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2019/2020

Hispanic Romanesque

Code: 100570 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OT 3 0
2500239 Art History OT 4 0

Contact

Name:
Manuel Antonio Castiñeiras Gonzalez
Email:
Manuel.Castineiras@uab.cat

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
No
Some groups entirely in Catalan:
Yes
Some groups entirely in Spanish:
No

Other comments on languages

Catalan wll be the working language. Nevertheless, debates, presentations and written tests could be done in Spanish.

Prerequisites

To be able to fulfil some tasks, some basic knowledge of English and French are required. 

Objectives and Contextualisation

GOALS

Contextualization:

 

This course is a Third-or-Fourth-year optional course. The main goal is to enhance students learning experience, specially, their previous knowledge on Historia General de l’Art Medieval, de 24 ECTS), to be done during Second or Third year.

Spanish Romanesque Art will provide students with deeper knowledge on artistic changes in Spain from 11th to 13th centuries. On one hand, it will help students to acquire a geographic, cultural and political knowledge on the diversity of the Spanish kingdoms. On the other hand, it will show them several artistic phenomena related to the same centuries, such as the birth of the art from the Way of Sant James or the International style “Art 1200”. In addition, those phenomena will be put in close comparison with the European context, specially France.

 

Goals:

 

1- Provide students with great knowledge on the different Spanish Romanesque art forms, specially in regard to their chronological, typological and formal evolution.

 

2- Provide students with deeper knowledge on the relationship between the artistic, cultural, political and historical context of Romanesque Spain and the different uses and subjects of artworks of the period. 

 

Competences

    Art History
  • Critically analysing from the acquired knowledge a work of art in its many facets: formal values, iconographic significance, artistic techniques and procedures, elaboration process and reception mechanisms.
  • Developing critical thinking and reasoning and communicating them effectively both in your own and other languages.
  • Interpreting a work of art in the context in which it was developed and relating it with other forms of cultural expression.
  • Producing innovative and competitive proposals in research and professional activity.
  • Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
  • Respecting the diversity and plurality of ideas, people and situations.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.

Learning Outcomes

  1. Accurately defining and explaining an artistic object with the specific language of art criticism.
  2. Analysing ideas about an artistic phenomenon in a given cultural context.
  3. Analysing the creators of an artistic phenomenon in a specific cultural context.
  4. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  5. Applying the iconographic knowledge to the reading of artistic imagery.
  6. Autonomously searching, selecting and processing information both from structured sources (databases, bibliographies, specialized magazines) and from across the network.
  7. Connecting an artistic imagery with other cultural phenomena within its period.
  8. Coordinating working teams, developing conflict resolution and decision making abilities.
  9. Distinguishing the elaboration techniques and processes of an artistic object.
  10. Efficiently presenting knowledge in oral and written form.
  11. Encouraging creativity and fomenting innovative ideas.
  12. Engaging in debates about historical facts respecting the other participants' opinions.
  13. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  14. Explaining the reception mechanisms of a work of art.
  15. Identifying the artistic imagery, placing it into its cultural context.
  16. Identifying the main and secondary ideas and expressing them with linguistic correctness.
  17. Reconstructing the artistic outlook of a particular cultural context.
  18. Working in teams, respecting the other's points of view and designing collaboration strategies.

Content

Unit 1. Spanish Romanesque Art: from early fascination towards Islamic art to the rediscovery of the art of the Way of Saint James.  –Prosopopoeia, nation and spirituality. –Canonization and Internationalization of Spanish Romanesque Art. – Present Challenges.  

 

Unit 2. Between tradition and innovation:the dawn of Romanesque art in Spanish Kingdoms. –Union and political disintegration: the Kingdom of León. Sancho III and his heirs. – Ecclesiastical transformations: from Visigoth liturgy to Roman liturgy. –Architecture and the “treasure” in San Isidoro de León. Ivories and manuscripts in San Millán de la Cogolla. – “Lombard” Romanesque Aragon and First Romanesque art in Western Peninsula.  

 

Unit 3. Romanesque Art I: the Art of the Way of Saint James as subject matter (1075-1125). – Cluny. –The Road to Santiago. –New architecture: typology and function: pilgrimage churches, basilica plans and Westwerke. –Gregorian Reform and monumental sculpture. Looking back to Antiquity. The Jaca-Frómista debate. The age of the sculptured portals and the art in the Midi: Jaca, Loarre, León, Santiago de Compostela, Conques and Toulouse.-. Iter picturae sancti Iacobi? San Juan de la Peña, Bagüés, Perazancas, Mondoñedo. –Monastic scriptoria and the illumination art.  

