Modern and Contemporary Art Studies I
| Code: | EAMC301 | Acronym: | EAMC |
| Keywords | |
|---|---|
| Classification | Keyword |
| OFICIAL | Art Sciences |
Instance: 2015/2016 - 1S 
| 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 | 87 | Official Study Plan 2011 | 3 | - | 6 | 64 | 162 |
Teaching language
PortugueseObjectives
Culture in general and the history and theory of the arts in particular are fundamental tools for developing projects and student work in other disciplines, allowing them to develop specific plastic research; thus, they have an important role in their training and assessment, allowing them to reflect about their own artistic practice.
In our era of proliferation of digital images, art history continues to demonstrate that the images that mark the contemporary visual culture did not emerge from nothing, and that analysis of its material basis and its social context is absolutely necessary for a proper historical understanding of its function and its visual impact. Artworks are the product of various interactions between artists sensitive to visuality and specific historical circumstances. The function of art history is therefore to understand this creative process in multiple ways.
Learning outcomes and competences
Instead of a tight knowledge, of a body of pre-defined ideas, closed on itself, we intend to convey the idea that the history of art is a reflection on the past essentially open and dynamic, receptive to new problematizations, with a theoretical basis necessarily influenced by emerging issues and by contemporarity.
Departing from a broad conceptual framework and a variety of historical and artistic situations and cultural contexts, we will seek to combat certain prejudices, such as the evidence of the image, which states that the visible imposes itself in an immediate way, independently of any knowledge. The deepening of knowledge and tools for analysis leads to the perception that art history is an open field and highly conflictual, where various opinions and positions intertwine and confront, and where the stimulating and fruitful dialogue between artists and intellectuals is always present.
Working method
PresencialPre-requirements (prior knowledge) and co-requirements (common knowledge)
Basic knowledge of European history and art history, 18th-20th centuries.
Program
1. Art and visual culture in the 19th century.
1.1. Neoclassicism. The Grand Tour and the fascination with Italy. Architectural innovations. History painting. The picturesque nature and landscape painting. Revolution, war and nationalisms: art at the service of politics.
1.2. Romanticism and Symbolism. The heroic age: Francisco de Goya y Lucientes. Transcendent landscapes: William Turner. The revival of the Middle Ages: The Pre-Raphaelites.
1.3. Impressionism. Naturalism and plein-air. The spectacle of modern pleasures. The artist as subject. Charles Baudelaire, Émile Zola and the painters of modern life: "les français peints par eux-mêmes."
2. The early 20th century
2.1. Expressionism. The word and the concept. Germany at the turn of the century. Die Brücke: Ludwig Kirchner and Emil Nolde. Der Blaue Reiter: Wassily Kandinsky and Paul Klee. Die Neue Sezession: Max Beckmann, Oskar Kokoschka, Egon Schiele, Gustav Klimt. Vienna, Freud and psychoanalysis.
2.2. Post-Impressionism, Fauvism, Primitivism and tribal art. Henri Matisse, Paul Gauguin, Seurat, Van Gogh. Picasso, Les Demoiselles d'Avignon and the attack on mimetic representation.
2.3. Futurism and Fascism. Marinetti.
2.4. Braque’s Analytical Cubism.
2.5. Marcel Duchamp and the ready-mades.
2.6. The Dada movement. Zurich and the catastrophe of the First World War. The Dada Fair in Berlin (1920). The photomontage.
2.7. The Russian constructivism. Advertising and the needs a new collective society. The internationalization of Constructivism.
2.8. Weimar and the Bauhaus.
2.9. Paris, the Art Deco exhibition and the advent of contemporary kitsch.
2.10. The surrealist movement and André Breton. René Magritte: the influence of advertising; ambiguity between language and representation. Salvador Dali.
