Theory and History of Painting

Code:

THP311

Acronym:

THP

Keywords
Classification	Keyword
OFICIAL	Fine Arts/Painting

Instance: 2014/2015 - 2S (of 16-02-2015 to 17-07-2015)

Active?	Yes
Responsible unit:	Fine Arts Department
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	43	Official Study Plan 2011	3	-	4,5	51	121,5

Teaching language

Portuguese

Objectives

This course is intended to provide the students of the Painting course of FBAUP with a common area of reflection about the practice of painting and the pictorial tradition in Western Europe, in its various components. Through the use of specific examples of very different ages, we will introduce the students to basic knowledge and some fundamental tools, as well as to the methods and criteria most widely used nowadays by historians, exhibition commissioners, curators and art critics to analyze any pictorial work in some detail. 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. Based on major artworks, and other lesser-known examples of the history of Western art, we will discuss the relationship between painting and visual culture in European art, mainly from the 13th to the 21st century, with a special emphasis on the Renaissance. 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. We will address issues such as the identification of pictorial works, the genres in painting, the various techniques, the essential concepts about the composition, design and colour, the evolution of the treatment of the human figure, or the production, consumption and circulation of painting. 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 the origins and the creative process of pictorial works. 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

Aquaintance with the aforementioned purposes of the course

Working method

Presencial

Program

1. What is painting? The imitation of nature. Imagination and creativity. The sources for the study of the history of painting. 2. Painting as a physical object. 2.1.The Identity Card of a painting: 2.1.1. Authorship and date. 2.1.2. The title. 2.1.3. The technique ( supports and pictorial materials). 2.1.4. The dimensions. 2.1.5. How History helps understanding paintings. Laboratory methods and the study of painting. The undedrawing. Deceptions, discoveries and rediscoveries. State of preservation and restoration. The original location. Painting and museology. 3. Painting as text. 3.1. The theme: history painting, portraiture, landscape, genre scenes, still-life. 3.2. Composition, design and colour (brief overview). 3.3. The figure. The codes of beauty. Beyond beauty: other interpretations of the body. The self-portrait in the Renaissance as a reflection of artists' self-image. 4. Painting as an object of possession and consumption. The production, consumption and circulation of paintings. 4.1. Systems and organizations for the production of painting. Regulations and professional guilds. The artist's education: learning and mastership. The workshop of painters. The academies. 4.2. Painting, society and economy. Customers, patrons, public markets, collectors, circulation of works of art.

