ECTS credits ECTS credits: 6
ECTS Hours Rules/Memories Student's work ECTS: 99 Hours of tutorials: 3 Expository Class: 24 Interactive Classroom: 24 Total: 150
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
1. Acquire general and particular knowledge about art and its historical, cultural and aesthetic circumstances in the period from the Enlightenment to the movements of the late 19th century (1750-1900), knowing how to contextualize them.
2. Understand and differentiate the various formal languages that occur in this chronological period, not only in a stylistic but contextual sense.
3. Know how to carry out a critical analysis and frame the work of art in the appropriate contexts in which it was created and relate it to other forms of cultural expression.
4. Value and identify the importance of the artistic movements of the period and the searches of the artists in the development of subsequent artistic cultures.
5. Acquire the basic methodological and critical tools that allow one to enter the exercise of research, developing skills related to obtaining, analyzing and treating bibliography and written and visual sources, and the management of ICTs.
SUBJECT 0: INTRODUCTION TO CONTEMPORARY ART
The problem of periodization and style
Philosophical historical context: the Enlightenment
From Baroque and Rococo to Neoclassicism
SUBJECT 1: NEOCLASSICISM
France: The purist recovery of Classicism: architecture
France: Art and Moral Principles: David
France: Stylistic alternatives: Greuze, Girodet, Ingres, Gros
Spain: Goya at the crossroads of his time
France: from the Revolution to the Empire style: Souflot, Ledoux, Boullé
England and North America: the neopalladian movement
Italy: Wincklemann and the triumph of the classic: Canova and Thordvalsen
SUBJECT 2: ROMANTICISM
Europe: Historicism and eclecticism: revivals and neos in architecture
France: Neo-Gothic and Viollet-le-Duc
Spain: Spain and Neomudejar: Rodríguez Ayuso
England: The Visionaries, Füssli and Blake
Germany: The Nazarenes
France: The Romantic Triumph: Géricault and Delacroix
England: The Sublime: Friedrich and Turner
England: Constable and Landscape
France: The Delaroche Way
Spain: History Painting: Pradilla and Gisbert
SUBJECT 3: REALISM
France: Daumier, Millet, Courbet: the epic of work, the poetics of the rural
France: The Paris of Urban Leisure: Manet
Spain: The Madrazos and the portrait
SUBJECT 4: PRE-RAFAELISM
England: Against Academic Art: Millais, Rosetti, Hunt
SUBJECT 5: IMPRESSIONISM AND POST-IMPRESSIONISM
France: The Triumph of Light: Monet, Renoir, Degas, Pissarro
France: Post-Impressionist Searches: Cézanne, Gauguin, Van Gogh and Toulouse-Lautrec
France: Neo-Impressionism or Pointillism: Seurat and Signac
Spain: The luminism of Sorolla, Fortuny and Rosales
France: Women painters and sculptors: Morissot, Cassat, D'Affry
France: Impressionist Sculpture: Rodin
SUBJECT 6: THE ARCHITECTURE OF ENGINEERS
Europe: The great urban transformations: the extensions
Europe: World Expos and Globalization
United States: The Chicago School
SUBJECT 7: SYMBOLISM
Austria: Klimt, between art nouveau and symbolism
France: The decline of Moreau
France: Redon's Dream
Norway: The anguish of Munch, precursor of Expressionism
SUBJECT 8: THE ART NOVEAU OR MODERNISM
Europe: The Triumph of Arts and Crafts
Czech Republic: Mucha's decorativeism
Belgium: Horta and the architecture of Art Noveau
Spain: Catalan Noucentisme: Casas and Rusiñol
Spain: Imagination to power: Gaudí
EPILOGUE: AT THE GATES OF THE AVANT-GARDE
Basic
BOIME, A. Historia social del arte moderno, 2 vols., Madrid, 1994 y 1996.
DAIX, P. Historia cultural del arte moderno. De David a Cezanne. Madrid, 2002.
