Workshop I - Painting

Code:

API

Acronym:

API

Keywords
Classification	Keyword
OFICIAL	Fine Arts/Painting

Instance: 2020/2021 - A

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	38	Official Study Plan 2011	2	-	24	288	648

Teaching language

Portuguese
Obs.: Inglês

Objectives

• Develop the technique of painting applied to the representation of sensible reality, reflecting an open, authorial understanding of the pictorial interpretation of the real.


• Develop perception, memory and shape articulation skills.


• Provide training in the field of pictorial language, in order to develop the methodological, creative autonomy of each student.


• Promote expressive and authorial capacity based on structured and grounded concepts.


• Develop the critical and self-critical, experimental and inventive spirit.

Learning outcomes and competences

• Knowledge of pictorial materials and ability to handle them correctly, regarding the technique of oil, ensuring the quality of plastic / visual effects produced: correct mixing of paints and use of brushes; cleaning of applied colors; application of paints according to the specificity of the different supports; transparency and opacity of paints; domain of light / dark effect; pictorial translation of volume and space.


• Ability to interpret problems and properties related to the treatment of color, shape, space, texture, volume, light.


• Ability to design a painted image of the real, with the oil technique, with or without the aid of other visual records.


• Methodological knowledge needed to compose pictures of the different pictorial genres addressed.


• Ability to analyze and reflect on pictorial works with which he has contact, using his own vocabulary.

Working method

Presencial

Program

The syllabus of this course has a theoretical and practical character, although the lesson plan presents an almost exclusive dedication of teaching time to the practical aspect of painting.
Theoretical Strand
The theoretical aspect is always present in the dialogue established between teacher and student, as it constantly ponders the decisions, strategies and concrete operations in painting. Several purely theoretical presentations are planned throughout the school year. They constitute key moments for the dissemination of knowledge and dialogue, culminating in the presentation of the different work proposals. The content of these sessions elucidates the theme that will be addressed in the respective work proposals, based on the analysis of various works from the history of painting, from antiquity to the present. It serves the purpose of disseminating knowledge that is considered fundamental, about the studio practices, the operative processes of the act of painting, the compositional methods, the material circumstances, the thematic scopes, the expressive orientations, the aesthetic postures, etc.
Practical Strand

Mandatory literature

Doerner, Max; The Materials of the Artist and Their Use in Painting, revised edition. With Notes on the Techniques of the Old Masters., Harcourt inc.. London., 1984
Doherty, Tiarna., & WOOLLETT, Anne; Looking at Paintings - A guide to technical terms, revised edition, J. Paul Getty Museum, New York, 2009
Eastlake, Charles Lock; Methods and Materials of Painting of the Great Schools and Masters, Dover Fine art, History of Art, 2001

Complementary Bibliography

Jane Turner; The Dictionary of art
Kirby, Jo; A closer look: painting techniques, National Gallery, London, 2011
Ball, Philip; Bright earth: the invention of colour, Pinguin Books, London, 2001
Bomford, David & Roy, Ashok; A closer look: colour, National Gallery, London, 2009
Betty Edwards; Color. ISBN: 978-1-58542-219-7
Packer, Lelia & Sliwka, Jennifer; Monochrome: painting in black anda white, National Gallery, London, 2017
Bryson, Norman; Looking at the overlooked: Four essays on still life painting (2º ed.), Reaktion, London, 2008
Cox, Neil; A perspectiva das coisas: A natureza-morta na Europa - segunda parte (séculos XIX-XX: 1840-1955), Fundação Calouste Gulbenkian, Lisboa, 2011
Museu Fundação Calouste Gulbenkian; A^perspectiva das coisas
Museu Fundação Calouste Gulbenkian; A perspectiva das coisas: A natureza-morta na Europa - primeira parte (séculos XVII-XVIII), Fundação Calouste Gulbenkian, Lisboa, 2010
Grotenboer,Hanneke; The rethoric of perspective: realism and illusionism in seventeenth century dutch still life painting, The University of Chicago Press, London, 2006
Rowel, Margit; Objects of desire: the modern still life, The Museum of Modern Art, New York, 1997
Clark, Keneth; Landscape into art, Folio Society, London, 2013
Obe, Erica Langmuir; A closer look: landscape, National Gallery, London, 2018
Wolf, Norbert; Landscape painting, Taschen, Köln, 2017
Schwabsky; Barry; Landscape painting now: from Pop abstraction to New Romanticism, Thames and Hudson, 2019
James Hall; The^Self-portrait. ISBN: 978-0-500-29211-2
Maria Emília Vaz Pacheco; O^Auto-retrato na pintura portuguesa. ISBN: 978-989-658-500-6
Rebel, Ernst; Self-portraits, Taschen, London, 2019
Brook, Xanthe; Face to Face: three centuries of artists self-portraiture, National Museums and Galleries on Merseyside, Liverpool, 1994
Bohm.Dunchen, Monica; The nude, Scala Books, London, 1992
Kenneth Clark; The nude. ISBN: 0-14-007591-7
Robson, Deirde; The art of the nude, Parragon Book, Bristol, 1995
Rudolf Arnheim; O poder do centro
Penny, Nicholas; A closer look: pictorial space, National Gallery, London, 2017
Thomas Puttfarken; The^discovery of pictoral composition. ISBN: 0-300-08156-1
Galassi, Peter ; Before photography: painting and the invention of photography, MOMA, New York, 1981
Coke, Van Deren ; The painter and the photograph: from Delacroix to Warhol (revised and enlarged edition), University of New Mexico Press, 2000
Coke, Van Deren ; The painter and the p: from dhotograph

Teaching methods and learning activities

Theoretical classes using audiovisual material, seeking to raise intersubjective reflection. Visits to exhibitions constitute an act of theoretical reflection.
In practical classes, books are often provided for free consultation, a complement to the subjects covered in the current exercise. In certain exercises, high-resolution prints on paper of the paintings under study and other similar paintings are present in the classroom (students have access to the digital version of these images for printing and individual study).
The monitoring of practical exercises is continuous and follows the parameters of a different pedagogy. This means that, besides the regularity of the dialogue, which in itself constitutes a space of theoretical intermediation, the possibility of differentiating the accompaniment of each student, in order to stimulate, through considered and appropriate pedagogical strategies or orientations, the virtues that each individual possesses and can develop in this context. This adequacy is essential, considering that there is, as referred above, an open understanding of the act of pictorial interpretation of the real, through which one seeks one's own and authorial expression.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	30,00
Trabalho laboratorial	70,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Elaboração de projeto	224,00
Total:	224,00

Eligibility for exams

Continuous assessment, there are two times of periodic assessment marked according to the schedule proposed by the Faculty. In the first moment, the evaluation is informative, and the final evaluation is binding, without final exam. Both reflect a quantitative classification, between 0 and 20 values. The final grade is not reflected in the arithmetic mean. Passing this subject is subject to the attendance prerequisite with a minimum of 75% of classes. Exceptions to this are students who are covered by the statutes provided for in the law - workers / students - or who meet other special criteria for exemption from attendance, if duly substantiated and attested by documentation to be validated by the institution.

Calculation formula of final grade

Taking into account the objectives of the UC the classification will result from the articulation of the following elements:

70% - Quality of the practical results.
20% - Attendance and interest within the contact period.
10% - Productivity within the type of work and progression in the quality of results.