Art History II

Code:

HA102

Acronym:

HAII

Keywords
Classification	Keyword
OFICIAL	Art Sciences

Instance: 2012/2013 - 2S

Active?	Yes
Responsible unit:	Ciências da Arte e do Design
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	125	Official Study Plan 2011	1	-	3	34	81
DC	64	Licenciatura em Design de Comunicação	1	-	3	34	81

Teaching language

Suitable for English-speaking students

Objectives

This course is intended to provide students of various courses of FBAUP a common area of reflection on art, as part of cultural systems that have been changing over time and which differ in the various civilizations that originated them. Thus, the course’s program will be structured around major themes, which can raise the confrontation and dialogue among students with very different experiences and motivations. The course covers the historical period of the early Renaissance, which gave rise to wonderful artistic productions that played a key role in the development of Western consciousness. The approach will be both historical and thematic, aiming to give students the analytical tools fundamental to the study and appreciation of Renaissance art, both in its original socio-historical context, and on their importance and universal significance. The aim is to stimulate interest in reading of contemporary texts, studies and essays, and develop the capacity to understand the images, providing students with tools to observe and interpret the art object. The confrontation with artworks, themes and issues essential to the history of art will enable each student to weave its own basis for reflection. Based on major artworks, and other lesser-known examples of the history of Western art, we will attempt to provide students with a common critical language, giving special emphasis to the historical and cultural context and to formal analysis, so as to allow the understanding of some contemporary artistic practices. The acquisition of a technical vocabulary, of concepts and basic knowledge essential to the study of art history is considered of prime importance, as well as the development of critical thinking and of visual perception skills to analyze the artwork as an artistic aesthetic and historical object. 

Learning outcomes and competences

The students would have to read materials provided during classes, interpret artworks, relate them to the society, taste and patronage, according to the information given in the classes.

It's expected of them to learn the tecnical and specific vocabulary, to be able to write and talk about the main themes of art history with updated information, scientific validity and with insights that are relevant for the discipline.  

Working method

Presencial

Program

1. The passage from trecento to quattrocento in European cities: political and artistic diversity. Transitional arts.

2. The chronology of renaissance according to the Florentine model: professional guilds, patronage, taste and creativity.

3. The first Flemish renaissance: oil painting, perspective, ways of seeing and depicting the word.

 4. Technology and erudition, the formation of an intellectual elite. Renaissance spreading over Europe.

 5. The great works of art of the 15th century in painting, sculpture and architecture: the new taste after the classics.

 6. High Renaissance of the 16th century: iconographic identity, urbanity and large scale reforms, iconic image for states and individuals. The premises of western art history.  

7. Case study as an approach for artists and/or works.

8. The Renaissance man large view of the world as a feature of intelligence. The sciences and technologies applied to visual arts and performativity. Elements of other worlds incorporated in the mind and style of renaissance Europe.

 9. Diversity and show: how the palace life and state apparatus brought the spirits ahead of classics. 

 

 

 

 

