ECTS credits ECTS credits: 9
ECTS Hours Rules/Memories Student's work ECTS: 148.5 Hours of tutorials: 4.5 Expository Class: 36 Interactive Classroom: 36 Total: 225
Use languages Spanish, Galician
Type: Ordinary Degree Subject RD 1393/2007 - 822/2021
Departments: History of Art
Areas: History of Art
Center Faculty of Geography and History
Call: First Semester
Teaching: With teaching
Enrolment: Enrollable
Goal of the course
This course is designed to provide the basic knowledge of Renaissance Art, pointing out its more important achievements. The students will also develop the skills to recognize the figurative and architectural codes of a time that would create the cultural parameters of the western civilization until the XX century.
After analyze the specific nature of the Renaissance, it will be studied the creation of the new artistic languages, focusing in the most important artistic proposals of the period, particularly in Italy.
Syllabus:
Unit I. Renaissance: concept and meaning. Renaissance and renaissances. Art and Science. The ancient classical model. Artists and clients.
Unit II. The architecture in Italy. The XV century: From the “first lights” to “dawn”. Brunelleschi and Alberti.- The XVI century: The height of the regular system and the license. Vignola and the Rule. The Venetian renovation.
Init III. Figurative arts in Iyaly. The Quattrocento: Lack of stylistic definition and normative investigation. Florence in the first half of century. The last Florentine generation. Padua. Ferrara. Venice.- The Cinquecento: The High Renaissance or the Time of the Genius. Anticlassicism and Mannerism. Venice.
Unit IV. The Renaissance diffusion in Europe.
BASIC: Freedberg, S. J., Pintura en Italia 1500-1600, Madrid, 1978. Heydenreich, L.H. y Lotz, W., Arquitectura en Italia 1400-1600, Madrid, 1991. Nieto Alcaide, V. El arte del Renacimiento, Madrid, 1996. Ídem y Checa Cremades, F., El renacimiento. Formación y crisis del modelo clásico, Madrid, 1980. Pope-Hennessy, J., La escultura italiana en el Renacimiento, Madrid, 1989. Ídem, Italian High Renaissance and Baroque Sculpture, Nueva York, 1985.
COMPLEMENTARY: Antal, F., El mundo florentino y su ambiente social. La república burguesa anterior a Cosme de Médicis: siglos XIV-XV, Madrid, 1987. Argan ,G.C., Renacimiento y Barroco, Madrid, 1987. Blunt, A., Arte y arquitectura en Francia, 1500-1700, Madrid, 1977. Ídem, La teoría de las artes en Italia 1450-1600, Madrid, 1979. Burke, P., El renacimiento italiano. Cultura y sociedad en Italia, 1450-1600, Madrid, 1993. Chastel, A., El renacimiento meridional 1460-1500, Madrid, 1965. Ídem, El gran taller de Italia 1460-1500, Madrid 1966. Ídem, Arte y humanismo en Florencia en la época de Lorenzo el Magnífico, Madrid, 1982. Ídem, El saco de Roma, Madrid, 1986. Ídem y R. Klein, El humanismos, Madrid, 1971. Checa Cremades, F, Pintura y escultura del Renacimiento en España, Madrid, 1983. Fusco R., El Quattrocento en Italia, Madrid, 1999. Gombrich, E. H., El lagado de Apeles. Estidios sobre el arte del Renacimiento, Madrid, 1982.Ídem, Imágenes simbólicas. Estudios sobre el arte del Renacimiento, Madrid, 1983. Ídem, Norma y forma. Estudios sobre el arte del renacimiento, Madrid 1984. Ídem, Nuevas visiones de viejos maestros. Estudios sobre el arte del Renacimiento, Madrid, 1987. Heydenreich, L.H., Eclosión del Renacimiento. Italia 1400-1460, Madrid, 1972. Ídem y Passavant, G., La época de los genios.Renacimiento italiano 1500-1540, Madrid, 1974. Keller, M., El renacimiento italiano, Madrid, s.a. Marías, F., El largo siglo XVI. Los usos artísticos del Renacimiento español, Madrid, 1989. Murray, P., Arquitectura del Renacimiento, Madrid, 1972. Murray, L., El Alto Renacimiento y el Manierismo, Barcelona, 1995. Murray, P. y L., El arte del Renacimiento, Mexico, 1965. Paleotti, J. T. y Radke, G. M., El arte en la Italia del Renacimiento, Madrid, 2002. Panofsky, E., Estudios sobre iconología, Madrid, 1972. Ídem, La perspectiva como forma simbólica, Barcelona, 1973.Ídem, Renacimiento y renacimientos en el arte occidental, Madrid, 1975. Ídem, Los primitivos flamencos, Madrid 1998. Ramirez, J.A. (coord.), Historia del Arte, vol. 3, Madrid, 1997. Rowe C. y Satkowski L., La arquitectura del siglo XVI en Italia, Barcelona, 2013. Shermann, J., Manierismo, Bilbao, 1984. Warburg, A., El Renacimiento del paganismo. Aportaciones a la historia cultural del Renacimiento europeo, Madrid, 2005. Waterhouse, E. Pintura en Gran Bretaña 1530-1790, Madrid, 1993 (primera parte). Wilde, J., La pintura veneciana de Bellini a Ticiano, Madrid, 1988. Wind, E., Los misterios paganos del Renacimiento, Bercelona 1872. Wittkower, R., Los fundamentos de la arquitectura en la edad del humanismo, Madrid, 1995. Wölfflin, H., Conceptos fundamentales de la historia del arte, Madrid, 1970. Ídem, El arte clásico. Una introducción al renacimiento italiano, Madrid, 1982.
