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2021/2022

Artistic Heritage: Paths for Study and Techniques for Analysis

Code: 43006 ECTS Credits: 12
Degree Type Year Semester
4313768 Analysis and Management of the Artistic Heritage OB 0 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.

Contact

Name:
Rafael Cornudella Carré
Email:
Rafael.Cornudella@uab.cat

Use of Languages

Principal working language:
catalan (cat)

Other comments on languages

The papers or essays of this course can be submitted in Catalan, Spanish, Italian, French or English. Lessons will be given in Catalan and Spanish.

Teachers

Montserrat Claveria Nadal
Nuria Llorens Moreno
Rafael Cornudella Carré

Prerequisites

There are no prerequisites.

Objectives and Contextualisation

The Module 1 program has a research character and constitutes the first pillar of the course as far as initiation in research is concerned. The module is organized around 3 seminars focused on a topic of study. The objective of the seminars is to bring the student closer to the process of “manufacturing” of research in artistic matters; its phases, methodologies, sources and techniques are examined, as well as the diversity of points of view that come together or that should be taken into account in a research process.

Competences

  • Define, plan and carry out a research project in the field of art history and artistic heritage that is critical, original and in line with current scientific practice.
  • Discriminate between important research and dissemination of culture.
  • Honestly and realistically evaluate the rigorousness of one's own work.
  • Integrate knowledge and use it to make judgements in complex situations, with incomplete information, while keeping in mind social and ethical responsibilities.
  • Organise time and resources to conduct research projects: setting goals, timing and tasks to be completed.
  • Reconstruct and critically analyse the positions of the principal current researchers into the artistic heritage, using their characteristic categorisations and vocabulary.
  • Solve problems in new or little-known situations within broader (or multidisciplinary) contexts related to the field of study.
  • Systematically assimilate and synthesise the information that is of the greatest importance for research and professional practice.
  • Understand the analysis methods used in research into the artistic heritage, and art theory and history.
  • Use acquired knowledge as a basis for originality in the application of ideas, often in a research context.

Learning Outcomes

  1. Conduct a research project that is well-grounded and well-planned.
  2. Differentiate between the analysis methods used by art historians to study and interpret the artistic heritage: formal, stylistic, iconographic and comparative.
  3. Discriminate between important research and dissemination of culture.
  4. Honestly and realistically evaluate the rigorousness of one's own work.
  5. Identify the major methodologies needed to carry out a research project: one's own and others.
  6. Integrate knowledge and use it to make judgements in complex situations, with incomplete information, while keeping in mind social and ethical responsibilities.
  7. Interpret works of art holistically.
  8. Know the disciplines and analysis methods within artistic heritage interpretation: palaeography, epigraphy, archaeometry and the different analyses used by restorers.
  9. Know the types of argument and the methods used by other researchers to present their results and use this knowledge to guide one's own research.
  10. Organise time and resources to conduct research projects: setting goals, timing and tasks to be completed.
  11. Solve problems in new or little-known situations within broader (or multidisciplinary) contexts related to the field of study.
  12. Systematically assimilate and synthesise the information that is of the greatest importance for research and professional practice.
  13. Use acquired knowledge as a basis for originality in the application of ideas, often in a research context.

Content

Seminari 1. The "Origin of the World", as seen by Near Eastern and pre-Columbian cultures. Professora: Victòria Solanilla

1. MESOPOTAMIA. Temple. Reliefs that speak of the origin of the world. Literature: Babylonian Poem of Creation. Poem of Guilgamesh. Histories of Herodotus (book 1 Euterpe).
2. EGYPT. Cosmic architecture: Karnak and Luxor. Reliefs and paintings. Literature: Texts of the sarcophagi, Texts of the pyramids, Book of the dead. Histories of Herodotus (book 1 Euterpe).
3. MAYAS. Sacred architecture: temples, reliefs. Sculpture. Literature: Popol Vuh. Books of the Chilam Balam. Influence and representations of their religion: Myths.
4. INCAS. Conception of the Andean space: horizontal (dual) and vertical (three planes). Pacha. Animistic religion (stars, geographical and meteorological accidents). Sacred architecture: temples, palaces. Ceramics. Literature: Spanish chroniclers.

Seminari 2. "Conditoria Hispaniae". Use and valorization of Roman sarcophagi in the Iberian Peninsula. Professora: Montserrat Claveria.

1. The use of the sarcophagus in Hispania: trade, productions and representation systems.
2. The valorization of Roman sarcophagi in the Iberian Peninsula.
3. Perspectives of study in the investigation of the Roman sarcophagus: Conditoria Hispaniae, an interdisciplinary bet: Art-chaeology, Epigraphy, Archaeometry, Conservation-Restoration. Seminar with the intervention of Professor Antonia Soler of the UNED-Illes Balears.
4. The Roman sarcophagus and antiquarian collecting in Italy and Spain. Round table with the intervention of Professor Beatrice Cacciotti (Università degli Studi di Roma-Tor Vergata), the researcher in training Saray Garcia (UAB-Università degli Studi di Roma-Tor Vergata) and Montserrat Claveria (UAB-Institut Català d'Arqueologia Clàssica).

