Baroque Art in Spain
Code: 100574 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500239 Art History | OT | 3 | 0 |
| 2500239 Art History | OT | 4 | 0 |
Contact
- Name:
- Buenaventura Bassegoda Hugas
- Email:
- Bonaventura.Bassegoda@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 not. However, it is advisable to have knowledge of English, French and Italian in order to consult the specialized bibliography.
Objectives and Contextualisation
The essential purpose of this subject is to introduce students to the phenomenon of Spanish Baroque painting of the seventeenth century. The training objectives are for students to acquire solid knowledge related to the history and evolution of the phenomenon of Hispanic Baroque painting, to be able to identify and analyze the various most common types of presentation of works of art, valuing ne the technical, formal and symbolic parameters, and placing these typologies in their cultural context, so that a global historical framework of the development of the phenomenon can be defined; to become familiar with the specific bibliography; to know the main historiographical lines and the different methodological approaches that have centered the debate around the discipline; be able to understand the relationship of Hispanic Baroque painting with other contemporary and / or other painting schools; and finally, that it can make an autonomous and critical judgment about these artistic manifestations, and about their intrinsic values in relation to the context in which they take place or to other historical stages.
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.
- 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 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
- 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.
- Autonomously searching, selecting and processing information both from structured sources (databases, bibliographies, specialized magazines) and from across the network.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Coordinating working teams, developing conflict resolution and decision making abilities.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Engaging in debates about historical facts respecting the other participants' opinions.
- 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.
- Reconstructing the artistic outlook of a particular cultural context.
Content
1 Spanish Baroque painting. Discovery and appreciation of the Spanish school in the 19th century.
2 Historiography of Hispanic Golden Age Painting.
3 Francisco Pacheco and the Sevillian school between the two centuries.
4 The beginnings of Diego Velázquez. His Sevillian stage.
5 Velázquez in Madrid until the first trip to Italy.
6 The first trip to Italy and the years of the decoration of the Buen Retiro.
7 The second trip to Italy and the master's last works.
8 Seville without Velázquez, the rise and triumph of Francisco de Zurbarán.
9 Murillo and the culmination of the Sevillian school.
Methodology
Face-to-face classes in the classroom: theoretical and practical sessions in the classroom, presentation and discussion of works prepared by the students.
Possible conferences.
Methodological and bibliographic guidance tutorials.
Other supervised activities.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| on side classes | 40 | 1.6 | 3, 4, 2, 13, 5, 6, 8, 1, 9, 11, 12, 10, 14, 7 |
| reading books | 45 | 1.8 | 3, 4, 2, 13, 5, 6, 8, 1, 9, 11, 12, 10, 14, 7 |
| Type: Supervised | |||
| tutorials | 30 | 1.2 | 3, 4, 2, 13, 5, 6, 8, 1, 9, 11, 12, 10, 14, 7 |
| tutorials | 35 | 1.4 | 3, 4, 2, 13, 5, 6, 8, 1, 9, 11, 12, 10, 14, 7 |
Assessment
The format of the evidence will be communicated at the beginning of the course. As a guide, it is expected that the written test usually involves the identification and brief analysis of various works or concepts (approximate duration of the test: between 60 and 90 minutes). The individual work must not in any case exceed fifteen folios. Jobs sent by e-mail will not be accepted, only printed on paper. The formal presentation will be simple, no cover, only with stapled pages. The first page will show the last names and first name and the clearly visible NIU, as well as the title of the work. If the work incorporates illustrations, they will go to the end of the text, before the bibliography. The latter must be cited correctly and must be sorted by year of publication from oldest to most modern; the place and year of publication are essential, but the name of the publisher is waived. The text must include the system of footnotes, both bibliographic and informative. In addition, the work must include a personal assessment of the topic.
Observations
Evidence of plagiarism in the preparation of the papers will adversely affect the final grade. Ideas, phrases or paragraphs from other authors may be used, provided they are quoted in quotation marks and their authorship and source of information are indicated. It will also not be possible to take advantage of work from previous courses.
The final grade is the result of the weighted average between the exam and the work (evidence 2 and 3), as long as these grades each pass the pass. A notable job and a failed exam, or vice versa, never pass. If the subject is only partially passed (for example: the work is not submitted, even if the assessment of the written test is positive, or vice versa) the final grade will be a "Not Presented". If one or more evidences have a negative evaluation, the final grade will be a“Suspense”. At the end of the semester, students have the right to review the tests, before the final closing of the minutes.
As provided by the regulations, a reassessment will be made on the day indicated by the Dean's Office of the part of the written test (Evidence 1), which will be open to all those who have not passed it, without limitations of cut-off mark.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Tutorials | 25% | 0 | 0 | 3, 4, 2, 13, 5, 6, 8, 1, 9, 11, 12, 10, 14, 7 |
| Work | 25% | 0 | 0 | 3, 4, 2, 13, 5, 6, 8, 1, 9, 11, 12, 10, 14, 7 |
| Written test | 50% | 0 | 0 | 3, 4, 2, 13, 5, 6, 8, 1, 9, 11, 12, 10, 14, 7 |
Bibliography
GENERAL
Alfonso E. Pérez Sánchez, Pintura barroca en España, 1600-1750, Cátedra, Madrid, 1992.
Javier Portús Pérez, El concepto de pintura española. Historia de un problema, Editorial Verbum, Madrid 2012.
La bibliografia sobre Velázquez es enorme. Recomanem
Jonathan Brown, Velázquez pintor y cortesano, Alianza, Madrid 1986
José Manuel Cruz Valdovinos, Velázquez. Vida y obra de un pintor cortesano, Caja Inmaculada, Zaragoza 2011.
Sobre Zurbarán tenim el treball clàssic de
Paul Guinard, Zurbarán y los pintores españoles de la vida monástica, Joker, Madrid 1967. I
el més recent de Odile Delenda, Francisco de Zurbarán, 1598-1664, Fundación de Apoyo a la Historia del Arte Hispánico, Madrid, 2009-2010, 2 vol.
Sobre Murillo Diego Angulo, Murillo, Espasa-Calpe, Madrid 1981, 3 vol.
Enrique Valdivieso, Murillo. Catálogo razonado de pinturas, El Viso, Madrid 2010.
Benito Navarrete, Murillo y las metáforas de la imagen, Cátedra, Madrid, 2017
Pablo Hereza, Corpus Murillo. Biografía y documentos, Ayuntamiento de Sevilla, Sevilla, 2017
Software
No specific software is necessary. Although unlikely, if required later in the course this would be indicated in due time.