EISENMAN, S. et. al. Historia crítica del arte del siglo XIX. Madrid, 2001.
FUSCO, R. Historia de la arquitectura contemporánea. Madrid, 1991.
MARTÍNEZ CALZÓN, J. La pintura del siglo XIX. Una visión estético-conceptual. Madrid, 2016.
REYERO, C. Introducción al arte occidental del siglo XIX. Madrid, 2014.
ROSENBLUM, R. y JANSON, J. Arte del siglo XIX. Madrid, 1992.
Specific
ARNALDO CUBILLA, J. El movimiento romántico. Madrid, 1989.
BRYSON, N. Tradición y deseo. De David a Delacroix. Madrid, 2002.
CLARK, K. La rebelión romántica. Madrid, 1990.
CROW, T. E. Pintura y sociedad en el París del siglo XVIII. Madrid, 1989.
DENVIR, B. El postimpresionismo. Barcelona, 2001.
DENVIR, B. Historia del Impresionismo. Madrid, 2009.
DIEGO, E. La mujer y la pintura del XIX español. Madrid, 2009.
FRIENDLAENDER, W. De David a Delacroix. Madrid, 1989.
HENARES CUÉLLAR, I. y GUILLÉN MARCOS, E. El Arte Neoclásico. Madrid, 1992.
HITCHCOCK, H. R. Arquitectura de los siglos XIX y XX. Madrid, 2002.
HONOUR, H. El Romanticismo. Madrid, 1981.
HONOUR, H. El Neoclasicismo. Madrid, 1982.
JAMME, C. El movimiento romántico. Madrid, 1998.
LUCIE-SMITH, E. El arte simbolista. Barcelona, 1991.
LÓPEZ VÁZQUEZ, J. M. Los caprichos de Goya y su interpretación. Santiago de Compostela, 1982.
NOCHLIN, L. El Realismo. Madrid, 1981.
PEVSNER, N. Los orígenes de la arquitectura moderna y del diseño. Barcelona, 1992.
RAMÍREZ, J. A. (dir.). El mundo contemporáneo. Madrid, 1997.
REWALD, J. Historia del impresionismo, 2 vols. Barcelona, 1972.
SHIFF, R. Cezanne y el fin del impresionismo. Madrid, 2002.
SMITH, P. Impresionismo. Madrid, 2006
WALTHER, I. F. La pintura del romanticismo. Madrid, 1999.
THOMPSON, B. El postimpresionismo. Madrid, 1999
THOMPSON, B. El impresionismo. Bacelona, 2001.
TOMAN, R. Neoclasicismo y romanticismo. Barcelona, 2000.
VAUGHAN, W. Romanticismo y arte. Barcelona, 1995.
Generals
1. Acquire skills for the development of instrumental and relevant learning: capacity for analysis, synthesis, organization and planning, problem solving, access and information management, critical reasoning, autonomous learning and oral and written expression.
2. Acquire skills related to the appreciation of the work of art: sensitivity towards issues related to historical and cultural heritage, recognizing creativity, originality, transcendence and aesthetic values. Appreciate and interpret different styles of Art History in a particular way.
3. Develop skills to apply the management of new information and communication technologies (ICTs), the Internet and its digital resources to the discipline of Art History.
Specific
1. Acquire a systematic and integrated knowledge of contemporary art, from the Enlightenment to the end of the 19th century, with the ability to contextualise, analyze and differentiate the artistic manifestations of that period.
2. Distinguish, appreciate and systematize integrated knowledge of the artistic fact: different languages (architecture and urbanism, sculpture, painting, applied arts, etc.), procedures and techniques, and the evolution of each of them.
3. Know and apply the basic rules of construction of academic essays and critical thinking, adapting it to the specific case proposed for the final project.
The teaching-learning methodology is theoretical-practical, the result of the combination of:
1. Exhibition sessions: Class attendance is mandatory. The teacher will explain the theoretical contents using the magisterial lesson and promoting the participation of the students. The sessions will be supported by audiovisual material.
