Wk 4            The patrons, their portraits: Frans Hals in Haarlem

Wk 5*           Still-life paintings in Haarlem and Leiden

Wk 6             Pieter Lastman and the “Pre-Rembrandtists” in Rome and Amsterdam
           
Wk 7            Rembrandt and Jan Lievens in Leiden

Wk 8            [No class on Tuesday, Feb. 26] 
            Rembrandt      

Wk 9*            Rembrandt

Wk 10            Rembrandt

Wk 11            [Spring Break]

Wk 12      Mapping the Dutch world: landscapes, townscapes, and architectural views: Jan van Goyen, Salomon van Ruysdael, Jacob van Ruisdael, Pieter Saenredam, Philips Koninck, Meindert Hobbema, Aelbert Cuyp

            Dutch painters in Italy: Pieter van Laer and the Bamboccianti; the Italianate landscapists B. Breenburgh, C. Poelenburgh, N. Berchem, J. Asselijn, J. Both, J.B. Weenix

Wk 13*      Dutch interiors: Gerrit Dou, Gabriel Metsu, Jan                         Steen, Gerard Ter Borch, Nicolaes Maes, Adriaen van Ostade

Wk 14       Optics and perspective in Delft: Carel Fabritius, Johannes Vermeer, Pieter de Hooch, Gerard Houckgeest, Emmanuel de Witte

Wk 15            The Amsterdam Town Hall

Wk 16            Classicism and elite taste at the end of the Golden Age

ADA statement
The University of Utah seeks to provide equal access to its programs, services and activities for people with disabilities. If you will need accommodations in the class, reasonable prior notice needs to be given to the Center for Disability Services, 162 Union Building, 581-5020 (V/TDD). CDS will work with you and the instructor to make arrangements for accommodations.

All written information in the course can be made available in alternative format with prior notification to the Center for Disability Services.