Titular Professors
Not required.
a) That the student, deepening his academic and professional experience, is capable of producing a synthesis.
b) That he is capable of putting into vital relation works from different periods, latitudes and cultures.
ICONOGRAPHY AND ART HISTORY. CONTEMPLATING AND CAPTURING REALITY FROM SOLITUDE AND SILENCE
PROF. JAUME AYMAR
1. The initial astonishment.
2. The joy of existence.
3. Light and color. Space and time.
4. Art and word. The motto and the epitaph.
5. The work of art as a treatise.
6. Architectures of the soul. Constructions and texts.
7. Creative silence.
8. Pathologies of art and therapy.
9. The afterlife.
Each session will focus on a work of art that will be described by the teacher and put into context, with the reading of texts that help to delve deeper into it. Then, through dialogue with the students and reference to other epiphanies of beauty, the focus will be on the metatext. As formative activities: tools for silent contemplation, creation of a motto and epitaph, poetry, drawing, caricature, games, visits outside the classroom and development of a basic vocabulary.
Ordinary session: In order to be assessed in the ordinary session, all the activities subject to assessment must have been completed. The assessable activities must be handed in on the dates indicated by the teaching staff. If an activity subject to assessment has not been handed in or completed, it will be recorded in the minutes as "Not submitted" in the session.
Extraordinary session: The assessment criteria are the same as in the ordinary session, so all the assessment activities considered in the course must be submitted. The grades for the activities completed will be kept, pending the completion of the pending activities. In this assessment, the same weighting criteria will be applied as in the ordinary assessment.
70% of the evaluation is made up of attendance and participation in class. And 30% is an article about two works of art put in relation, of 3000 characters, including spaces.
Use of AI tools: If AI tools are used in any activity, a paragraph must be included indicating why AI has been used and what indications have been used to obtain the results. Not doing so is a violation of the academic honesty policies.
AYMAR, J., et alia, Simbologia religiosa en l'art occidental. Edimurtra, 2006.
BESANÇON, Alain, La imagen prohibida. Una historia intelectual de la iconoclasia. Madrid, Siruela, 2003.
KANDINSY, W., De lo espiritual en el arte [1911], Ed. Paidós. Versió pdf.
BOZAL, V, El tiempo del estupor. Siruela, 2003
BRUNETTE, P-WILLS, D [ed.] Deconstruction and the Visual Arts. Art, Media, Architecture, Cambridge University Press, 1994.
CIRLOT, V. La visión abierta. Del mito del grial al surrealismo. Siruela, 2010
FLORENSKY, P. La perspectiva invertida. Madrid, Siruela, 2005
HEMENWAY, P. El código secreto. La misteriosa fórmula que rige el arte, la naturaleza y la ciencia. Köln, 2008.
Icons, engravings, figures that will be physically brought to the classroom.