Mandatory literature

Alberti Leon Battista; De la pintura y otros escritos sobre arte. ISBN: 84-309-3336-0
Ames-Lewis Francis; Drawing in early renaissance Italy. ISBN: 0-300-07981-8
Ames-Lewis Frances; The^intellectual life of the Early Renaissance artist. ISBN: 0-300-08304-1 45.50
Arasse, Daniel; Histoires de Peintures, Editions Denoël, 2004
Arasse, Daniel; On n’y voit rien. Descriptions, Editions Denoël, 2000
Baxandall, Michael; Painting and Experience in Fifteenth Century Italy, Oxford University Press, 1988
Baxandall Michael; Patterns of intention. ISBN: 0-300-03763-5
Bell Julian; What is painting ?. ISBN: 0-500-28101-7
Bomford David 340; Art in the making. ISBN: 1-85709-987-7
Bomford, David; Conservation of Paintings: National Gallery Pocket Guide, The National Gallery, 1998
Bomford, David; A Closer Look: Conservation of Paintings, Yale University Press, 2009
Calvo Serraller Francisco; Fuentes de la Historia del Arte II. ISBN: 84-7679-343-X
Camille, Michael; Gothic Art - Visions and Revelations of the Medieval World, Calmann and King, 1996
Camille, Michael; The Gothic Idol – Ideology and Image-Making in Medieval Art, Cambridge University Press, 1989
Camille Michael; Image on the edge. ISBN: 0-948462-28-0
Chadwick Whitney; Women, art, and society. ISBN: 0-500-20241-9
Craske Matthew; Art in Europe. ISBN: 0-19-284206-4
Cumming, Laura; A Face to the World: On Self-Portraits, Harper Press, 2009
Elkins, James; What Painting Is, Routledge, 2000
Elkins, James; Why Art Cannot Be Taught: A Handbook for Art Students, University of Illinois Press, 2001
Erlande-Brandenburg Alain; Le^sacre de l.artiste. ISBN: 2-213-60563-7
Fernandez Arenas José; Introducción a la conservación del patrimonio y técnicas artísticas. ISBN: 84-344-6580-9
Erlande-Brandenburg Alain 080; Villard de Honnecourt. ISBN: 84-7600-670-5
Franklin, D.; Painting in Renaissance Florence 1500-1550, Yale University Press, 2001
Frontisi, Claude; Historia visual del arte, Larousse, 2005
Gage John; Color y cultura. ISBN: 84-7844-161-1
Geczy, Adam; Art: Histories, Theories and Exceptions, Berg Publishers, 2008
Goldstein Carl; Teaching art. ISBN: 0-521-55988-X
Goldthwaite, Richard A.; Wealth and the Demand for Art in Italy, 1300-1600, Johns Hopkins University Press, 1995
Gombrich E. H.; Arte e ilusão
Gombrich E. H.; A história da arte
Gombrich E.H.; Meditations on a hobby horse. ISBN: 0-7148-3245-6 28.00
Gowing, Sir Lawrence; A History of Art, Grange Books, 1999
Grosser, Maurice; The Painter's Eye, Rinehart, 1951
Grõssinger Christa; Picturing women in late medieval and renaissance art. ISBN: 0-7190-4110-4
Hall James; Dictionary of subjects and symbols in art
Hall, Marcia B., ; Color and Meaning. Practice and Theory in Renaissance Painting, Cambridge University Press, 1992
Harris, Jonathan; Art History: The Key Concepts, Routledge, 2006
Hartt Frederick; Art. ISBN: 0-8109-1884-6
Hockney, David; Secret Knowledge - Rediscovering the Lost Techniques of the Old Masters, Thames and Hudson, 2006
Honour, Hugh e Fleming, John; Historia mundial del arte, Akal, 2004
Hours Madeleine; Analyse scientifique et conservation des peintures
Humfrey, P.; Painting in Renaissance Venice, Yale University Press, 1996
Junquera, Juan José; Morales y Marin, Jose Luis (dir. de); Historia universal de la pintura, Espasa Calpe, 1996
Kelly Francis; Art restoration. ISBN: 0-7153-5238-5
Kemp Martin 340; The Oxford history of western art. ISBN: 0-19-860012-7
Kemp Martin; Behind the picture. ISBN: 0-300-07195-7
Laneyrie Dagen, Nadeije; Leer la pintura, Larousse Editorial, 2008
Lucie-Smith Edward; L. érotisme dans l.art occidental
Mayer Ralph; The^artist.s handbook of materials and techniques. ISBN: 0-571-11693-0
Mayer Ralph; Materiales y técnicas del arte. ISBN: 84-87756-17-4
Mirzoeff Nicholas 340; The visual culture reader. ISBN: 0-415-14133-8
Mohen Jean-Pierre; L.^art et la science. ISBN: 2-07-059413-0
Morante López Felisa; Análisis y comentario de la obra de arte. ISBN: 84-85789-72-5
Nead, Lynda; The Female Nude: Art, Obscenity and Sexuality, Routledge, 1992
Nochlin, Linda; Representing Women, Thames and Hudson, 1999
Onians John; Atlas mundial del arte. ISBN: 84-9801-040-3
Panofsky Erwin; A^perspectiva como forma simbólica. ISBN: 972-44-0886-8