 

Unit 4. Romanesque Art II: new contexts for the transformation and dissemination of figurative arts (1120-1150) . –The Cloister of Silos I: an open discussion –The expansion of Aragonese and Navarrese art. Archivolts as subject matter: Pamplona, Oloron, Uncastillo, Leire, Santa Maria de Carrión. Mural and panel painting in the Pyrenees and beyond: Roda d’Isàvena under bishop Ramon: Roda; Taüll,Pedret workshop and Catalan panel painting. Mural painting in Castile: Berlanga, Gormaz and Maderuelo. –San Justo de Segovia.

 

Unit 5. Late Romanesque Art and “1200 Art”: new challenges. –Architecture as symbol. –The copies of the Holy Sepulchre: Romanesque Art and the Art of the Military Orders. –Domed Churches along the river Duero: Zamora, Salamanca, Toro. –The birth and expansion of Cistercian Art..- Great workshops: Carrión, Ávila and Bourgogne; Aguilar de Campoo. The Second master of Silos. Maestro Mateo. Oviedo. The Master of San Juan de la Peña, Aragon and Navarre –Mural painting and miniature around 1200: Sigena and Arlanza. –The scriptoria of Compostela, León and Castile.

 

Unit 6. Women and Romanesque art: linage, patronage and devotion. Women as artists.

 

Unit  7. The Romanesque artists: identity and training.

Methodology

This course is based on several lectures and formative activities.

 

Lectures

Lectures are based on theoretical content with the aid of bibliography and video or power point presentations.

 

Study trip

Lectures will be completed with a study trip to Santo Domingo de Silos, Arlanza and Burgos.

 

Tutoring

One-to-one tutorials with the teacher will help students to monitor their progress.

 

Complementary activities

Attendance to exhibitions and Conferences is recommended.

 

Activities under supervision

Two seminars (The Pórtico de la Gloria and the Master Mateo/ Women and Romanesque Art) based on several specialized readings will be done. Two written papers based on these readings will be required. 

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Lessons (Units 1-7) 40 1.6 3, 4, 2, 15, 5, 6, 8, 1, 9, 11, 13, 14, 16, 12, 17, 7, 10
Type: Supervised      
Readings and other activities. 40 1.6 3, 4, 2, 5, 6, 11, 14, 12, 17, 7, 10
Two seminars 20 0.8 3, 4, 2, 15, 5, 11, 13, 14, 12, 17, 7, 10
Type: Autonomous      
Autonomous study and preparation of the written test (seminars and exam) 50 2 6, 11, 16, 17, 7, 10

Assessment

Continuous assessment is based on three parts:

 

1. One written exam (50% of the final qualification)

 

2. Delivering two written texts as result of the reading of the material that has been given to preprare the seminars. Every written text counts 20% of the final qualifications. Being two texts, the result is 40% of the final qualification. 

3. Assessment of the students participation in the seminars (The Pórtico de la Gloria and the Master Mateo/  Women and Romanesque Art).

 

Final qualification will be the result of the sum of the partial exams (50%), the written papers (40%) and participation in debates (10%).

The Faculty officially fixes a revaluation but this one only applies to exam’s qualification.

Without participating in both seminars and delivering the written papers the course could not be passed. 

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Delivery of two written papers from the material given for the preparation of the seminars. 40% 0 0 6, 8, 1, 11, 13, 14, 16, 12, 17, 7, 10, 18
Oral participation in the two seminars (Pórtico de la Gloria/Women and Romanesque art 10% 0 0 3, 4, 2, 15, 5, 1, 9, 11, 13, 14, 12, 17, 10, 18
Written exam (Units 1-7) 50% 0 0 3, 4, 2, 15, 5, 1, 9, 11, 13, 14, 16, 17, 7, 10

Bibliography

Bibliography

 

GENERAL BIBLIOGRAPHY 

Bango, Isidro, El arte románico, Madrid, 1989.

Bango,Isidro, El románico en España, Madrid, 1992.

Enciclopedia dell'Arte Medievale, Istituto della Enciclopedia Italiana, Roma (10 vols.).

Enciclopedia del Románico en España, Fundación Santa María la Real

Yarza, Joaquín, Arte y arquitectura en España, 500-1250, Madrid, 1985.

Yarza, Joaquín, Boto, Gerardo., Claustros románicos hispanos, Edilesa, Lleó, 2000.

