Degree | Type | Year | Semester |
---|---|---|---|
2500239 Art History | OT | 3 | 0 |
2500239 Art History | OT | 4 | 0 |
It is advisable to have taken the general subjectes of Renaissance, 15th and 16th centuries.
In the current curriculum, the subject "Art renaixentista a Espanya" is integrated in the subject History of modern art (16th-18th centuries). It is optional, has six credits and is taught in the fourth year of the Degree in Art History. It is advisable to study it after the general subjects on Renaissance art of the 15th and 16th centuries, because it is complementary. For this reason, the objectives and competences follow the same model. The priority objective is for pupils to reach a global and coherent knowledge of the Renaissance artistic phenomenon: reference models, means of transmission of the new systems of visual representation and architectural syntax, dialectical relationship between preferential creation centres and European peripheries (especially Hispanic territories), forms of reception (hibradation, classicism, etc.).
1. About the Renaissance concept applied to Hispanic territories. Historiography. Centres and peripheries: Italy (Italian centres)/Hispanic kingdoms; Spanish court/Hispanic peripheries. Terminology as an ideological alibi: the distinctive "styles". Bilingualism or multilingualism? From Hybridity to Classicism.
2- The epoch of the Reyes Católicos. The Nordic model. Plateresque: one (eloquent) mask of grutesque. Imports: works (funerary monuments, prefabricated courtyards) and artists (P. da San Leocadio, D. Fancelli, P. Torrigiano, J. Torni)
3. Reign of Charles V: an art for an Empire? Granada, new Rome. The return of the "eagles": Ordóñez, D. Siloé, Machuca, A. Berruguete. The Valencian painting, in the shadow of Leonardo: Yáñez and Llanos. The third Ferrando. The sculpture in the Corona de Aragó: Damián Forment. Architecture in the Court: A. de Covarrubias. Architecture in Andalusia: A. de Vandelvira.
4. Reigns of Felipe II and Felipe III. The Classicist paradigm: El Escorial. J. de Herrera and the architectural debate at the end of the century. The painting in the Court: courtly decorations, the portrait. "Romanism" vs. "Maniera". Gaspar Becerra and the question of the monumental altarpiece. Religious image at the time of Catholic Reform: public art vs. private art. El Greco: extravagant painting.
Autonomous activities (50-55 %) 1. personal study (CE1, CE6, CE7) 2. documentary and/or bibliographic consultations (CE1, CE6, CE7) 3. preparation of course papers: research papers, reviews, text commentaries, bibliographic essays, etc. (CE1, CE6, CE7) (CT1, CT3, CT4)
Targeted activities (30-35 %) 1. classroom classes (CE1, CE6, CE6, CE7) 2. seminars and practical sessions in the classroom (CE1, CE6, CE7) (CT3). 3. lectures (CE1, CE6, CE7). 4. exposition of individual or group work (CT1, CT4)
Supervised activities (10 %) programmed tutorials supporting learning and working (CT1, CT3)
Assessment activities (5 %) Written and oral tests (CE1, CE6, CE7) (CT1, CT4)
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
1. classroom classes (CE1, CE6, CE6, CE7) 2. seminars and practical sessions in the classroom (CE1, CE6, CE7) (CT3). 3. lectures (CE1, CE6, CE7). 4. exposition of individual or group work (CT1, CT4) | 60 | 2.4 | 15, 5, 1, 9, 11, 14, 12, 17, 7 |
Type: Supervised | |||
programmed tutorials supporting learning and working (CT1, CT3), Written and oral tests (CE1, CE6, CE7) (CT1, CT4) | 15 | 0.6 | 11, 18 |
Type: Autonomous | |||
1. personal study (CE1, CE6, CE7) 2. documentary and/or bibliographic consultations (CE1, CE6, CE7) 3. preparation of course papers: research papers, reviews, text commentaries, bibliographic essays, etc. | 75 | 3 | 3, 4, 15, 5, 6, 9, 13, 14, 16, 17, 7, 10 |
Evidence 1. Written test of the curriculum developed in the classroom. Positive evaluation: the domain of the subject, the knowledge of the basic bibliography, the adequacy to the statement, the precision of the data and the correct structuring of the ideas, both personal and external.
Evidence 2. Guided visit to a work selected by the teacher. Exceptionally, the students will be able to carry out the visit on their own. In any case, the student must provide a written account of the activity carried out.
Evidence 3. Teamwork (consisting of three persons, except in exceptional cases) on a topic chosen at random from a list previously drawn up by the teacher (maximum length, about twenty pages), always on issues or phenomena typical of 16th century Italian art. In addition to the evaluation criteria described for individual work, the ability to work as a team will be assessed in this case. In addition, the formal presentation of the work (syntax, spelling, appendix of images) will be taken into account. It is mandatory to deliver the paper in print and digital format (PDF on CD or pendrive).
Evidence 4. Oral presentation of the Teamwork. The presentation is done in the classroom, for approximately 10/15 minutes, with PowerPoint support. In this case, the main value is placed on the capacity for synthesis, the order and clarity of the exhibition, the selection of images and the oratory skills.
As for the score, the average of the works weighs 40%; the written test, the compulsory readings and the participation in the classroom, 50%; the oral exposition of the group work, 10%, taking into account that this evidence never drops, but always raises it or, at worst, keeps it unchanged, as it is considered a first step in learning oral communication in public. Pupils shall be informed of their qualifications and of the procedure and date of the corresponding reviews. As is mandatory, there isthe possibility of reassessment of all the evidence, except that of the oral exposure of the group work, since it is never evaluated in a negative way as has already been said. In order to obtain a reassessment, it is essential to have been evaluated in all the other evidence and, in particular, in the Written test and the Individual Work, that is, at least 2/3 parts of the final rating.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Evidence 1. Writen test | 50% | 0 | 0 | 3, 4, 2, 15, 5, 1, 9, 13, 16, 7, 10 |
Evidence 2. Guided visit | 20% | 0 | 0 | 15, 9, 13, 14, 7 |
Evidence 3. Teamwork | 20% | 0 | 0 | 6, 8, 11, 12, 17, 10, 18 |
Evidence 4. Oral presentation of the Teamwork | 10% | 0 | 0 | 10, 18 |
Basic references
P. Burke: Hybrid Renaissance. Culture, Language, Architecture, Central European University Press, Budapest, 2016. Basic references
F. Checa: Pintura y escultura del Renacimiento en España, 1450-1600, Cátedra, Madrid, 1983.
M. Gómez Moreno: Las águilas del Renacimiento español, Madrid, 1983 (1941).
F. Marías: El largo siglo XVI. Los usos artísticos del Renacimiento español, Taurus, Madrid, 1989.
F. Marías: El siglo XVI. Gótico y Renacimiento, Sílex, Madrid, 1992.
T. Mozzati, A. Natali (a cura de): Norma e capriccio. Spagnoli in Italia agli esordi della maniera moderna, catàleg d’exposició, Florència, 2013.
V. Nieto, A. J. Morales, F. Checa: Arquitectura del Renacimiento en España, 1488-1599, Cátedra, Madrid, 1989.
VV. AA.: Felipe II y el arte de su tiempo, F. Argentaria/UAM/Visor, Madrid, 1998.