2. Interactive sessions: Students will work in pairs on an artist or stylistic movement, determined in advance by the teacher. The teacher will give some basic guidelines for preparing this, as well as support bibliography and monitoring throughout the process whenever the student requires it. The work will be exposed in the interactive sessions.
3. Individual tutorials: The students will use the tutorials to solve the doubts that arise in everything related to the subject, but especially in the process of preparing the work. In them, the teacher will carry out a personalized follow-up, adjusting each work structure to its content and sources.
4. Field practice: A field practice is contemplated, in the Museum of Fine Arts of Coruña, in coordination with the rest of the subjects and subject to financing by the Faculty, on a mandatory and evaluable basis.
• The evaluation will be continuous. The final mark will be the result of the four scores of the evaluation instruments:
1. Exam: percentage of 70%. Recognition of pictures seen and not seen in class. Results to be evaluated: Differentiation of the styles explained in class and their general characteristics applied to the work, chronological framing, identification of the artist, correct wording, etc.
2. Work: percentage of 20%. Results to be evaluated: Work planning, search and management of information and sources, correct oral expression, management of ICTs, management of scientific bibliography, conclusions that reflect critical thinking.
3. Assistance: percentage of 10%. Results to be evaluated: Attendance at the 10 interactive sessions in which the roll will be called
• To pass the subject with continuous evaluation it will be necessary to pass the two parts (exam and work) separately with a minimum score of 5/10. The continuous evaluation will be lost if there is a percentage of faults greater than 30% (3 faults), even if work has been presented, it being mandatory to recover the interactive ones through a higher part in the theoretical exam.
• If on the date of the first call written test (May/June), the exam or the interactives are failed, you must attend the extraordinary call (June/July) only with the corresponding parts failed. The approved parts will be saved for the final grade.
• If the student is exempt from attendance by granting a waiver, according to the criteria stipulated in the USC regulations (according to Instruction no. 1/2017 of the General Secretariat on the waiver of class attendance in certain circumstances), will be evaluated with a specific written test that will mean 100% of the qualification.
Face-to-face: 51 hours (Master classes: 32 hours, Interactive lessons: 16 hours, Tutorials: 3 hours)
Non-face-to-face: 99 hours (Autonomous study: 55 hours, Preparation of interactives: 22 hours, Individual work on the dictionary: 22 hours)
Total: 150 hours
For a good follow-up of the subject, it is essential to have motivation and work capacity, attending the face-to-face sessions and fulfilling the non-face-to-face activities in the established times. We recommend that the student consult the bibliography proposed in the program, and that he attends the tutorials whenever he needs it. It would be convenient for the student to have the ability to read in a foreign language, in addition to basic computer skills.
- Attention to diversity: Royal Legislative Decree 1/2013 of November 29th, which approves the “Consolidated Text of the General Law on the rights of people with disabilities and their social inclusion”, published in the BOE (December the 3rd, 2013) will be applied. Link
- Fraudulent performance of tests: the stipulation of the USC regulations regarding “Evaluation of the academic performance of students and review of qualifications” published in the DOGA (July the 21st, 2011) will be applied. Link
Ana Perez Varela
Coordinador/a- Department
- History of Art
- Area
- History of Art
- ana.perez.varela [at] usc.es
- Category
- Professor: LOU (Organic Law for Universities) PhD Assistant Professor
| Monday | |||
|---|---|---|---|
| 15:00-17:00 | Grupo /CLE_01 | Spanish | Classroom 12 |
| Wednesday | |||
| 15:00-17:00 | Grupo /CLE_01 | Spanish | Classroom 12 |
| 01.15.2024 11:30-14:00 | Grupo /CLE_01 | Classroom 10 |
| 01.15.2024 11:30-14:00 | Grupo /CLE_01 | Classroom 12 |
| 06.25.2024 11:30-14:00 | Grupo /CLE_01 | Classroom 12 |