Baroque Art
Code: 100548 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500239 Art History | OB | 2 | 2 |
Contact
- Name:
- Rafael Cornudella Carré
- Email:
- Rafael.Cornudella@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
Prerequisites
There is no prerequisite.
Objectives and Contextualisation
This course, of basic formation and of 6 ECTS, is included within the subject "General history of modern art" (24 ECTS).
The fundamental objective of the course is to provide the student with some basic keys to interpret a cycle of Italian and European art that is generally identified with the name "Baroque" and emerged at the end of the XVIth century and lasted until the XVIIIth century. At the same time, it is intended to promote the intellectual autonomy of the student and particularly a critical attitude towards the bibliographical sources, which allows him to question, if necessary, the current interpretive models.
Competences
- 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
- Accurately defining and explaining an artistic object with the specific language of art criticism.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Applying the iconographic knowledge to the reading of artistic imagery.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Efficiently presenting knowledge in oral and written form.
- Encouraging creativity and fomenting innovative ideas.
- Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
- Explaining the reception mechanisms of a work of art.
- Identifying the artistic imagery, placing it into its cultural context.
- Identifying the main and secondary ideas and expressing them with linguistic correctness.
- Reconstructing the artistic outlook of a particular cultural context.
- Working in teams, respecting the other's points of view and designing collaboration strategies.
Content
1 - The XVIth Century roots of the Baroque Painting. Introduction: “Renacissance”, “Mannerism”, “Baroque”, the question of artistic historical categories. Towards an anti-mannerist climate of opinion: Dolce and the polemical response to Vasari. Artistic literature of the catholic Counter-reformation. Plurality of non-Mannerist trends in Northern Italy. The great legacy of Venice. From Venice to Lombardy. From Parma to Urbino (Correggio, Barocci). Florence and Rome.
2 – The emergence of the Baroque Painting. The early baroque painters and their followers. Annibale, Ludovico and Agostino Carracci. Caravaggio. The Bolognese trend and the Bolognese-Roman trend La corriente boloñesa y boloñeso-romana originating in the Carracis. Caravaggism as an Italian and European phenomenon.
3 - Architecture, painting and sculpture of the High Baroque. Urbanism and Architecture in rome at the end of the XVIth and the beginning of the XVIIth Century. the great protagonists of the High Baroque: Gian Lorenzo Bernini (sculpture and architecture). Francesco Borromini (architecture). Pietro da Cortona (painting and architecture). The trends of the baroque painting in Italy. The trends of the Baroque and Late-Baroque architecture in Italy.
4 – Northern Europe (France, Flanders, Holland). The XVIIth Century painting in Flanders ans in Holland. Rubens and Flemish painting. Rembrandt and other holandese painters. Architecture and art of the “Grand Siècle” in France. Architecture. Painting (Vouet, Poussin, Le Brun, etc).
Methodology
Teaching methodology
In-class teaching:
Development of the program by the teacher
Commentary and discussion of texts; eventually seminars (depending on the number of students enrolled)
Tutorials
Methodological and bibliographical guidance; assesment in the writting of the essay
Supervised activities (resolution of doubts related to the course)
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| In-class lessons | 40 | 1.6 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 15 |
| Type: Supervised | |||
| Delivery of an essay about a subject to be chosen | 70 | 2.8 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 15 |
| Type: Autonomous | |||
| Critical essay about a subject to be chosen | 40 | 1.6 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 8 |
Assessment
1. First written exam, 30% of the final grade
2. Second writen exam, 30% of the final grade.
3. Individual essay, 40% of the final grade.
To pass the course it is necessary that the sum of the grades of the three evidences is at least 5 (out of 10). If any evidence has been suspended, the student will have to present himself for reappraisal.
Other details about the format of the evidence will be communicated at the beginning of the course well in advance.
At the time of carrying out each evaluation activity, the teacher will inform the students of the procedure and date of revision of the grades.
The student will receive the grade of Not assessable as long as he / she has not completed more than 30% of the assessment activities.
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.
Recovery
All three evidences can be recovered.