The student will learn to
– Familiarize with a crucial period of our civilization.
– Recognize the Renaissance languages.
– Experiment different ways of approaching to the artistic product.
– Improve the analysis of the Work of Art.
The professor will lecture from a multidisciplinary perspective that allows the study of the work of art as a whole, insisting on the Morphological aspects, with the purpose of sensitizing the retina in relation with specific forms of expression; Iconographic to understand their meaning; and Cultural to contextualize the studied art works.
The Practice Classes, on one side, will focus on the analysis and comment of different art works in relation with the materials developed by the professor, with the purpose that the students use the acquired knowledge, to learn how to see and to contextualize the artistic phenomenon, solving all the problems that appear in the learning phase. On the other side, students, individually or in groups, might be asked to summarized articles or book chapters for their presentation and discussing in class; to do and reasoned certain readings for its discussing in class; and to write a papers about certain parts of the subject and that will also be object of discussion with the professor.
It is advisable the consult of the Handbooks before each class so the student has a general idea of the materials.
Offices ours will most like take place online, through Microsoft Teams, and will be scheduled via email.
Grades:
Class Participation and Homework/Written Papers: 30%
Written Test 70%
In order to get a final grade, students will have to score, at least, 50% on each of the parts. In case of a failing grade, students will have a second opportunity to pass the class by taking a final exam, at a date provided in the official schedule.
Absences:
Class attendance is mandatory. Students are allowed only 20% absence in this course. A student who exceeds this absence threshold will get 0% of the class participation grade and won’t be allowed to take the written test on the first opportunity. Those student will have to take the final exam.
Following the Instruction Nº 1/2017 of Secretaría Xeral, students who are exempt from attendance in certain situations will be evaluated with a specific final exam (100%). Exemption from attendance must be authorized in advance by the university.
The student will be subject to the disciplinary measures included in Regulations for evaluating students' academic performance and reviewing grades.
Mandatory class attendance
-Lectures 51 hours
-Workshops 24 hours
-Office hours 3
Personal Study and work outside the classroom
-Between 45-60 Minutes per Theoretical Hour of Class.
-3 Hours of Preparation per each Practice Class.
-15 Hours to write the personal paper.
How to prepare for the class
- The Obligation of the Students, from the third week on, is to keep the materials giving by the professor during his lectures up to date, so there can be a productive discussion during the interactive classes. Do not forget that proper visual learning requires a Continuum work and effort.
-To ask the professor at any time, the explanations that the student considers necessaries in relation with those aspects that along the lectures or in the interactive classes were not clear enough, so the students should not leave the classroom having the any doubts about the theme of the lecture or the discussion.
-To make use of the interactive classes to solve any doubts the student has.
CONTINGENCY PLAN
In the event that the "adapted normality" would not be feasible, the University of Santiago de Compostela considers two possible scenarios: “social distancing” and “school shut down”.
In both cases, the following criteria apply:
CONTENTS
Syllabus will be maintained.
TEACHING METHODOLOGY
Synchronous teaching and attendance is mandatory. Students will have to use the basic bibliography to complement the lectures in addition to some specific readings for the interactive classes.
For the lectures, students could be asked to prepare, present and defend, preferably in small groups established by the professor, a series of topics. The professor will determine which groups will present and defend those topics. Each topic will be prepared by two different groups so that the information received by the students is as complete as possible. All materials presented by students will be subject to testing, so students should take notes in class. In rare occasions, some of these topics will be individually prepared by each student and discussed among the class.
For the interactive classes, on one hand, students are expected to: review articles or book chapters, which will be presented and discussed in class; do reasoned readings that will also be the subject of class discussion; and analyze a certain number of works that the professor will assign to each student. All homework will be done individually and will follow the following structure: preparation, in-class presentation and discussion. Once again, all materials presented by students in these classes will be subject to testing, so students should take notes in class. On the other hand, students might be asked to submit all materials to professor to review.
Offices hours will take place online, through Microsoft Teams, and will be scheduled via email.
ASSESEMENT SYSTEM
The proportionality of the grades will be altered between lectures and interactive classes, which will go from 70 and 30%, respectively, to 60 and 40%. There are two pathways for evaluation. The first option is a grade based on continuous evaluation throughout the semester without a final exam. The second option is a final oral exam that tests students on the entirety of the content from the essential bibliography provided.
Absences will be penalized by a later grade. If absences are more than 20% the student will automatically be evaluated on the final oral exam.
COMMUNICATION
Will be conducted through Microsoft Teams, the USC learning management system “Aula Virtual” and via email.
Andres Antonio Rosende Valdes
Coordinador/a- Department
- History of Art
- Area
- History of Art
- Phone
- 881812596
- andres.rosende [at] usc.es
- Category
- Professor: University Professor
| Monday | |||
|---|---|---|---|
| 15:30-17:30 | Grupo /CLE_01 | Spanish | Classroom 10 |
| Tuesday | |||
| 17:30-19:30 | Grupo /CLE_01 | Spanish | Classroom 10 |
| Wednesday | |||
| 15:30-17:30 | Grupo /CLE_01 | Spanish | Classroom 10 |
| 01.11.2021 11:30-14:00 | Grupo /CLE_01 | Virtual classroom |
| 06.30.2021 11:30-14:00 | Grupo /CLE_01 | Classroom 10 |
| 06.30.2021 11:30-14:00 | Grupo /CLE_01 | Classroom 12 |