Titular Professors
Learning Outcomes of this subject are:
RA27 At the end of the course, the student will be able to recognize artistic references up to the middle of the 20th century, including their revision from a gender perspective.
RA31 The student will be able to interpret main ideas of complex texts in his/her own language and English.
Other objectives of the subject are:
The student will learn to recognize artistic works and contextualize them in their chronological period.
The student will work on learning to "look" at the artistic work and to carry out iconographic analysis.
The student will work on critical reasoning and the search of bibliography and artistic references.
Topic 1. Introduction. Understanding art and artists. Introduction to various concepts that will be worked on throughout the course and are independent of the historical-artistic period in which we find ourselves.
Topic 2. Representing life. Prehistoric and primitive peoples. Prehistoric art will be studied from a historiographical and ontological point of view, reflecting on the artistic meaning of its representation.
Topic 3. Eternity and art. Mesopotamia and Egypt. To learn about Mesopotamian and Egyptian art and to deal with its artistic manifestations through the conception of spirituality, life and death in Mesopotamia and Egypt.
Topic 4. Beauty in art. Greece. How art is understood in Greece and how it is structured within its cosmogony, being the basis of the art and aesthetics of Western art.
Topic 5. ?Veni, vidi, vici?. Rome. Rome as conqueror of the existing world and how it adapts the art of other cultures into an art that is the image of its hegemony and political power.
Topic 6. Europe and the triumphant Church. Channelling of religiosity in Romanesque art. Changes produced in Gothic art, provoked by a changing world, with wars, new social classes and new perspectives of a new world.
Topic 7. Italy and its artistic hegemony during the Renaissance. The great canons produced in the Italian Renaissance, to which we are still partly indebted.
Topic 8. Everyday life reflected in the artistic genres of the Baroque. The creation of new artistic genres, linked to the Counter-Reformation and the perspective of the new and old continent.
Topic 9. The search for new paths. Nineteenth-century art. How new technologies and materials affect the vision and perception of the world and, therefore, art. The 19th century as a time when the traditional artistic foundations forged in the Renaissance begin to break down to give way to the change that will take place in the 20th century.
Topic 10. The reinvention of art in the Avant-gardes of the early 20th century. The rupture of the art known until then and the new artistic proposals of the Vanguards at the beginning of the 20th century.
Topic 11. The demand of the artist and the art of life. Second half of the 20th century. The pre-eminence of the role of the artist in the execution of the work of art and how this is linked to life itself through the new artistic trends.
Topic 12. The paradigm of contemporary art. Limits and singularities as a new artistic genre. Transcending the object: from the dematerialisation and conceptualisation of the work to ephemerisation in artistic practices. New times and spaces in the work of art. Ontological ambiguity and AIs: the presence of the artist and the role of the spectator.
In the subject will work through different teaching methodologies. At the beginning of each unit there will be a master class where the teacher will introduce certain basic concepts and contextualize the student in the historical-artistic moment. From here, the student will have a series of audiovisual material and didactic activities based on the active methodologies with which he will acquire the knowledge of the different stylistic periods and the specific vocabulary of the discipline. From the beginning of the course the student will be presented with a individually project to develop throughout the course and to present orally and in writing at the end of the course.
MD 1: Master Class with the support of audiovisual material. MD 2: Seminar.
MD 3: Flipped classroom. MD 4: Real events.
MD 5: Project-based learning. MD 6: Peer Instruction
Standard evaluation:
Theoretical basis: 30%
Evaluation of the theoretical basis of the subject through:
a test of each subject.
a written test of open response at the end of each semester. Highly significant test
Minimum grade required to arise average >4/10
Individual note.
Seminars/Workshops: 30%
Evaluation of the seminars made during the course. Minimum grade required to arise average >4/10.
Individual note.
Written and oral presentation of the course project. 20%. Highly significant test
Evaluation of the written work of the course project.
Minimum grade required to arise average >4/10.
Oral communication: 10%
Evaluation of the student's oral expression in the different seminars and in the oral presentation of the final project of the course.
Minimum note to make the average> 4/10.
Continuous evaluation: 10%
Involvement of the student in the classes, delivery of the exercises and criteria of the teacher.
Special evaluation:
In case standard evaluation is failed, students have the option to pass the subject by passing a special evaluation exam.
Criteria for standard and special evaluation:
In the event that the exams, exercises or works to be delivered by the student do not present a correct written, grammatical and orthographic expression, the maximum grade will be a 4.
If the conditions are not fulfilled for passing the convocation, the maximum grade will be a 4.
Crespo Fajardo, J. L. (Coord.) (2012). Discursos sobre arte digital. Málaga: Universidad Málaga.
(2012) coord. José Luis Crespo Fajardo, Univ. Málaga. http://www.eumed.net/libros-gratis/ciencia/2012/7/7.pdf Gombrich, E.H. (2006). Historia del Arte. Madrid: Debate.
Heinich, N. (2017). El paradigma del arte contemporáneo. Estructuras de una revolución artística. Madrid: Casimiro libros.
Lieser, W. (2009). El arte digital, Ullman Publishing.
Manovich, Lev. (2005). El lenguaje de los nuevos medios de comunicación. La imagen en la era digital. Barcelona: Ediciones Paidós.
Panofsky, E. (1989). El significado de las artes visuales. Madrid: Alianza Editorial. Saxl, F. (1989). La vida de las imágenes. Madrid: Alianza Editorial.
Tatarkiewicz, W. (2000). Historia de la estètica, Madrid: Ed. Akal.
The teacher will provide specific bibliography for each topic.