Plagiarism
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.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Delivery of an individual critical essay | 40 | 0 | 0 | 3, 4, 2, 12, 5, 1, 7, 9, 10, 11, 13, 14, 6, 8, 15 |
| First written exam | 30 | 0 | 0 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 8 |
| Second written test | 30 | 0 | 0 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 14, 6, 8 |
Bibliography
Selective bibliography
Obres generals i temàtiques
Wölfflin, Heinrich, Renaissance und Barock, München, 1888 [Renacimiento y barroco, Madrid, 1978]
Wölfflin, Heinrich, Kunstgeschichtliche Grundbegriffe, München, 1915 [Conceptos fundamentales en la Historia del Arte, Madrid, 1924]
Riegl, Alois, Die Entstehung der barockkunst in Rom, Wien, 1923 [L’origine de l’art baroque à Rome, Paris, 1993]
Mérot, Alain, Généalogies du baroque, Paris, 2007
Garriga, Joaquim (ed.), Renacimiento en Europa (Fuentes y documentos para la historia del arte, IV), Barcelona, 1983
Fernández Arenas, José; Bassegoda i Hugas, Bonaventura, Barroco en Europa (Fuentes y documentos para la historia del arte, V), Barcelona, 1983
Mâle, Emile, L’art religieux après le Concile de Trente. Etude sur l’iconographie de la fin du XVIe siècle du XVIIe et du XVIIIe siècle. Italie, France, Espagne, Flandres, Paris, 1932 [El arte religioso de la Contrarreforma. Estudios sobre la iconografía del final del siglo XVI y de los siglos XVII y XVIII, Madrid, 2001]
Tema 1
Roskill, Mark W., Dolce’s Aretino and Venetian Art Theory of the Cinquecento, Toronto – Buffalo – London, 2000
Prodi, Paolo, Ricerche sulla teorica delle arti figurative nella Riforma cattolica, Bologna, 1962
Freedberg, S. J, Painting in Italy 1500-1600 (The Pelican History of Art), Harmondsworth, 1971 [Pintura en Italia 1500-1600, Madrid, 1992]
Friedlaender, Walter, Mannerism and anti-mannerism in Italian Painting, New York, 1957 [Maniérisme et antimaniérisme dans la peinture italienne, Paris, 1991]
Bayer, Andrea (ed.), Painters of Reality. The Legacy of Leonardo and Caravaggio in Lombardy (catàleg de l’exposició, The Metropolitan Museum of Art), New Haven and London, 2004
Caroli, Flavio (ed.), Il Cinquecento Lombardo. Da Leonardo a Caravaggio (catàleg de l’exposició, Milano, Palazzo Reale), Milano, 2000
De Grazia, Diane (ed.), Correggio and his Legacy (catàleg de l’exposició,Washington, National Gallery or Art), Washington, 1984
Tema 2
Wittkower, Rudolf, Art and Architecture in Italy 1600-1750 (The Pelican History of Art), Harmondsworth, 1958 [Arte y arquitectura en Italia, 1600-1750, Madrid, 1979]
Mahon, Denis, Studies in Seicento Art and Theory, London, 1947
Gregori, Mina; Schleier, Erich, La pittura in Italia. Il Seicento, 2 vols., Milano, 1988, 1989
Freedberg, S. J., Circa 1600. A Revolution of Style in Italian Painting, Cambridge, Mass.,1983
Posner, Donald, Annibale Carracci. A Study in the Reform of Italian PAinting around 1590, 2 vols., London, 1971
Boschloo, Anton W. A., Annibale Carracci in Bologna. Visible Reality in Art after the Council of Trent, The Hague, 1974
Dempsey, Charles, Annibale Carracci and the Beginnings of Baroque Style, Gluckstadt, 1977 (2a edició: Fiesole, 2000)
Benati, Daniele; Riccòmini, Eugenio (eds.), Annibale Carracci (catàleg de l’exposició, Bologna, Museo Civico Archeologico; Roma, DART Chiostro del Bramante), Milano, 2006
Ginzburg Carignani, Silvia, Annibale Carracci a Roma. Gli affreschi di Palazzo Farnese, Roma, 2000
Robertson, Clare, The Invention of Annibale Carracci, Milano, 2008
Emiliani, Andrea (ed.), Ludovico Carracci (catàleg de l’exposició, Museo Civico Archeologico – Pinacoteca Nazionale), Bologna, 1993
Friedlaender, Walter, Caravaggio Studies, Princeton, 1955 [Estudios sobre Caravaggio, Madrid,
Hibbard, Howard, Caravaggio, Londres, 1983
Calvesi, Maurizio, La Realtà del Caravaggio, Torino, 1990
