Workshop I - Painting

Code:

API

Acronym:

API

Keywords
Classification	Keyword
OFICIAL	Fine Arts/Painting

Instance: 2024/2025 - 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	33	Plano de estudos de LAP_publicaçao em DR de 24/05/2021	2	-	24	270	648

Teaching language

Suitable for English-speaking students
Obs.: Inglês

Objectives

Provide basic technical and methodological training for the representation of the appearance of sensitive reality.
Develop perceptual skills and interpretive strategies, leading to the translation of the real into painting - namely in the suggestive of shape and volume, surfaces, light and color, atmosphere and depth.
Provide experiences on different studio practices and understand the different conceptual bases inherent to different thematic universes of painting.
Develop students' sensitivity to compositional aspects and plastic/pictorial language, also promoting an expressive intention in this area.
To promote the critical and self-critical spirit of painting, based on structured concepts; in this sense, the use of specific terms from the culture of painting is also promoted, suitable for observation and discourse on any pictorial work.
To promote the methodological autonomy of the students, oriented towards an authorial work.

Learning outcomes and competences

General knowledge of the pictorial materials used in the oil painting technique and the ability to handle them correctly.
Ability to interpret problems and properties related to the treatment of color, shape, space, texture, volume, light.
Ability to conceive a painted image of the real, with the oil technique, with or without the aid of other visual records.
Methodological knowledge necessary to compose pictures of the different pictorial genres covered.
Ability to analyze and reflect on pictorial works with which he has contact, using his own vocabulary.

Working method

Presencial

Program

The program combines painting practice and theoretical training, although the vast majority of teaching time is devoted to the practical component. The eminently theoretical component, in a theoretical class format, must exist throughout the entire academic year, in good articulation and punctuating the beginning of the work proposals. Parallel to the practical work and bearing in mind the need to enrich the students' Culture of Painting, some theoretical/compilatory research may be requested.

 

The program presupposes a chain of several work proposals, organized sequentially and according to an evolving degree of complexity. The different work proposals place various subjects of study, specific for the acquisition of knowledge and fundamental skills of painting, in 4 essential aspects, some of them intrinsically related: the technical and methodological aspect; the observation/representation aspect; the aspect of interpretation and pictorial and plastic expression; the aspect of composition and thematic elaboration.

 

The exercises always pose the need to observe one or more referents and take place in varied operative and interpretative circumstances. They request works based on reality, based on other paintings or photographs, with the possibility of combining these different referents. Objects, the human figure, sculptures, other paintings, architectural space and landscape, or the combination of all of them, are the themes - or perhaps more precisely the motifs - that allow completing the study of various matters of pictorial representation: volumes, the surfaces of things, shapes in space or the very sensation of spatial depth. The pictorial and plastic treatment of these aspects of sensible reality is complex and entails interpretative problems regarding the behavior of chiaroscuro, light and shadow, luminosity, and color. Evidently, this is an initial approach.

 

The privileged study of oil painting technique proves to be the most suitable to elucidate such realities.

Mandatory literature

Doerner, Max; Los materiales de pintura y su empleo en el arte, London, Harcourt inc., 1984
­ EASTLAKE, Charles Lock; Methods and Materials of Painting of the Great Schools and Masters, Dover Fine Art, 2001
­ MAYER, Ralph; The artist’s handbook of materials and techniques, Fifth edition revised and expanded by Steven Sheehan, London, Faber and Faber, 1991

