Fifteenth-Century Netherlandish Art II: The Age of Hans Memling (Online) (10 credit points)

Pre-requisites for enrolment

Students will need to be able to confidently use videoconferencing software and be comfortable with using websites.

Special Information

In order to participate in this course, you will need access to a computer with a speaker, microphone and a good internet connection. An internet browser is required to access the online learning platform. Google Chrome or Mozilla Firefox are the recommended browsers.

Content of Course

1. The Burgundian Court and its identity as the arbiter of taste in Europe. Petrus Christus, successor to Jan van Eyck, Madonna of Jan Vos, Goldsmith in his Shop, the first advertising billboard? Last Judgement.

2. Dirk Bouts, his relationship to Jan van Eyck and Rogier van der Weyden. The Lamentation and the Last Judgement.

3. Hans Memling, the most successful portraitist of his generation in the Burgundian Netherlands, Portrait of a Man with a Pink, Portrait of Gilles Joye, Portrait of William and Barbara Moreel.

4. Petrus Christus, portraiture, Portrait of a Carthusian, Portrait of a Young Girl.

5. Hugo van der Goes, melancholy and mediocrity, The Death of the Virgin, Monforte Altarpiece, Nativity with Shepherds.

6. Hans Memling part 2, a medieval mystery, the Last Judgement and Hugo van der Goes, the Portinari Altarpiece.

7. Netherlandish Art in transition: Quentin Matsys; Geertgen tot Sint James and Jan Gossart.

8. The Music of the Burgundian Netherlands expressed in the paintings.

9. The Art of Magnificence; the shaping of society in the fifteenth century, the sumptuary laws, the role of the chivalric code, the changing social order. Illuminated manuscripts.

10. Gerard David, the Justice of Cambyses, the Virgin among Virgins, the Nativity Triptych.

Teaching method(s)

This course will be delivered via live online sessions.

Learning outcomes

By the end of this course, students should be able to:

• Demonstrate a wide-ranging knowledge of the major Netherlandish artists;

• Appreciate their role in the changing status of the artist;

• Understand the role of patronage for art production during this period;

• Critically engage with the historical circumstances and extant evidence.

Sources

Core Readings

Students should not purchase books until the course is confirmed to run, and their teacher instructs them to do so.

Essential:

The relevant chapters of either:

• Gombrich, E.H., 2000. The Story of Art, 4th ed. London: Phaidon.

• Honour, H., and Fleming, J., 1995. A World History of Art, 4th ed. London: Lawrence King.

Recommended:

• Friedländer, M., 1981. From van Eyck to Bruegel (Landmarks in Art History), 4th ed., Oxford: Oxford University Press.

• Harbison, Craig, 2003. The Mirror of the Artist, New Jersey: Prentice Hall.

• Nash, Susie, 2008, Northern Renaissance Art, Oxford: Oxford University Press.

Assessments

10 credit courses have one assessment. Normally, the assessment is a 2000 word essay, worth 100% of the total mark, submitted by week 12. To pass, students must achieve a minimum of 40%. There are a small number of exceptions to this model which are identified in the Studying for Credit Guide.

Studying for Credit

If you choose to study for credit you will need to allocate significant time outwith classes for coursework and assessment preparation. Credit points gained from this course can count towards the Certificate of Higher Education.

Queries

If you have questions regarding the course or enrolment, please contact COL Reception at Paterson's Land by email COL@ed.ac.uk or by phone 0131 650 4400.

Student support

If you have a disability, learning difficulty or health condition which may affect your studies, please let us know by ticking the 'specific support needs' box on your course application form. This will allow us to make appropriate adjustments in advance and in accordance with your rights under the Equality Act 2010. For more information please visit the Student Support section of our website.