Bologna, Ferdinando, L’incredulità del Caravaggio e l’esperienza delle ‘cose naturali’, Torino, 1992
Sgarbi, Vittorio et alt (eds.), Caravaggio e l’Europa. Il movimiento caravaggesco internazionale da Caravaggio a Mattia Preti (catàleg de l’exposició, Milano, Palazzo Reale; Viena, Lichtenstein Museum), Milano, 2005
Fried, Michael, The moment of Caravaggio, Princeton, N.J., 2010
Vodret, Rossella (ed.), Roma al tempo di Caravaggio (catàleg de l’exposició, Roma, Palazzo Venezia), Roma, 2012
Borea, Evelina; Gasparri, Carlo (eds.), L’Idea del Bello. Viaggio per Roma nel Seicento con Giovan Pietro Bellori (catàleg de l’exposició, Roma, Palazzo delle Esposizioni), Roma, 2000
Tema 3
Wittkower, Rudolf, Art and Architecture in Italy 1600-1750 (The Pelican History of Art), Harmondsworth, 1958 [Arte y arquitectura en Italia, 1600-1750, Madrid, 1979]
Gregori, Mina; Schleier, Erich, La pittura in Italia. Il Seicento, 2 vols., Milano, 1988, 1989
Norberg-Schulz, Christian, Architettura Barocca, Milano, 1971
Portoghesi, Paolo, Roma barocca, Roma, 1966
Magnuson, Torgil, Rome in the Age of Bernini, 2 vols., Stockholm, 1982-1986
Hibbard, Howard, Bernini, Harmondsworth, 1965 [Bernini, Madrid, 1982]
Wittkower, Rudolf, Gian Lorenzo Bernini. The Sculptor of the Roman Baroque, Oxford, 1955 [Gian Lorenzo Bernini. El escultor del barroco romano, Madrid, 1990]
Lavin, Irving, Bernini and the Unity of the Visual Arts, New York and London, 1980 [Bernini e l’unità delle arti visive, Roma, 1980]
Borsi, Franco, Bernini architetto, Milano, 1980
Bernardini, Maria Grazia; Fagiolo dell’Arco, Maurizio (eds.), Gian Lorenzo Bernini. Regista del Barocco (catàleg de l’exposició, Roma, Palazzo Venezia), Milano, 1999
Portoghesi, Paolo, Francesco Borromini, Milano, 1990 [Primera edició: Roma, 1967]
Blunt, Anthony, Borromini, Harmondsworth, 1979 [Borromini, Madrid, 1982]
Merz, Jörg Martin, Pietro da Cortona and Roman Baroque Architecture, New Haven – London, 2008
Briganti, Giuliano, Pietro da Cortona o Della pittura barocca, Firenze, 1982
Lo Bianco, Anna (ed.), Pietro da Cortona, 1597-1669 (catàleg de l’exposició, Roma, Palazzo Venezia), Milano, 1997
Tema 4
Sutton, Peter C. (ed.), The Age of Rubens (catàleg de l’exposició, Boston, Museum of Fine Arts – Toledo Museum of Art), Boston, 1993
Ayala Mallory, Nina, La pintura flamenca del siglo XVII, Madrid, 1995
Alpers, Svetlana, The Making of Rubens, New Haven, 1995 [La Creación de Rubens, Madrid, 2001]
Jaffé, Michael, Rubens and Italy, Oxford, 1977 [Rubens e l’Italia, Roma, 1984]
Rosenberg, Jakob; Slive, Seymour; Ter Kuile, E. H., Dutch Art and Architecture 1600-1800, Harmondsworth, 1966 [Artey arquitectura en Holanda, 1600-1800, Madrid, 1981]
Alpers, Svetlana, The Art of Describing. Dutch Art of the Seventeenth Century, Chicago, 1983 [El arte de describir. El arte holandés en el siglo XVII, Madrid, 1987]
Rosenberg, Jakob, Rembrandt. Life and Work, Oxford, 1964 [Rembrandt. Vida y obra, Madrid, 1987]
Boeck, Wilhelm, Rembrandt, Stuttgart, 1962 [Rembrandt, Barcelona, 1970]
Alpers, Svetlana, Rembrandt’s Enterprise. The Studio and the Market, Chicago, 1988 [El taller de Rembrandt. La libertad, la pintura y el dinero, Madrid, 1992]
Blunt, Anthony, Art and Architecture in France 1500-1700 (The Pelican History of Art), Harmondsworth, 1953 [Arte y arquitectura en Francia, 1500-1600, Madrid, 1977]
Thuillier, Jacques, La peinture française. Le XVIIe siècle, 2 vols., Genève, 1992
Mérot, Alain, La peinture française au XVIIe siècle, Milà, 1994
Thuillier, Jacques (ed.), Vouet (catàleg dre l’exposició, Paris, Galeries nationales du Grand Palais), Paris, 1990
Blunt, Anthony, Nicolas Poussin, Washington, D.C., 1967
Rosenberg, Pierre; Prat, Louis-antoine, Nicolas Poussin 1594-1665 (catàleg de l’exposició, Paris, Galeries du Grand Palais), Paris, 1994
Gady, Bénédicte ; Milovanovic, Nicolas (eds.), Le Brun, le peintre du roi-Soleil (catàleg de l’exposició, Louvre-Lens), Paris, 2016