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Dutch Masters: The Age of Rembrandt

Dutch Masters: The Age of Rembrandt

Professor William Kloss, M.A.
Independent Art Historian

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Dutch Masters: The Age of Rembrandt

Course No. 7180
Professor William Kloss, M.A.
Independent Art Historian
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4.9 out of 5
53 Reviews
79% of reviewers would recommend this series
Course No. 7180
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Course Overview

Holland in the 17th century was home to the most remarkable concentration of artistic talent and accomplishment in modern history. From this tiny land came the great masters Vermeer, Frans Hals, Jan Steen, Pieter de Hooch, and Rembrandt, as well as an abundant assembly of memorable artists.

To this day, these compelling pictures take our breath away-an unrivalled heritage of portraits, still lifes, landscapes, marine paintings, and profoundly observant images of everyday Dutch life that continue to grace museums throughout Europe and America.

Why are our eyes mesmerized by the glistening stream issuing from the pitcher in Vermeer's The Milkmaid? How does our understanding deepen with each moment we spend taking in the revealing details of his Woman Holding a Balance? What are the means that create the self-contained intimacy that glows from de Hooch's A Mother's Duty, or from his Interior with Women Beside a Linen Chest?

We are forever astonished by the inclusive sweep of Rembrandt's art, which encompasses the brooding power of The Mill and the moving immediacy of The Jewish Bride. That unsurpassed image of human devotion was painted with such astonishing bravura that Vincent Van Gogh, sitting spellbound before the painting in Amsterdam's Rijksmuseum two centuries later, was impelled to say: "One must have died several times to paint like that."

Learn What Made the Art of Holland so Special

What was it that made Holland so special, that nourished great masters and produced artists like Jan van de Cappelle, Meindert Hobbema, Jacob van Ruisdael, Pieter Saenredam, Gerard ter Borch, Hendrick Terbrugghen, and so many others?

And what of the extraordinary technical ability of Holland's artists? They commanded a realistic technique so descriptive and alive that their work seemed like a transcription of life itself. Many people today think of the Dutch artists as "realists." But is this really true? Were they, instead, the creators of a parallel reality-often preoccupied with concerns of faith and morality, and expressing deeper truths through the familiar realities they were painting?

Dutch Masters: The Age of Rembrandt will introduce you to the art of 17th-century Holland. It traces the development of this renowned, independent school of painting, and the great seafaring nation that produced the new society that would be reflected in that new art. The course concludes with the achievements of Holland's greatest and most versatile genius, Rembrandt, whose range of work-including his remarkable etchings-claims the final seven lectures.

Your introduction to this marvelous world is a visually sumptuous one, as Professor William Kloss-well known to Teaching Company customers from his A History of European Art and Great Artists of the Italian Renaissance-shows you the work of more than 100 artists and guides you through more than 450 masterful paintings.

How Deep Meaning Can Hide in the Tiniest Detail
Painting by painting, you'll see how each artist's technical choices-about composition, lighting, color, or brushstrokes, to name a few-contribute to a work's overall impact and statement. And you'll see how even the smallest detail of content can speak volumes. For instance, the artist may depict a room and include a painting hanging on a wall within that room, and that painting within the painting may have significant meaning. The same may be true of an artist's choice of background props or secondary figures in the painting.

Dutch artists created paintings that offered insights into history and commerce. They created great religious works that not only interpret biblical narratives but address the spiritual conflicts of the period. And they also placed on canvas every facet of daily domestic and social life in "genre" paintings, one of the most characteristic categories of Dutch art.

Whether you're new to art or an experienced museumgoer, Dutch Masters: The Age of Rembrandt is a delight, filled with insights into the explosive inventiveness of Dutch art as it interpreted and reinvented the reality of Holland-the most dynamic nation in 17th-century Europe.