2.11. Paul Klee and Max Ernst. The influence of the art of the mentally ill.
2.12. The Neue Sachlichkeit and German figurative painters. George Grosz, Otto Dix, Max Beckmann.
Mandatory literature
Alexandrian Sarane; O surrealismoAntlif, Mark; Cubism and Culture, Thames and Hudson, 2001
Behr Shulamith; Expressionismo. ISBN: 972-23-2611-2
Bell, Julian; Espelho do mundo: uma nova História da Arte, Orfeu Negro, 2007
Blistène, Bernard; Une histoire de l’art du XXème siècle, Beaux Arts Magazine-Centre Pompidou, s/d
Bradley Fiona; Surrealismo. ISBN: 972-23-2480-2
Brettell Richard R.; Modern art. ISBN: 0-19-284220-X
Britt David 340; Modern art. ISBN: 0-500-28126-2
Brown, David Blayney; Romanticism (Arts and Ideas), Phaidon Press, 2001
Chipp Herschel B.; Teorias da arte moderna
Chu, Petra; Nineteenth Century European Art, Pearson, 2010
Collings, Matthew; This is Modern Art (From the Channel Four Series), Weidenfeld and Nicolson, 1999
Cottington David; Cubismo. ISBN: 972-23-2481-0
Cox Neil; Cubism. ISBN: 0-7148-4010-6
Craske Matthew; Art in Europe. ISBN: 0-19-284206-4
Cumming Elizabeth; The arts and crafts movement
Curtis Penelope; Sculpture 1900-1945. ISBN: 0-19-284228-5
Denvir Bernard; Post-impressionism. ISBN: 0-500-20255-9
Dube Wolf-Dieter; O expressionismo
Dube Wolf-Dieter; The expressionists. ISBN: 0-500-20123-4
Duncan Alastair; Art nouveau. ISBN: 0-500-20273-7
Duncan, Alastair; Art Deco (World of Art), Thames and Hudson, 1988
Eisenman, Stephen F., Crow, Thomas; Nineteenth Century Art: A Critical History, Thames and Hudson, 2007
Elger Dietmar; Expressionismo. ISBN: 3-8228-7242-3
Facos, Michelle; An Introduction to Nineteenth-Century Art: Artists and the Challenge of Modernity , Routledge, 2011
Fer, Briony; Realism, Rationalism, Surrealism: Art Between the Wars (Open University Modern Art, Practices & Debates), Yale University Press, 1993
Ferber, Michael; Romanticism: A Very Short Introduction (Very Short Introductions), OUP Oxford, 2010
FRANÇA José-Augusto; História da Arte Ocidental 1780-1980
Francastel Pierre; O Impressionismo
Frascina, Francis; Modernity and Modernism: French Painting in the Nineteenth Century (Open University Modern Art, Practices & Debates) , Yale University Press, 1993
Frontisi, Claude; Historia visual del arte, Larousse, 2005
Fusco Renato de; História da Arte Contemporânea
Gaiger, Jason; Frameworks for Modern Art (Open University Art of the Twentieth Century), Yale University Press, 2004
Gale Matthew; Dada & Surrealism. ISBN: 0-7148-3261-8
Gombrich E. H.; A história da arte
Gowing, Sir Lawrence; A History of Art, Grange Books, 1999
Greensted, Mary; The Arts and Crafts Movement in Britain, Shire, 2010
Hamilton George Heard; Painting and sculpture in Europe. ISBN: 0-300-05649-4
Harrison Charles 340; Art in theory. ISBN: 0-631-16575-4
Harrison Charles 340; Art in theory. ISBN: 0-631-22707-5
Harrison Charles; Modernismo. ISBN: 972-23-2614
Hartt Frederick; Art. ISBN: 0-8109-1884-6
Hilton Timothy; The pre-raphaelites
Hobsbawm, E. J.; Age Of Revolution: Europe, 1789-1848, Abacus, 1998
Honour Hugh; Historia mundial del arte. ISBN: 84-460-2092-0
Hopkins, David; Dada and Surrealism: A Very Short Introduction (Very Short Introductions), OUP Oxford, 2004
Hughes Robert; American visions. ISBN: 1-86046-372-X
Hughes, Robert; The Shock of the New: Art and the Century of Change, Thames and Hudson, 1991
Humphreys Richard; Futurismo. ISBN: 972-23-2613-9
Irwin David; Neoclassicism. ISBN: 0-7148-3369-X
Kandel, Eric R.; The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present, Random House, 2012