Sculpture

Castiñeiras, M., "Jaca, Toulouse, Conques y Roma: las huellas de los viajes de Diego Gelmírez en el arte románico compostelano", in F.

López Alsina, H. Monteagudo, R. Yzquierdo Perrín (eds.), O Século de Xelmírez, Actas del Congreso Internacional, Santiago, 18-20

novembro 2010, Consello da Cultura Galega, Santiago de Compostela, 2013, pp. 245-298.

Durliat, Marcel., La sculpture romane de la route de Saint-Jacques, Mont-de-Marsan, 1990.

Focillon, Henry, La escultura románica: investigaciones sobre la historia de las formas, Madrid, 1987 (1-2).

Gaillard, George., Les débutsde la sculpture romane espagnole. León, Jaca, Compostella, París, 1938.

Porter, Arthur Kingsley., Romanesque Sculpture of the Pilgrimage Roads, 10 vols., Boston, 1924.

Porter, Arthur Kingsley, Spanish Romanesque Sculpture, 2 vols, New York, 1929. (ed. esp. Barcelona, 1929).

Sánchez Ameijeiras, Rocío, Senra, José Luis (eds.), El tímpano románico. Imágenes, estructuras y audiencias, Xunta de Galicia, Santiago,

2003.

Painting

Borrás, Gonzalo, García Guatas, Manuel, La pintura románica en Aragón, Zaragoza, 1978.

Castiñeiras, Manuel (ed.), Pintar fa mil anys. Els colors i l'ofici del pintor romànic, Bellaterra, 2014.

Castiñeiras, Manuel., “Apostillas al Iter picturae sancti Iacobi:las pinturas murales de San Martiño de Mondoñedo, el scriptorium

compostelano y el tesorero Bernardo”, Compostellanum, LVI, 1-4, 2011, pp. 303-340

Cook, Walter. S, Gudiol Ricart, J., Pintura e imaginería románica, en Ars Hispaniae, VI, Madrid, 1950 (1980).

Fernández Somoza, Gloria, Pintura románica en el Poitou, Aragón y Cataluña. La itinerancia de un estilo, Nausícaä, Murcia, 2004.

Grau Lobo, Luis, Pintura románica en Castilla y León, Valladolid, 1996.

Guardia, Milagros, San Baudelio de Berlanga, una encrucijada, Memoria Artium, 10, Barcelona, 2011.

També les monografies de la Col·lecció Zodiaque publicades per l'abadia benedictina Sainte-Marie de la Pierre-qui-vire (Yonne). La majoria

han estat traduïdes al castellà per l'editorial Encuentro en les col·leccions Serie Europa Románica i Rutas románicas.

SPECIFIC BIBLIOGRAPHY

 

Catalonia

 

 

Cabestany i Fort, Joan F., Matas i Blanxart, Maria Teresa, Diccionari d'arquitectura romànica catalana, Barcelona, 2006.

El Romànic i la Mediterrània. Catalunya, Toulouse i Pisa (1120-1180) eds. Manuel Castiñeiras, Jordi Camps, MNAC, Barcelona, 2008.

Aragón, Navarra, La Rioja

Bango, Isidro (dir,), La Edad de un Reyno. Sancho el Mayor y sus herederos. El linaje que europeizó los reinos hispánicos, 2 vols.,

Pamplona, 2006.

Fernández-Ladrera, Clara, Martínez de Aguirre, Javier., Martínez Álava, Carlos. J., El arte románico en Navarra, Pamplona, 2002 (2004).

La cabecera la Catedral Calceatense y el Tardorrománico hispano, Joaquín Yarza, Isidro Bango, Francesca Español (eds.), Santo Domingo

de la Calzada, 2000.

Martínez de Aguirre, Javier., “Arquitectura y soberanía: la Catedral de Jaca y otras empresas constructivas de Sancho Ramírez”, Anales de

Historia del Arte, 2012, Volumen Extraordinario (2), 181-249

Martínez de Aguirre, Javier., “El Maestro del Claustro de la Catedral de Pamplona”, en Maestros del Románico en el Camino de Santiago,

Aguilar de Campoo, 2010, 49-85

Martínez de Aguirre, Javier., “La Santa Cruz y el Santo Sepulcro: formas y espacios románicos”, en Monumentos singulares del Románico.