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36 lectures
 |  30 minutes each
  • 1
    Art and Society in 16th-Century Netherlands
    This lecture outlines the art to be discussed and provides historical background about the Protestant Reformation, Catholic Counter-Reformation, and the beginning of the Eighty Years' War between the Northern Netherlands (Holland) and the Spanish-ruled Southern Netherlands (Flanders). x
  • 2
    The Years of Crisis in the Netherlands
    Political and religious clashes of the 1560s led to the Protestant rebellion and, ultimately, the independence of the northern provinces. This lecture concentrates on the art of this period, especially that of Pieter Bruegel the Elder. x
  • 3
    Art in Haarlem and Utrecht, c. 1530–1625
    We look at two significant art centers and works produced by Cornelis van Haarlem, Hendrik Goltzius, Abraham Bloemaert, and Hendrick Terbrugghen. x
  • 4
    Facing the Truth—Candid Portraits
    Portrait painting becomes prominent in Holland in the 17th century, with citizens of the new Dutch Republic eager to record the features of their families and their national leaders. x
  • 5
    Dutch Portraits, c. 1635–75
    We examine some of the finest Dutch portraitists, including Gerard ter Borch, Jan de Bray, and Bartolomeus van der Helst, and note the 1660s shift in taste that led to greater emphasis on artifice and display of skill. x
  • 6
    Frans Hals—The Early Years
    The first of three lectures on Hals—who in a career spanning more than half a century never left Haarlem—discusses his early single portraits and rare genre paintings from about 1611 to about 1633. x
  • 7
    Frans Hals—Civic Group Portraits
    During the same period covered in the last lecture, Hals painted a famous series of group portraits of the Civic Guard Companies of Haarlem. His vivid, animated compositions and vigorous paint surface contrasted strongly with similar portraits by others. x
  • 8
    Frans Hals—Later Portraits
    As Hals aged, he retained all of his astonishing skill and became more penetrating in his characterizations, seeming never to repeat a pose as he found a new invention, a new insight, for each painting. x
  • 9
    Town and City
    In this first lecture devoted to the most inclusive category of Dutch painting—genre painting, or scenes of everyday life—we focus on paintings of public places in town and city, primarily Haarlem and Amsterdam. x
  • 10
    Daily Life in the Town
    This examination of depictions of the public places—inns, taverns, barber and doctor establishments, shops, even brothels—includes the work of painters Judith Leyster, Adriaen van Ostade, and Job Berckheyde. x
  • 11
    Daily Life in the Home
    In Dutch homes of rich or poor or middle class, artists found plentiful settings for all sorts of scenes. Almost always the works carry deeper meaning than the action suggests to a modern viewer. x
  • 12
    Music and the Studio
    Music and art prove to be important genre subjects. Indeed, music was a preoccupation of Dutch art, with romantic and erotic connotations almost always present in musical subjects. x
  • 13
    Jan Steen—Order and Disorder in Dutch Life
    One of the greatest Dutch genre painters, Jan Steen is best known for subjects that often show boisterous activity, a subject seemingly at odds with Calvinist precepts of an orderly life. x
  • 14
    Pieter de Hooch and Quietude
    The quiet pervading much of the work of Pieter de Hooch presents an introverted style, in marked contrast to the extroverted, "loud" paintings of Jan Steen. x
  • 15
    Art in Delft
    The town of Delft was a crucial locale in Dutch history, commerce, and art. In art it will always be associated with Johannes Vermeer. x
  • 16
    Johannes Vermeer, c. 1655–60
    In the first of three lectures on Vermeer, we look at the unexpected beginnings of this short-lived artist, including some works that particularly display his characteristic and miraculous effects of light and profound silence. x
  • 17
    Johannes Vermeer, c. 1660–65
    Between 1660 and 1665, Vermeer painted subjects common to Dutch genre painting, including music and letter writing, but they are infused with his own aura. x
  • 18
    Johannes Vermeer, c. 1665–70
    This lecture includes discussions of renowned paintings like Girl with a Pearl Earring as well as the camera obscura, a visual tool assumed to have been used by Vermeer and other artists. x
  • 19
    Still-Life Painting, c. 1620–54
    This first lecture on still-life painting, a subject which often conveyed the moral of life's brevity, includes the work of Ambrosius Bosschaert, Pieter Claesz, Jan Davidsz de Heem, and Willem Claesz Heda. x