Complementary Bibliography

­ CAETANO, Joaquim O.; Normas de inventário da pintura, Lisboa, Instituto dos Museus e da Conservação, 2007
­ DOHERTY, Tiarna, & Woollett, Anne; Looking at Paintings - A guide to technical terms, revised edition, New York, J. Paul Getty Museum, 2009
­ TURNER, Jane (Ed.) ; The Dictionary of Art, London, Grove - Macmillan Publishers Limited, 1996
­ EDWARDS, Betty; Color: a course in mastering the art of mixing colors, New York, Penguin Group, 2004
­ PEREIRA, J. Castel-Branco (Coord.); A Perspectiva das Coisas - A Natureza-Morta na Europa: Primeira Parte: Séculos XVII-XVIII, Lisboa, Fundação Calouste Gulbenkian,, 2010
­ COX, Neil; A Perspectiva da Coisas - A Natureza-Morta na Europa: Segunda Parte: Séculos XIX-XX (1840-1955), Lisboa, Fundação Calouste Gulbenkian, 2011
­ ROWELL, Margit; Objects of Desire: The Modern Still Life,, New York, MOMA, 1997
­ Obe, Erica Langmuir; A closer Look : Landscape, London, National Gallery Company, 2018
­ SCHWABSKY, Barry; Landscape painting Now: from Pop abstraction to New Romanticism, Thames & Hudson ltd, 2019
­ BROOKE, Xanthe; Face To Face: Three Centuries of Artists Self-Portraiture, Liverpool, National Museums & Galleries On Merseyside, 1994
­ HALL, James; The Self-portrait: a cultural history, London, Thames and Hudson, 2014
­ CLARK, Keneth; O Nu: um estudo sobre o ideal em Arte, Editora Ulisseia, Lisboa, 1966
­ ROBSON, Deirdre; The art of the Nude, Bristol, Parragon Book, 1995
­ ARNHEIM, Rudolf; O poder do centro: um estudo da composição nas artes visuais, Lisboa, Edições 70, 1990
­ GALASSI, Peter; Before Photography: painting and the invention of photography, MOMA, New York, 1991
­ COKE, Van Deren; The painter and the photograph: from Delacroix to Warhol (Revised and Enlarged Edition), University of New Mexico Press, 1972

Teaching methods and learning activities

Theoretical classes using audiovisual material. Study visits constitute a possibility of theoretical approach. In this context, intersubjective dialogue is encouraged.

The teaching method consists of a guided study: first, the theoretical elucidation of the statements and the general methodology of approaching the proposed exercises; second, during the execution of the paintings, the opportune intervention of the professor is decisive. Student monitoring is in person and permanent, in the atelier. It values the initial placement of short goals, with a progressive increase in demand. The most significant parameter of student monitoring is the differentiated pedagogy, which in general terms considers an adaptation of the pedagogy to the learning idiosyncrasies of each student, with a view to guiding the development of their unique expressive virtues and creative abilities.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	30,00
Trabalho prático ou de projeto	70,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Frequência das aulas	270,00
Estudo autónomo	378,00
Total:	648,00

Eligibility for exams

Obtaining approval in this Curricular Unit is subject to compliance with the prerequisite of attendance, with attendance at a minimum of 75% of classes. Students covered by the statutes provided for in the law – workers/students – or who meet other special criteria for exemption from attendance, if duly attested by documentation that must be validated by FBAUP, are an exception to this. In any case, approval is subject to satisfactory completion of 75% of the work requested.

Assessment is continuous, with two periods of periodic assessment scheduled according to the schedule proposed by the Faculty. At first, the resulting classification is informative, with the final classification being binding, with no final exam. Both reflect a quantitative classification, between 0 and 20 values.

Calculation formula of final grade

The mark will result from the articulation of the following elements and with the following percentages of weight:

 

• 70% - Intrinsic quality of practical results

  (The students' practical responses to each work proposal will be classified individually from 0 to 20 points, by observing the evaluation criteria declared for each proposal and considering comparisons with works by other students in the same class. The end-of-semester classification, in this evaluative parameter, will result from the arithmetic mean of the grades obtained in each work proposal. The end-of-year classification, in this evaluation parameter, will result from the arithmetic average between the two semesters)

 

• 20% - Attendance in its relationship with productivity and interest.

(By continuous observation of the student, a score between 0 and 20 will be assigned at the end of each semester)

 

• 10% - Evolution in the quality of results.

(through continuous observation of the student, a score between 0 and 20 and twenty will be assigned at the end of each semester)

 

 

Rating X 0.7 + Rating X 0.2 + Rating X 0.1 = Final Rating