Kemp Martin 340; The Oxford history of western art. ISBN: 0-19-860012-7
Krauss Rosalind E.; Passages in Modern Sculpture. ISBN: 0-262-61033-7
Krell Alan; Manet. ISBN: 0-500-20289-3
Lucie-Smith Edward; Symbolist art
Lucie-Smith Edward; Visual arts in the twentieth century. ISBN: 1-85669-091-1
Nochlin Linda; Realism. ISBN: 0-14-02-1305-8
Onians John; Atlas mundial del arte. ISBN: 84-9801-040-3
Pool, Phoebe; Impressionism (World of Art), Thames and Hudson, 1967
Prettejohn, Elizabeth; Beauty and Art: 1750-2000 (Oxford History of Art), , OUP Oxford, 2005
Rhodes Colin; Primitivism and modern art. ISBN: 0-500-20276-1
Rosen, Charles; Romanticism and Realism. The Mythology of Nineteenth Century Art, Faber and Faber, 1984
Stangos Nikos 340; Concepts of modern art. ISBN: 0-500-20268-0
Steer John; Atlas de l.art occidental. ISBN: 2-850-88-132-5
Stiles Kristine; Theories and documents of contemporary art. ISBN: 0-520-20253-8
Stokstad Marilyn; Art history. ISBN: 0-8109-1960-5
Terraroli, Valerio; 1900-1919 The Avant-garde Movements (Art of the Twentieth Century), Skira, 2006
Terraroli, Valerio; 1920 - 1945 The Artistic Culture between the Wars (Art of the Twentieth Century), Skira, 2006
Thomson Belinda; Pós-impressionismo. ISBN: 972-23-2482-9
Thomson, Belinda; Impressionism: Origins, Practice, Reception (World of Art), Thames and Hudson, 2000
Tisdall Caroline; Futurism. ISBN: 0-500-20159-5
Varnedoe Kirk; High & Low. ISBN: 0-87070-353-6
Vergo, Peter; Art in Vienna, 1898-1918: Klimt, Kokoschka, Schiele and Their Contemporaries, Phaidon Press, 1993
Waldberg Patrick; Surrealism. ISBN: 0-500-20040-8
Witfield, Sarah; Fauvism (World of Art), Thames and Hudson, 1991
Whitford Frank; Bauhaus. ISBN: 0-500-20193-5
Wood, Paul; Art of the Avant-Gardes (Open University Art of the Twentieth Century), Yale University Press, 2004
Wood, Paul; Varieties of Modernism (Open University Art of the Twentieth Century), Yale University Press, 2004
Foster Hal; Art since 1900. ISBN: 0-500-23818-9 69.76
Gray Camilla; The russian experiment in art 1863-1922. ISBN: 0-500-20207-9
Rubin James H.; Impressionism. ISBN: 0-7148-3826-8
Vaughan William; British painting. ISBN: 0-500-20319-9
Vaughan William; Romanticism and art. ISBN: 0-500-20275-3
Fiedler, Jeannine, Feierabend, Peter (ed. de); Bauhaus (ed. espanhola), Tandem Verlag GmbH, 2006
Malpas James; Realismo. ISBN: 972-23-2612-0
Baudelaire Charles; O pintor da vida moderna. ISBN: 972-699-423-1
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 > Visual artsHumanities > History > Art History
Evaluation Type
Evaluation with final examAssessment Components
| Designation | Weight (%) |
|---|---|
| Exame | 100,00 |
| Total: | 100,00 |
Amount of time allocated to each course unit
| Designation | Time (hours) |
|---|---|
| Estudo autónomo | 42,00 |
| Frequência das aulas | 56,00 |
| Total: | 98,00 |
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; clarity of the answer's structure and of the written speach.
Examinations or Special Assignments
Special assignments or exams are not allowed.
Internship work/project
Doesn't apply.
Special assessment (TE, DA, ...)
By final exam only, as recorded in the General Rules for Evaluation of Students from FBAUP.
Classification improvement
The improvement of the final grade shall be exclusively by final exam, as recorded in the General Rules for Evaluation of Students from FBAUP.
Observations
Comments: Attention to students: Tuesdays from 9.30 a.m. to 11.30 a.m., by previous appointment, given the high number of students.
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