  • 20
    Still-Life Painting, c. 1652–82
    We conclude our examination of still-life painting with a look at the work of artists Samuel van Hoogstraten, Pieter Anraadt, Willem Kalf, Willem van Aelst, Abraham van Beyeren, and Jan Weenix, and also special categories such as illusionistic art, banquet pieces, and dead game. x
  • 21
    Landscape Painting—The Early Decades
    Dutch artists essentially invented naturalistic landscape painting, producing thousands of views of land and sea, in Holland and abroad. This is the first of seven lectures surveying the subject with examples ranging from Hendrik Goltzius around 1600 to the early work of Salomon van Ruysdael around 1630. x
  • 22
    Landscapes of Jan van Goyen and Rembrandt
    We look at the work of the first great genius of Dutch landscape specialists, Jan van Goyen, and also discover that only eight of Rembrandt's landscapes were paintings (he depicted them more often in drawings and prints). x
  • 23
    Foreign Landscapes
    The Dutch were world traders and colonizers, and their interest in the world beyond Holland was expressed in landscapes by painters who went on foreign missions and by others who traveled alone or with other artists, including Frans Post, Allart van Everdingen, and Jan Both. x
  • 24
    Landscape Painting in the 1640s and 1650s
    During the 1640s and 1650s, landscape painting developed from a tonal style to a more colorful style. We look at examples from the work of artists Salomon van Ruysdael, Aert van der Neer, Albert Cuyp, and Paulus Potter. x
  • 25
    Jacob van Ruisdael
    Unanimously agreed to be the greatest Dutch landscape painter, Jacob van Ruisdael produced potent landscapes that featured a rich blend of precise observation and vivid imagination. x
  • 26
    Dutch Landscape Painting until 1689
    This lecture continues with Ruisdael's painting before continuing with two other prominent landscape painters, Philips de Koninck and Meindert Hobbema. x
  • 27
    Marine Painting
    Marine painting—seascapes, beach scenes, lakes, and rivers—unsurprisingly received its first complete exploration by Dutch artists, who came from a nation that had a great navy and was under constant threat of flooding from the sea. x
  • 28
    The Moral of the Story—History Painting
    Although Dutch art is especially known for its specialties, from portraiture to landscape, many Dutch artists also made history paintings, depicting elevated narrative subjects from the Bible, mythology, and ancient or modern political history. x
  • 29
    The Decoration of the Amsterdam Town Hall
    The Town Hall of Amsterdam, when opened in 1655, was considered one of the grandest and most significant buildings in the country. We look at the art commissioned to adorn it. x
  • 30
    Rembrandt to 1630
    The first of seven lectures on Rembrandt includes details about two of his early self-portraits and two significant history paintings that signaled his lifelong dedication to the subject matter in which he would become pre-eminent. x
  • 31
    Rembrandt in Amsterdam, 1631–34
    This examination of Rembrandt's first years in Amsterdam, to which he moved permanently in 1631, includes Saskia, which may be his first portrait—even a wedding portrait—of Saskia van Uylenburgh, the woman he married in 1634. x
  • 32
    Rembrandt and the Baroque Style
    Although he never left Holland, Rembrandt was acutely aware of the extroverted drama of the Baroque style that characterized much Italian and Flemish painting, and it found a place in his art, especially in the mid-1630s, when he painted some of his most dramatic works. x
  • 33
    Rembrandt's Personal Baroque Style
    In the decade that follows, Rembrandt moved away from apparent emulation and reinterpretation of the European Baroque style toward the full maturity of his thirties and a personal Baroque style with a full range of size, subject, and expression. x
  • 34
    Rembrandt's Etchings
    Rembrandt's technical and expressive command of etching was unequalled. This lecture describes the process and examines a dozen examples from the 1630s to the 1650s. x
  • 35
    Rembrandt in the 1650s
    This lecture looks at portraits and religious paintings infused with the ever-deepening emotion and inwardness of Rembrandt's art that we first saw in several etchings discussed in the previous lecture. x
  • 36
    Rembrandt's Last Years
    This final lecture features some memorable paintings of the last decade of Rembrandt's life. It discusses the fascination Dutch artists showed in creating their seemingly realistic record of the world with a lifelikeness and truthfulness that have made Dutch art of the Golden Age recognized everywhere. x