Mandatory literature

Ames-Lewis, Frances; Concepts of Beauty in Renaissance Art, Ashgate Publishing, 1998
Ames-Lewis Frances; The^intellectual life of the Early Renaissance artist. ISBN: 0-300-08304-1 45.50
Baxandall, Michael; Painting and Experience in Fifteenth Century Italy, Oxford Paperbacks, 1988
Black, C. F., Greengrass, Mark, et al.; História do Renascimento, Círculo de Leitores, 1996
Brown, Alison; The Renaissance, Longman, 1988
Burckhardt Jacob; A^civilização do renascimento italiano
Burke, Peter; The Italian Renaissance – Culture and Society in Italy, Princeton University Press, 1986
Davies, Glyn e Kennedy, Kirstin; Medieval and Renaissance Art: People and Possessions, Victoria & Albert Publishing, 2009
Delumeau Jean; La^civilisation de la renaissance
Frontisi, Claude; Historia visual del arte, Larousse, 2005
Goldthwaite, Richard A.; Wealth and the Demand for Art in Italy, 1300-1600, Johns Hopkins University Press, 1995
Gombrich E. H.; A história da arte
Gowing, Sir Lawrence; A History of Art, Grange Books, 1999
Hale J.R. 300; Enciclopedia de renacimiento italiano. ISBN: 84-206-5219-9
Harbison, Craig; The Mirror of the Artist – Northern Renaissance Art in its Historical Context, Prentice Hall, 1996
Hartt Frederick; Art. ISBN: 0-8109-1884-6
Hockney, David; Secret Knowledge - Rediscovering the Lost Techniques of the Old Masters, Studio, 2006
Honour Hugh; Historia mundial del arte. ISBN: 84-460-2092-0
Huyghe René; A arte e a alma
Johnson Geraldine A.; Renaissance Art. ISBN: 0-19-280354-9
Johnson, P.; The Renaissance, 2000
Kemp, Martin; História da Arte no Ocidente, Verbo, 2006
Kemp Martin; Behind the picture. ISBN: 0-300-07195-7
Kemp Martin 340; The Oxford history of western art. ISBN: 0-19-860012-7
King Margaret L.; The^renaissance in Europe. ISBN: 1-85669-374-0 26.00
Kristeller, Paul Oskar; Renaissance Thought and the Arts, Princeton University Press, 1990
Nieto Alcaide Victor; El Renacimiento. ISBN: 84-7090-108-7
Olson, Roberta J. M.; The Biography of the Object in Late Medieval and Renaissance Italy, Blackwell Publishers, 2006
Harbison Craig; Jan Van Eyck. ISBN: 0-948462-79-5
Omalley, M.; The Business of Art: Contracts and the Commissioning Process in Renaissance Italy, Yale University Press, 2005
Richardson, Carol M.; Franklin, Michael W.; Woods, Kim ; Renaissance Art Reconsidered – An Anthology of Primary Sources, Blackwell Publishing, 2006
Onians John; Atlas mundial del arte. ISBN: 84-9801-040-3
Smith, Jeffrey Chipps; The Northern Renaissance, Phaidon Press, 2004
Steer John; Atlas de l.art occidental. ISBN: 2-850-88-132-5
Stokstad Marilyn; Art history. ISBN: 0-8109-1960-5
Tinagli, Paola; Women in Italian Renaissance Art - Gender, Representation, Identity, Manchester University Press, 1997
Vasari Giorgio; Las vidas de los más excelentes arquitectos, pintores y escultores italianos desde Cimabue a nuestr. ISBN: 84-309-3218-6
Vigarello, Georges; Historia del cuerpo, vol. I, Del Renacimiento al Siglo de las Luces, Taurus, 2005
Welch Evelyn; Art in Renaissance. ISBN: 0-19-284279-X
Welch Evelyn; Art and society in Italy. ISBN: 0-19-284203-X
Welch, Evelyn; Shopping in the Renaissance: Consumer Cultures in Italy, 1400-1600, Yale University Press, 2005
Woods, K. W.; Making Renaissance Art: Renaissance Art Reconsidered, Yale University Press, 2006
Woods, K. W.; Viewing Renaissance Art, Yale University Press, 2007

Teaching methods and learning activities

Lessons consist in the presentation of the different themes, accompanied by audiovisual material, according to the specificity of the Course in question. Students must systematically attend classes and read the available literature provided on each summary, which complements and builds upon information provided. The readings and individual research are considered a fundamental part of the learning process. 

keywords

Humanities > History > Art History
Humanities > Arts > Visual arts

Evaluation Type

Evaluation with final exam

Assessment Components

Description	Type	Time (hours)	Weight (%)	End date
Attendance (estimated)	Participação presencial	46,00
	Exame	2,00	100,00
	Total:	-	100,00

Eligibility for exams

Enforcement of attendance by students will be checked in all classes through an attendance record, which is intended for statistical purposes and internal control. Given the actual operation of this Course (a huge number of students enrolled and only one teacher, which makes close monitoring of attendance and exclusion of non-compliant students almost impossible), attendance, although very important, is not a pre-requirement for evaluation. Nevertheless, the presence of students in classes is essential, since the completion of the final exam requires the knowledge of the contents taught and discussed weekly. 

Calculation formula of final grade

The final classification matches the classification obtained in the final exam. This one consists solely of a written test. The completion of the exam presupposes deep knowledge of the syllabus taught in the different classes, as well as of the bibliography indicated as mandatory. The assessment criteria of the exams are: Conceptual and scientific rigor, appropriateness of the answer in relation to the question asked; specific knowledge demonstrated. 

Examinations or Special Assignments

Special assignments or exams are not allowed.

Special assessment (TE, DA, ...)

Final exam

Classification improvement

The improvement of the final grade shall be exclusively by final exam, as recorded in RREA.