History of Visual Arts

Code:

10127C1

Acronym:

10127C1

Instance: 2010/2011 - 2S

Active?	Yes
Responsible unit:	Arquitectura (A)
Course/CS Responsible:	Integrated Master Degree in Architecture

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
MIARQ	77	MIARQ	1	-	3	-

Teaching language

Portuguese

Objectives

The discipline of History of Visual Arts aims to question the relationship between History and Visual Arts. Because there are different methodological conceptions of art history and because many are their study subjects, an interpretive and critical "formation" of the Space while generating and integrating theme of the artistic experience, will be promoted.

Considering the main field of architecture is the Space and that images coexist with the vast territory of memory and visual culture, is understood as essential to the formation of the architect to integrate the study and critical reflection of images and representations over the times. The contents of this course deal mainly with the understanding and articulation of ideas, concepts and methods of work with which it is possible to question the experience of space and the interpretation of their respective historical contexts.

From cases and paradigms and from the relation between images and texts of the History of the Arts, we inquire the nature of relationships and transformations that make up the game of representation and creation (s) space (s). These relationships and transformations configure a phenomenological framework in which the body's role, the technical means and the function of memory and narratives are the matter of research in the arts and the reason for a temporal analysis, formal and expressive images and symbols.

It is important that students learn to identify the concepts, tools and working methods. Students should be capable to problematize subjects as a result of the study of formal analogies or content between different spaces and different times. More than the aesthetic or stylistic identification, beyond the logic of the linear progress of history or the arts, students should relate, articulate, assemble, to better interpret the anachronisms that interweave time, shapes and dynamics of cultural and expressive (s) space (s).

Program

In the second semester we dealt with the contents listed in Sections III and IV of the programme.

III.
Space and its fictions: representations and places.
From Tomb to monument.
From architecture to design.
Paleolithic and contemporary art.
In face of tne image: Anachronism and Assembly.

IV.
Case studies: analysis and study of works.
From Chauvet to the performing art.
Proportion and the classical order.
Christian Imago.
Perspective in the Renaissance.
Inflection of the Mannerist line.
Ellipsis in baroque art
The return of the figure. Clacissism and Neo-Classicism.
The visual tension of the sublime: romanticism.
The "indifference" and temperament. Realism and Naturalism.
The agitation of modernism, the avant-garde and contemporary art.

Mandatory literature

ARGAN, Giulio Carlo; FAGIOLO, Maurizio; Guia de História da Arte, Lisboa, Editorial Estampa, 1992. ISBN: ISBN 972330970X
BELTING, Hans; Art History after Modernism, Chicago and London: The University of Chicago Press, 2003 . ISBN: ISBN 0226041859
BELTNG, Hans ; Pour une anthropologie des images, Paris: Gallimard, 2004. ISBN: ISBN 207076799X
DIDI-HUBERMAN, Georges ; Devant l’image, Question posée aux fins d‘une histoire de l’art, Paris: Ed. de Minuit, 1990. ISBN: ISBN 270731336X
DIDI-HUBERMAN, Georges ; Confronting Image, Questioning the Ends of a Certain History of Art, Pennsylvania State University Press, 2009. ISBN: ISBN 0271024720
MANGUEL, Alberto ; Le Livre d’Images, Arles: Actes Sud, (2001), 2009. ISBN: ISBN 9782742785629
MANGUEL, Alberto ; Reading Pictures: What We Think About When We Look at Art, London: Random House, 2002. ISBN: ISBN 0375759220
PANOFSKY, Erwin ; Estudos de Iconologia. Temas Humanísticos na Arte do Renascimento, Lisboa: Editorial Estampa, 1986 [1939]
PANOFSKY, Erwin ; La Perspective comme forme symbolique, Paris: Éditions de Minuit, 1975. ISBN: ISBN 2707300918
RIEGL, Alois; Grammaire Historique des Arts Plastiques, Paris: Klincksiek, 1978. ISBN: ISBN 2252020571
WOLFFLIN, Heinrich ; Conceitos Fundamentais da História da Arte, São Paulo: Martins Fontes, 1996
WORRINGER, Wilhelm ; Abstraction and Empathy: A Contribution to the Psychology of Style, Lanham: Ivan R. Dee, Publisher, 2007. ISBN: ISBN 1566631777

Teaching methods and learning activities

For each teaching module, the teacher will make oral presentations on the themes of the programme. Concepts and artistic trends from the standpoint of historical, social and cultural, always accompanied by an analysis of images and texts considered significant, will be presented in class.

In the second semester, the academic contributions will be supplemented by presentations and critical comments derived from the students works.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Description	Type	Time (hours)	Weight (%)	End date
Attendance (estimated)	Participação presencial	24,00
	Total:	-	0,00

Eligibility for exams

Frequency of 75% of classes.

Calculation formula of final grade

Weighted average number of evaluations of the practical work of the group (50%) and the completion of a written test to evaluate knowledge gained (50%).

Examinations or Special Assignments

Not applicable

Special assessment (TE, DA, ...)

Development of a practical study with a theme decided between the student and teacher.

Classification improvement

Final exam consisting of an oral exam for students with a grade higher than 8 on any given subject and a weighted value of 50% on the classification already obtained.