Panofsky, Erwin; Renascimento e renascimentos na arte ocidental, Editorial Presença, 1981
Panofsky Erwin; El significado en las artes visuales. ISBN: 84-206-7004-9
Pastoureau Michel; Dictionnaire des couleurs de notre temps. ISBN: 2-86253-129-4
Pastoureau Michel; O^tecido do diabo. ISBN: 972-33-1178-X 9.95
Pearce.s Emma; Artists. materials. ISBN: 0-572-03146-7
Pedrola, Antoni; Materiales, procedimientos y técnicas pictóricas, Ariel, 2004
Pointon, Marcia; History of Art - A Student’s Handbook, Routledge, 1997
Pommier Édouard; Théories du portrait. ISBN: 2-07-074776-X
Preziosi, Donald; The Art of Art History. A Critical Anthology, Oxford University Press, 1998
Preziosi, Donald; Rethinking Art History: Meditations on a Coy Science, Yale University Press, 1989
Puttfarfen Thomas; The^discovery of pictoral composition. ISBN: 0-300-08156-1
Réau Louis; Iconografia del arte cristiano
Reid Jane Davidson; The^Oxford guide to classical mythology in the arts, 1300-1990s. ISBN: 0-19-504998-5
Richardson, Carol M.; Franklin, Michael W.; Woods, Kim (ed. de); Renaissance Art Reconsidered – An Anthology of Primary Sources, Blackwell Publishing, 2006
Roberts, H. E. (coord. de); Encyclopedia of Comparative Iconography. Themes Depicted in Works of Art, Fitzroy Dearborn Publishers, 1998
Rosand David; Painting in sixteenth-century Venice. ISBN: 0-521-56568-5
Saldanha Nuno; Poéticas da imagem. ISBN: 972-21-0999-5
Schianchi Lucia Fornari 340; Parmigianino. ISBN: 88-8215-481-5
Schlosser Julius; La literatura artística. ISBN: 84-376-0082-0
Stapleton Michael; The Hamlyn concise dictionary of greek and roman mythology. ISBN: 0-6000-33237-3
Steer John; Atlas de l.art occidental. ISBN: 2-850-88-132-5
Stoichita, Victor I.; La invención del cuadro: arte, artífices y artificios en los orígenes de la pintura eropea, Ed. del Serbal, 2000
Stokstad Marilyn; Art history. ISBN: 0-8109-1960-5
Tinagli, Paola; Women in Italian Renaissance Art - Gender, Representation, Identity, Manchester University Press, 1997
Turner Nicholas; Desenhos de mestres europeus em colecções portugueses. ISBN: 972-8176-53-8
Vasari Giorgio; Las vidas de los más excelentes arquitectos, pintores y escultores italianos desde Cimabue a nuestr. ISBN: 84-309-3218-6
Vivancos Ramón Victoria; La^conservación y restauración de pintura de caballete. ISBN: 978-84-309-4651-8
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
WEST, Shearer; Portraiture, Oxford University Press, 2004
Wiesman, Majorie E., ; A Closer Look: Deceptions and Discoveries, Yale University Press, 2010
Wollheim Richard; La^pintura como arte. ISBN: 84-7774-584-6 46.65
Woods, K. W.; Making Renaissance Art: Renaissance Art Reconsidered, Yale University Press, 2006
Woods, K. W.; Viewing Renaissance Art, Yale University Press, 2007
Yarza Luaces Joaquín; Fuentes de la Historia del Arte I. ISBN: 84-7679-342-1
Elkins James; The^object stares back. ISBN: 0-15-600497-6

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

Evaluation Type

Evaluation with final exam

Assessment Components

Designation	Weight (%)
Participação presencial	50,00
Trabalho escrito	50,00
Total:	100,00

Eligibility for exams

Assiduous participation is a prerequisite for evaluation. The only students that will be admitted to examination are the ones who will have less than 25% of absences in relation to the total number of lessons provided. Enforcement of attendance by students will be verified in all classes through an attendance record. The presence of students in class is considered essential, as the completion of the final exam requires detailed knowledge of the contents taught and discussed weekly.

Calculation formula of final grade

The final classification matches the classification obtained in a text written by the students, which 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 written text are: conceptual and scientific rigor, appropriateness of the answer in relation to the question asked; specific knowledge demonstrated; clarity of the answer's structure and of the written speach.

Examinations or Special Assignments

Special assignments or exams are not allowed.

Observations

Objectives, programme and bibliography devised and authored by Maria José Goulão.