Nuevas lecturas sobre formas y usos, Aguilar de Campoo, 2012, 217-242

Castile and León

Boto Varela, Gerardo., “In Legionenssy regum ciminterio.La construcción del cuerpo occidental de San Isidoro de León y el amparo de los

invitados a la cena del Señor”, en Monumentos singulares del Románico. Nuevas lecturas sobre formas y usos, Aguilar de Campoo, 2012,

93-135

Carrero Santamaría, Eduardo., “Iglesias y Capillas del Santo Sepulcro. Entre el lugar común historiográfico y la norma y práctica litúrgicas”,

en Arte y Patrimonio de las Órdenes Militares de Jerusalén en España.: hacia un Estado de la Cuestión, ed. Amelia López-Yarto y Wifedro

Rincón García, Zaragoza- Madrid, 2010, 321-334

Hernando Garrido, José Luis., Escultura tardorrománica en el monasterio de Santa María la Real en Aguilar de Campoo (Palencia),

Fundación Santa María la Real, Aguilar de Campoo (Palencia), 1995.

Lozano López, Esther., Un mundo de imágenes: la portada de Santo Domigo de Soria, Fudación Universitaria Española, Madrid, 2006

Ocón Alonso, Dulce, "Los ecos del último taller de Silos en el románico navarro-aragonés y la influencia bizantina en la escultura española

en torno al año 1200", en el Románico en Silos. IX centenario de la consagración de la iglesia y el claustro, Silos, 1990, pp. 501-510.

Prado-Vilar, Francisco., "Saevum Fascinus. Estilo, genealogía y sacrificio en el arte románico español", Goya, 324, 2008, pp. 173-199

Prado-Vilar, Francisco., “Del Maestro de Orestes-Caín al Maestro del Sátiro: una conferencia sobre la belleza de la tragedia y la memoria

del futuro”, Maestros del Románico en el Camino de Santiago, Aguilar de Campoo, 2010, p. 11-46

Senra, José Luís, “Las grandes instituciones cluniacenses hispanas bajo el reinado de Alfonso VI”, Anales de Historia del Arte, 2012,

Volumen Extraordinario (2), 335-366

Galicia

Actas del Simposio Internacional sobre "O Pórtico da Gloria e a arte do seu tempo" (Santiago de Compostela 2-8 octubre de 1988), A

Coruña, 1991.

Compostela y Europa. La historia de Diego Gelmírez, ed. Manuel Castiñeiras, Skira-Xunta de Galicia, Milán, 2010.

Carrero Santamaría, Eduardo, Las catedrales de Galicia durante la Edad Media. Claustros y entorno urbano, Fundación Pedro Barrié de la

Maza, A Coruña, 2005.

Conant, Kenneth John, Arquitectura románica de la Catedral de Santiago de Compostela, COAG, Santiago, 1983 (1ª ed. Cambridge, Mass.,

1926).

Pórtico de la Gloria

YARZA, Joaquín, Maestro Mateo. El Pórtico de la Gloria, Editorial: Alianza Editorial - Ediciones Cero Ocho., 1984.

MORALEJO, Serafín, “El 1 de abril de 1188. Marco histórico y contexto litúrgico en la obra del Pórtico de la Gloria”, en El Pórtico de la

Gloria. Música, arte y pensamiento, Santiago de Compostela, 1988, 19-36.

MORALEJO, Serafín, “Le Porche de la Gloire de la cathédrale de Compostelle: problèmes de sources et d´interpretation”, Les Cahiers de

Saint-Michel de Cuxa, 16, 1985, 92-116.

MORALEJO, Serafín, El Pórtico de la Gloria, FMR, Edición española, Ebrisa Franco María Ricci, 3/1993, N. 21, pp. 28-46.

CASTIÑEIRAS, Manuel, El Pórtico de la Gloria, Madrid : San Pablo, [1999]. ISBN 84-285-2155-7.

CASTIÑEIRAS, Manuel, “El Maestro Mateo o la unidad de las artes”, en Maestros del Románico en el Camino de Santiago, Aguilar de

Campoo, 2010, 189-239

Nicolai, Bernd., Rheidt, Klaus., “Nuevas investigaciones sobre la construcción de la Catedral de Santiago de Compostela”, Ad Limina, 1,

2010, 53-79.

PRADO-VILAR, Francisco., “Stupor et mirabilia: el imaginario escatológico del Maesro Mateo en el Pórtico de la Gloria”, El Románico y sus

mundos imaginarios, Aguilar de Campoo, 2014, 161-204.

Anonymous Artists

BARTOLOMÉ, Laura., “Itinerant versus pelegrí. El “periple” del Mestre del timpà de Cabestany”, Porticvm. Revista d’Estudis Medievals, 1

(2011), pp. 44-68.