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What's Included

What Does Each Format Include?

Video DVD
DVD Includes:
  • 36 lectures on 6 DVDs
  • 208-page printed course guidebook

What Does The Course Guidebook Include?

Video DVD
Course Guidebook Details:
  • 208-page printed course guidebook
  • List of works discussed
  • Suggested readings
  • Questions to consider

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Your professor

William Kloss

About Your Professor

William Kloss, M.A.
Independent Art Historian
Professor William Kloss is an independent art historian and scholar who lectures and writes about a wide range of European and American art. He was educated at Oberlin College, where he earned a B.A. in English and an M.A. in Art History. He continued his postgraduate work on a teaching fellowship at the University of Michigan and was then awarded a Fulbright Fellowship for two years of study in Rome. As Assistant Professor...
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Reviews

Dutch Masters: The Age of Rembrandt is rated 4.9 out of 5 by 53.
Rated 5 out of 5 by from Wonderful Background, Great Examples My husband and I watched this two lectures at a time. Now everything we see looks like a painting. There is just enough historical and contextual background to inform the marvelous examples. I have seen some of these works in museums, but have not been able to travel to see all of them. The lecturer is quietly witty and wonderfully in love with the subject. It's great to spend time with someone who enjoys sharing art.
Date published: 2017-08-06
Rated 5 out of 5 by from Love the Dutch Masters The Dutch paintings always stick in my memory after seeing them in museums. Now I have a better idea as to why.
Date published: 2017-06-03
Rated 4 out of 5 by from Good Information Good facts about the artist and the painting. But, would have liked more about painting procedures and skills.
Date published: 2017-03-09
Rated 5 out of 5 by from Prof Kloss blends art and history so well. Good background for a planned trip to Amsterdam
Date published: 2017-02-27
Rated 5 out of 5 by from Intellect and Emotion SO in Harmony w. Dr. Kloss This review is simultaneously for Dutch Masters (course 7180) and World’s Greatest Paintings (7126), both presented by Dr. Kloss. Not to worry: comments regarding the two courses close out my review. But most important is the information in my review on Dr. Kloss. Simply put, Dr. Kloss is an utterly superb speaker and lecturer. But choice of superlative adjectives on my part still would not convey much to you. Instead then, I give the following characterization of this truly outstanding lecturer. 100% objective fact-of-the-matter is that this speaker has no “uh”s in his speech – completely devoid of them. Such a fact is not crucially important. However, if a speaker is “always” saying “uh”, then the ever-present “uh”s can be a distraction. Nonetheless, it is not opinion here. Dr. Kloss does not say “uh”. OK, more substantively now: Dr. Kloss is a high-precision speaker – both literally (in his enunciation) and semantically (in his excellent word choices). Borrowing the language of linguistics, Dr. Kloss’ prosody (or melody of speech) is not cold and removed and overly-studied for such an erudite and high-precision speaker. I have heard (CD) a Great Course wherein such was the case: a high-precision speaker who was erudite but delivered in a totally overly-studied manner – as if he were reading the “book report” he wrote. Such cold, withdrawn, overly-studied speaking is NOT Dr. Kloss. Enough on that analysis of Dr. Kloss’ speaking manner and on to THE MOST IMPORTANT POINT I HAVE TO MAKE IN MY ENTIRE REVIEW: Dr. Kloss is SIMULTANEOUSLY and FULLY-HARMONIOUSLY COMBINING INTELLECTUAL IDEAS AND EMOTION in what he presents. For being such an erudite, knowledgeable, well-controlled, well-organized, high-precision enunciator, and high-precision semantics chooser, it is truly remarkable how much emotion Dr. Kloss conveys. Some of his descriptions brought tears to my eyes. But, totally honestly, a couple (or more) times I literally had tears in my eyes due to Dr. Kloss’ presentation itself: how wonderfully he engaged my cognitive mind and my emotion and that he did that for me – well I was literally weeping with joy. In our world are so many things we do for each other: cashiers taking our money, folks changing the oil in our car, doctors trying to fix us, et cetera. That’s great that we don’t have to do it all ourselves, á la Robinson Crusoe. But then there are folks that purely bring us joy: entertainers, athletes, artists, musicians. And then there’s Dr. Kloss who simultaneously – and fully and deeply – engages our cognitive mind and deep emotion. I’m tearing up even thinking about how this person accomplished this for me. That (preceeding paragraph) may – to you my review reader – seem overly hyperbolic, but, it is not. I literally was weepy with the beauty of it all – the art, the understanding, the emotion, and the emotion from what Dr. Kloss himself