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18th Century Art

Code: 100547 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OB 3 1
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.


Maria Gargante Llanes

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
Some groups entirely in Catalan:
Some groups entirely in Spanish:


Given that this is a subject that is attended during the third year of the degree, the student must
											to show solvency not only in the performance of the written tests, but also in the oral tests. 
											Likewise, the baggage of having previously attended two degree courses, with subjects ranging from the art of
											Antiquity to the Baroque, going through the Renaissance, which should allow the student to have one
											prior knowledge of the precedents and historical-artistic circumstances that precede and condition
											somehow the characteristics and future of European art of the eighteenth century.

Objectives and Contextualisation

The subject offers a panoramic view - through five blocks of geographic scope - of the new Europe in the century
											XVIII, time in which a definitive internationalization of the culture takes place. By analyzing the
											various artistic manifestations and their creators, will try to influence the intellectual environment and the
											permanent dichotomy rationalism-sensualism itself of the illustrated culture, which popularizes the "Grand
											Tour "and the one who believes in the progress and happiness of the human being. In short, the subject must
											provide knowledge about European art from the 18th century, establishing the differences, persistence, novelties
											and contradictions between the late Baroque, Rococo and Neoclassicism, using the aesthetic, historical and
											sociological ones that are more suitable to understanding the contents of the syllabus.


  • 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.
  • Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
  • 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 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. Connecting an artistic imagery with other cultural phenomena within its period.
  7. Distinguishing the elaboration techniques and processes of an artistic object.
  8. Efficiently presenting knowledge in oral and written form.
  9. Encouraging creativity and fomenting innovative ideas.
  10. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  11. Explaining the reception mechanisms of a work of art.
  12. Identifying the artistic imagery, placing it into its cultural context.
  13. Identifying the main and secondary ideas and expressing them with linguistic correctness.
  14. Reconstructing the artistic outlook of a particular cultural context.
  15. Working in teams, respecting the other's points of view and designing collaboration strategies.


											-Versalles: architecture and gardens.
											-Hôtels, 'maisons de plaisance' and 'folies'.
											- Decorative objects: a new concept of interior design.
											-The "rediscovery" of classicism: from Soufflot to the "revolutionary architects."
											-The painting or the search for a new sensibility:
											-The "Querelle des anciens et modernes". The Academie Royale and the Halls.
											-The Rococo: Antoine Watteau, 'Fête Galant' and the 'Commedia dell'Arte'.
											-Francois Boucher: sensuality and eroticism at the service of the ruling classes.
											-The ambivalent universe of Jean-Honoré Fragonard.
											-Encyclopedie as an antibarroque manifesto: Denis Diderot or the critique of the system. The everyday reality of
											Chardin and the moralism of Greuze.
											-The David of the Revolution: the look towards antiquity.
											-The portrait: J. Rigau, N. Largillière, Quentin de la Tour (introduction of the technique to the cake by Rosalba Carriera),
											Perronneau, Nattier. Women-artists: Adelaïde Labille-Guiard, Elisabeth Vigée-Lebrun.
											* Queens and favorites; "salonnières" and illustrated: women as artistic committees.

-Architecture: between classical and borrominan paradigms. Roman works.
-Outside of Rome: the Piemont architecture of Filippo Juvarra and Bernardo Vittone.
-The force of the south: Naples and Sicily.
-The painting: from the great muralists -Tiepolo- to Venice and "vedutisti".
-The "view" recorded by G.B. Piranesi, beyond the classical tradition.
-The sculpture of Antonio Canova.

-Austria: Fischer von Erlach and Johan Lukas Hildebrandt.
-Bohemia: the Dientzenhofer and the influence of Guarino Guarini.
-Southern Germany: Balthasar Neumann, J.M. Fischer, J.B. Zimmermann. The decoration in stucco. TheAsam brothers.
-The illustrated princes of Prussia and Saxony.
-The monastic and palatine libraries.
-The "theatrical" architecture: from the Zwinger of Dresden to the theater of Bayreuth.
-Sant Petersburg: the European capital of the northern empire.

-After the new London: The urbanism of Bath. The architecture of John Vanbrugh and Nicholas Hawksmoor:
											following the Baroque tradition of Cristopher Wren. The palladianism and the 'Vitruvius Britannicus' by Colen Campbell.
											Lord Burlington and William Kent. The English garden. The echo in the architecture and the urbanism of the United States
											of America.
											-The painting: Van Dyck's suggestion in the portraits of Joshsua Reynolds and Thomas Gainsborough.
William Hogarth and social criticism. The role of the 'Royal Academy'. Joseph Wright of Derby and science.
5. PORTUGAL - From the scenic urbanism to the new Lisbon of the Marquis of Pombal. -The magnificence of the monastery of Mafra. - Italo-Germanic Suggestions: Architecture from Portugal to Brazil.


The methodology followed during the course will be a combination of master classes taught by the teacher (in a presential way or on line), suggested readings and possible visits to exhibitions or conferences given by experts. The oral presentations in classroom could be in a presential way or on line way.


Title Hours ECTS Learning Outcomes
Type: Directed      
Master classes 28 1.12 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 15
Oral presentation in classroom 12 0.48 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 15
Type: Supervised      
Individual essay 20 0.8 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6
Type: Autonomous      
Individual study 60 2.4 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 15
Readings proposed by the teacher 20 0.8 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6
Visits to exhibitions and conference attendance 10 0.4 3, 4, 2, 12, 5, 1, 7, 10, 11, 14, 6, 15


The evaluation will consist of two written exams (30% each), an oral presentation (20%) and an individual essay (20%).

In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.

In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Individual essay 30% 0 0 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 15
Oral presentation 20% 0 0 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6
Written exam 1 50% 0 0 3, 4, 2, 12, 5, 1, 7, 9, 10, 11, 13, 14, 6, 8, 15


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BLACK, J: La Europa del siglo XVIII, Madrid, Akal, 1987.

BOIME, A: Historia social del arte moderno. I. El arte en la época de la Revolución, 1750-1800. Madrid.

BOMFORT, D; FINALDI, G: Venice through Canaletto's Eyes. London: National Gallery Publications, 1999.

CASSIRER, E., Filosofia de la Ilustración, Mèxic, 1973 (1932).

CROW, T: Pintura y sociedad en el Paris del siglo XVIII. Madrid, Nerea, 1989 (1985).

DIDEROT, D.: Escritos sobre el arte. Madrid, Siruela, 1994.

GOMBRICH, E.H., The Ideas of Progress and their impact on art. Nueva York: 1971.

HASKELL, F., Patronos y Pintores.Madrid, Cátedra, 1984 (1963).

HAZARD, P: El pensamiento europeo en el siglo XVIII. De Montesquieu a Lessing. Madrid, Alianza, 1985

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LEVEY, M., Du Rococo a la Revolution, Londres, 1989 (ed. ang. 1966).

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PÉROUSE DE MONTCLOS, J.M : Histoire de l'Architecture Française. De la Renaissance a la Révolution, Paris,1989.

PERRY, G., ROSSINGTON, M., (Edits): Feminity and masculinity in eighteenth-century art and culture. Manchester-New York, Manchester University Press, 199

ROSENBLUM, Robert, Tranformaciones en el arte de finales del siglo XVIII, Madrid, Taurus, 1986.

SCHONBERGER, A., H. SOEHNER, H.: El Rococó y su época, Barcelona, (1958) 1971.

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