MARTÍNEZ DE AGUIRRE, Javier., “El Maestro del claustro de la catedral de Pamplona”, Maestros del Románico del Camino de Santiago,

Aguilar de Campoo, 2010, pp. 49-85.

Moralejo, Serafín., “Artistas, patronos y público en el artedel Camino de Santiago”, Compostellanum XXX, 3-4-, 1985, 395-430

SÁNCHEZ, Carles., “El taller de San Miguel de Biota y la escultura en Aragón y Navarra en torno al año 1200”, Porticvm. Revista d’Estudis

Medievals, 1 (2011), pp. 26-40.

Artist with signature

CASTIÑEIRAS, Manuel, “El Maestro Mateo o la unidad de las artes”, Maestros del Románico en el Camino de Santiago, HUERTA, P.L.

(ed.), Aguilar de Campoo, 2010, pp. 187-239.

GARCÍA GUINEA, Miguel Ángel, “Las huellas de Fruchel en Palencia y los capiteles de Aguilar de Campoo”, Goya, 43-45 (1961), pp. 158-

167.

LORÉS, Immaculada, “El escultor Arnau Cadell, constructor de claustros”, Románico: Revista de arte de amigos del románico, 20 (2015),

pp. 114-122.

MALLET, Géraldien, “L’oeuvre de tombier de l’atelier dit de R. de Bia au début du xiiie siècle en Catalogne du Nord”, Les Cahiers de Saint-

Michel de Cuxa, XLII (2011), pp. 51-58.

MARTÍNEZ DE AGUIRRE, Javier, “El Maestro Esteban en Pamplona ¿Arquitecto y urbanista?, Ad Limina, vol. VI (2015), pp. 67-97.

Medieval Art and Genre

MARTIN, Therese, Queen as King: Politics and Architectural Propaganda in Twelfth-Century Spain. Leiden and Boston: Brill, 2006.

MARTIN, Therese, “The Art of a Reigning Queen as Dynastic Propaganda in Twelfth-Century Spain.” Speculum 80 (2005): pp. 1134-1171.

MARTIN, Therese, Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture, Leiden and Boston: Brill, 2015.

ABENZA, Verónica, “In the name of the queen: female patron portraits and inscriptions in 11th Century Aragon and Navarre”, KEIL, W., et al.

(Ed.), Zeinchentragende Artefakte im sakralen Raum. Zwischen Präsenz und UnSichtbarkeit, Berlin: De Gruyter, 2018, p. 285-308.

ABENZA, Verónica, “The Jaca ivories: towards a re-evaluation of 11th- century Female Patronage in the Kingdom of Aragon”, MCNEILL, J.,

et al. (Ed.), Romanesque Art. Patrons and Processes: design and instrumentality in the art and architecture of Romanesque Europe, 2018,

p. 183-193.

Selection of texts and websites:

Fuentes y documentos para la historia del arte. III. Arte medieval. II. Románico y gótico, ed. Joaquín Yarza et alii, Barcelona, 1982.

Moralejo, Abelardo, Torres, Casimiro, Feo, Julio (eds.), Liber sancti Iacobi “Codex Calixtinus”, Santiago, 1951.

Websites

Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle, Eugène Viollet-le-Duc,

1856(http://fr.wikisource.org/wiki/Dictionnaire_raisonn%C3%A9_de_l%E2%80%99architecture_fran%C3%A7aise_du_XIe_au_XVIe_si%C3%A8cle

Visita virtual a la catedral de santiago (http://www.catedraldesantiago.es/visita/visitavirtualcatedral.htm?catpres) )

Art Medieval (www.artmedieval.net)(Dani Latorre). Fotografies i descripcions d’edificis romànics de diferents regions d’Espanya,

Portugal i Catalunya

Amigosdel Románico (AdR) (www.amigosdelromanico.org): Inventari romànic, notícies i articles d’opinió

Romànic Aragonés (Antonio García Omedes)(www.romanicoaragones.com)

Romànic espanyol i del Sud de França. (Antonio García Omedes)(www.arquivoltas.com)

La frontera del Duero (Antonio Tejedor de Miguel)(www.lafronteradelduero.com)..

Web del castell de Loarre (Antonio García Omedes)(www.castillodeloarre.org)

www.claustro.com, Juan Antonio Olañeta, web amb catàleg de crismons i altres catàlegs iconogràfics, claustresigaleries porticades.