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Art and Gender

Code: 104560 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OT 3 0
2500239 Art History OT 4 0
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:

Other comments on languages

Se propondrán lecturas en otras lenguas (castellano, inglés, francés o italiano)


Given that this is an optional subject that is attended during the third or fourth year of the degree, the student must show a solvency
not only in the accomplishment of the written tests, but also in the oral tests. Likewise, the baggage of having attended previously two
courses of the degree, with subjects that go from the art of antiquity to the contemporary world, should allow the student to have a panoramic
knowledge of historical-artistic circumstances of different periods and the capacity for critical analysis to place the role of women as artists and
as patrons in the history of art and in the historiography that this has produced.

Objectives and Contextualisation

The aim of this subject is to present a state on the role of women in relation to artistic practice in the Western world and reflect on different aspects
regarding the interpretation of the work, feminine artistic patronage or literature artistic produced by women, which has often been ignored by the
great compilations of sources and documents for the history of art. From the Middle Ages and the modern era, we will reach contemporaryity and the
postcolonial world, to see how today's artists face the challenges of our times.


    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.

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. Encouraging creativity and fomenting innovative ideas.
  9. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  10. Explaining the reception mechanisms of a work of art.
  11. Identifying the artistic imagery, placing it into its cultural context.
  12. Identifying the main and secondary ideas and expressing them with linguistic correctness.
  13. Reconstructing the artistic outlook of a particular cultural context.
  14. Working in teams, respecting the other's points of view and designing collaboration strategies.


1. Theoretical approach to issues of art and gender.
											1.1. What do we talk about when we talk about gender?
											1.2. The birth of the feminist history of art
											1.3. Theoretical approaches to issues of art and gender
											  2. The gender and the history of the art: subjects of study
											2.1. The passage from the Middle Ages to the Renaissance: artistic praxis and feminine patronage. 

2.2. Beig a woman artist at the Baroque era. From the catholic courts to the Protestant world. 2.3. Academy, Salonnières and illustrated: women and artistic practice in the eighteenth century. 2.4. Women artists and the challenges of the contemporary world: from the nineteenth century to the avant-garde. 2.5. The second half of the 20th century and the postcolonial world. 2.6. Being a woman artist today. Other ways of "being" in the art world: gallery owners, merchants, museologists, historians and art critics.


The methodology during the course will be the following:
											- For the most part (80%) will consist of plenary or master sessions given by the teacher.
											-15% of the sessions will be dedicated to the exhibition of work by the students (seminars)
											-Un 5% of the sessions will consist of lectures by experts in some aspects of the art and gender studies.
											-The teacher reserves the possibility to propose a visit to any exhibition or space that may be useful for the development of the subject.


Title Hours ECTS Learning Outcomes
Type: Directed      
Master sessions given by the teacher 40 1.6 3, 4, 2, 11, 1, 8, 10, 13
Type: Supervised      
Participation in classroom seminars 20 0.8 3, 4, 2, 1, 10, 12, 13, 6, 14
Type: Autonomous      
Assistance to conferences given by experts. Visits to exhibitions. 10 0.4 3, 4, 2, 11, 1, 10, 13, 6
Autonomous study 60 2.4 3, 4, 2, 11, 1, 10, 12, 13, 6
Reading of recommended texts 20 0.8 3, 2, 1, 10, 12


A written exam with a value of 40% of the final grade.
											An individual essay (40% of the final grade).
An oral presentation in class (20% of the final grade).

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 40% 0 0 3, 4, 2, 11, 5, 1, 7, 9, 10, 12, 13, 6
Oral presentation in classroom 20% 0 0 3, 4, 2, 11, 1, 8, 10, 12, 13, 6, 14
Written exam 40% 0 0 3, 4, 2, 11, 5, 1, 7, 9, 10, 13, 6


  • Alario Trigueros, María Teresa (cop. 2008 ). Arte y feminismo . San Sebastián: Nerea. 


  • Aliaga, Juan Vicente (cop. 2004 ). Arte y cuestiones de género . San Sebastián: Nerea.  


  • Bornay, Erika (1998 ). Mujeres de la Biblia en la pintura del barroco : imágenesde la ambigüedad . Madrid: Cátedra. 


  • Bornay, Erika (1990 ). Las Hijas de Lilith . Madrid: Cátedra. 


  • Cao, Marián (2011) Mulier me fecit: hacia un análisis feminista del arte y su educación, Madrid: Horas y Horas.


  • Chadwick, Whitney (1999 ). Mujer, arte y sociedad (2ª ed., rev. y aum.). Barcelona: Destino. 


  • Diego, Estrella de (2009 ). La Mujer y la pintura del XIX español : cuatrocientas olvidadas y algunas más . Madrid: Cátedra. 


  • Faxedas, M. Lluïsa (2009 ). Feminisme i història de l'art . Girona: Documenta Universitaria: Universitat de Girona. 


  • Godoy Domínguez, Ma. Jesús (2007). La Mujer en el arte : una contralectura de la modernidad . Granada: Universidad de Granada.  


  • Mayayo, Patricia (cop. 2003 ). Historias de mujeres, historias del arte . Madrid: Cátedra. 


  • Nochlin, Linda (2019). Representing women. Londres: Thames & Hudson.


  • Pollock, Griselda (1988, 2013). Visión y diferencia. Feminismo, feminidad e historias del arte (1988),Ciudad de Buenos Aires: Fiordo, 2013.


  • Pollock, Griselda (1999 ). Differencing the canon: feminist desire and the writing of art's histories . New York: Routledge. 


  • Porqueres, Bea (DL 1995 ). Deu segles de creativitat femenina : una altra història de l'art . [S.l.]: Institut de Ciències de l'Educació. Universitat Autònoma de Barcelona.


  • Porqueres, Bea (cop. 1994 ). Reconstruir una tradición: las artistas en el mundo occidental . Madrid: Horas y Horas.


  • Serrano de Haro, Amparo (2000). Mujeres en el arte . Barcelona: Plaza & Janés.