was doing (the meta-knowledge that he was doing it). Somehow I hope Dr. Kloss receives word of this review. I want to thank him for the marvelous way he so fully engaged me both intellectually and emotionally. And I hope Dr. Kloss continues to live with a very much longer and very happy life. He SO enriched my life. Interestingly – and then my promised comparison of the two courses – Dr. Kloss himself spoke words on the topic of combining the intellect and emotion. In the World’s Greatest painting course, Dr. Kloss said, quote: “Emotion and intellect are not separate analytical concepts. But intertwining strands in a living painting.” Dr. Kloss: you made me weep with joy realizing how you did this yourself in your presentation. I wish you a long and happy life still to come. Continuing the thought, Dr. Kloss said in lecture 6 of the 7126 course, “…self confident robust man who seems to be the embodiment of the ideal Renaissance humanism. A person whose intellect and emotions are in perfect harmony and under the control of wisdom.” That well-developed sentiment, my dear (and patient) review reader, is fully the case with Dr. Kloss himself. As for the two courses, I preferred slightly the Dutch Masters (7180) over World’s Greatest Paintings (7126). 7126 has equal counts per allotted historical time period of the paintings. I see no need for that. For example if there were more superb candidates in say the Renaissance or Baroque era, then include more of those era’s paintings than in the middle ages or more modern era. The other small quibble is that I think the World’s Greatest course over-emphasized religious paintings. The 7180 (Dutch Masters) course I therefore liked better. There is a surprising variety there (hence the 36 lectures). The subtitle about “age of Rembrandt” is very misleading. The Dutch Masters is not Rembrandt + footnotes! Still, if you want an even larger variety, then the World’s Greatest will have that – including, by the way, many paintings from the Dutch Masters (some of which are merely referenced rather than “selected”). But don’t get me wrong: There were paintings I loved in the Greatest Paintings course and they were not just the selections from the Dutch masters that were what I liked. Really I think you should get both courses.
Date published: 2017-02-03
Rated 5 out of 5 by from Better Than Going To A Gallery I watched this course on my 46" TV. I thought it was like I was at the art gallery and had my own personal tour of the Dutch Masters. Professor Kloss seemed very knowledgeable on the subject. His presentation was very professional. There were times I thought he should stop speaking so to keep up with what he had to say. I found myself dosing off once in a while and had to rewind the DVD to catch up. (That's just my usual response in a learning situation.) Some times I thought Professor Kloss interjected a little more than what was actually in the picture. It was good to see all the different paintings by different artist. Great course!
Date published: 2016-12-30
Rated 5 out of 5 by from Enlightening and satisfying This is my first course (DVD) by Professor Kloss and certainly will not be my last. He combines elegance, enthusiasm, restraint and eloquence in a pleasing lecture style. He clearly loves the art and the artists of this course and works to reveal their greatness to us. As an old Art History major, I have heard and seen my share of lectures and lecturers. Professor Kloss is exceptional. I seemed to flow through the course with a continued curiosity and eagerness for each coming lecture. Learning about the Dutch Masters: The Age of Rembrandt was fascinating and well-organized and I am left with a greater understanding and appreciation of the era. I will probably watch it again. Professor Kloss has a dignified and restrained style and his voice is very pleasant as well. I think you can tell I liked it very much!
Date published: 2016-06-24
Rated 4 out of 5 by from Good overview Kloss does a good job of presenting a wide array of artists and paintings. He is a practiced presenter; he has learned good moments to pause and make a clarification or aside, even if the asides are sometimes fussy. He follows solid teaching guidelines (present a framework, fill it in slowly, illustrate, and branch to associated material). Visuals are excellent, used at both whole object and detail level, w on screen text and pointers. Some context/history is usually provided, making the material more meaningful to contemporary minds. A negative note: Kloss heavily sprinkles lessons with empty superlatives (beautiful, lovely, wonderful) which is not expected by a university lecturer -- it becomes annoying. Also, while it is important to guide the viewer’s eye and teach how to see keenly, once this is established in early lectures more time could have been spent on artist technique and context vs just explaining what is in the picture. Overall, a generous survey of Dutch art; one that begs further study.
Date published: 2015-09-26
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