Logo UAB
2021/2022

Figurative Arts of the 15th Century

Code: 104050 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.

Contact

Name:
Daniel Rico Camps
Email:
Daniel.Rico@uab.cat

Use of Languages

Principal working language:
spanish (spa)
Some groups entirely in English:
No
Some groups entirely in Catalan:
No
Some groups entirely in Spanish:
No

Prerequisites

None

Objectives and Contextualisation

Introduction to the Northern Rennaisance

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.

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. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  9. Explaining the reception mechanisms of a work of art.
  10. Identifying the artistic imagery, placing it into its cultural context.
  11. Reconstructing the artistic outlook of a particular cultural context.

Content

1. The International Gothic

2. The Northern Rennaisance.

 

Methodology

Master classes, class discussions and seminars, compulsory readings, individual exercises.

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      
Directed 120 4.8 3, 4, 2, 5, 1, 7, 8, 9, 11, 6
Type: Supervised      
Supervised 10 0.4 3, 4, 2, 5, 1, 7, 8, 9, 11, 6
Type: Autonomous      
Autonomous 20 0.8 3, 4, 2, 5, 1, 7, 8, 9, 11, 6

Assessment

First written exercice: theme 1

Second written exercice: theme 2

Compuslory readings control

 

To pass the cours, the student must add a minimum of 50% of the total score.

The student who does not pass the course and has a minimum final grade of 3.5 may take an exame in which he will be examined of the suspenden part.

Students will receive the grade of "Not evaluable" as long as they have not submitted more than 30% of the evaluation activities.

At the time of each evaluation activity, the teacher will inform the students (Moodle) of the procedure and date of revision of the grades.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Compulsory Readings Control 30% 0 0 3, 4, 2, 10, 5, 1, 7, 8, 9, 11, 6
First written exercice 20% 0 0 3, 4, 2, 5, 1, 7, 8, 9, 11, 6
Second written exercice 50% 0 0 3, 4, 2, 5, 1, 7, 8, 9, 11, 6

Bibliography

COMPULSORY READINGS;

1)   Schlosser, J. von, Las cámaras artísticas y maravillosas del renacimiento tardío, Madrid; Akal, 1988, pp. 37-55.

2)   Yarza, J., “Artista-artesano en el gótico catalán”, Lambard, III (1983-1985), pp. 130-169.

3)   Gombrich, E. H., “Luz, forma y textura en la pintura del siglo XV”, en El legado de Apeles, Madrid: Alianza, 1982, pp. 49-81.

4)   Panofsky, E., “Realidad y símbolo en la pintura flamenca primitiva: spiritualia sub metaphoris corporalium”, Los primitivos flamencos, Madrid: Cátedra, 1998, pp.  133-149.

5)   Schapiro, M., “Muscipula Diaboli. El simbolismo del retablo de Mérode” (1945) y “Nota sobre el retablo de Mérode” (1959), Estudios sobre el arte de la Antigüedad Tardía, el Cristianismo primitivo y la Edad Media, Madrid: Alianza, 1987, pp. 12-27.

6)   Rico, D., “Materia para la contemplación”, en Piedad Desplà. El proceso de restauración de la obra maestra de Bartolmé Bermejo, Barcelona: Fundación Banco Sabadell, 2016, pp. 29-38.

Software

None