Seminari 3. The Monastery of Pedralbes and its artistic movable heritage: research, museography, and cultural dissemination about a singular heritage site. Professor: Rafael Cornudella

1. The construction of the monastic complex: certainties and uncertainties. The funerary monument of Queen Elisenda de Montcada and the sculpture of the 14th century.
2. The 14th century mural paintings of the chapel of San Miguel: The Italian Master of Pedralbes and the question Ferrer Bassa. Other Trecento mural paintings of the monastery.
3. The panel painting of the fourteenth and fifteenth centuries: new perspectives on a heritage between dispersion and loss, from the Serra to Martorell.
4. Visit to the monastery (1). A tour of the monastery.
5. The painting of the late fifteenth and sixteenth century: the phenomenon of importation and local production, recent contributions.
6. Visit to the monastery (2). The exhibition Tresors del Monestir and the valorization of a historical-artistic heritage.

Translated with www.DeepL.com/Translator (free version)

Seminari 4. Return to the Landscape. Professora: Núria Llorens

1. The landscape in the art of the modern period: ideas, representation techniques, values and transformations (16th-17th century).
2. The modern theories of landscape, Ut pictura poesis, musica et scientia: reading of sources for the study of landscape arts (16th-17th century) (I).
3. The modern theories of landscape, Ut pictura poesis, musica et scientia: reading sources for the study of the arts of landscape (II).
4. Travel and landscape drawing in the enlightened period. The scientific view and the picturesque illustration.
5. From the romantic imagination to the "realistic" vision of a world in transformation: the landscapes of the industrial revolution period.
6. Consciousness of limits and experience of place: notes on artists and landscape from the 1960s to the present day.

 

  • Follow-up sessions for the final master's project.

Professor : Rafael Cornudella.

 

Methodology

Theoretical lessons in the classroom, conferences and visits to heritage sites and museums. Participation of the students in class will be valued.

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      
Conferences and visits to artistic sites 16 0.64 9, 7, 6, 11, 13

Assessment

Attendance and active participation in the lessons: 20%

Follow-up tutorship of the Master thesis project: 30%

Written presentation of the Master thesis project prepared with the supervision of the tutor: 50%.

 The project has to contain:

 1. A presentation of the objectives, the reasons for the selection of the topic and the questions that the student asks himself at the beginning.

 2. A first outline of the work, that is to say, a first reasoned scheme of the work, a first outline where the aspects that the student wants to discuss in his work are stated. To prepare this first outline, the student will get the advice of the work tutor. Naturally, as the research progresses, the student will be able to modify certain aspects of the initial outline.

 3. A first compilation of the sources that the student is consulting to carry out his/her work. Depending on the subject of the work, these sources can be of several types: bibliographic, videographic, photographic, interviews with people, etc.

 4. Finally, the project has to contain also a planning, in which the student will present how he/she has progressively organized his work from the beginning and how he/she intends to develop the different tasks that remain to be done until the conclusion of the work. It is recommended that the student make the planning as detailed and accurate as possible.

The deadline to deliver the project is the 7th February 2022. Two copies have to be submitted: one for the coordinator of Module 1, Professor Montserrat Claveria, through the Virtual Campus, and the second for the tutor or the work, in the format he / she indicates to the student.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Class attendance and active participation 20% 48 1.92 4, 8, 9, 3, 2, 1, 5, 7, 10, 6, 11, 12, 13
Delivery of the writen project of the Master's Dissertation 50% 176 7.04 8, 9, 3, 2, 1, 5, 7, 10, 6, 11
Tutorials of the project of the Master's Dissertation 30 % 60 2.4 4, 8, 9, 3, 2, 1, 5, 7, 10, 6, 11, 12, 13

Bibliography

 

The "Origin of the World", as seen by Near Eastern and pre-Columbian cultures. Professora: Victòria Solanilla

MESOPOTAMIA

BENOIT, A. (2003): Art et archéologie: les civilisations du Proche-Orient ancien. Paris

BOTTERO, J.  (2004): Mesopotamia: la escritura, la razón y los dioses. Madrid

FOREST, J-D (1999): Les premiers temples de Mésopotamie (IV-III mil), BAR  International Series 765, Oxford.

FRANKFORT, H. (1998): Reyes y dioses. Madrid.

MARGUERON, J.C. (1996): Los Mesopotámicos. Cátedra.

EGIPTE

ARDÈVOL, E. – MUNILLA, G.  (coord.) (2003) “Antropología de la religión” (Una      aproximación interdisciplinar a las religiones antiguas y contemporáneas), Ed. UOC, Barcelona.

CERVELLÓ, J (1996) “Egipto y Africa. Origen de la civilización y la monarquía faraónica en su contexto africano”, Ed. Ausa, Sabadell.

EDWARDS, I.E.S.  (2003) “Las pirámides de Egipto”, Ed. Critica, Barcelona.

HORNUNG, E. (1999) “El Uno y los múltiples. Concepciones egipcias de la divinidad”, Ed.Trotta, Madrid.

WILKINSON, R. H.  (2002) “Los Templos del Antiguo Egipto”, Ed. Destino, Barcelona.

MAIES

BOSCH GIMPERA, P. (1975) La América pre-hispánica. Barcelona: Ariel.

CAVATRUNCI, C., (1998) Les Mayas. Paris: Canal.

CIUDAD, A (1988): Las culturas del Antiguo México. Madrid: Alhambra.

FREIDEL, D.; SCHELE, L.; PARKER, J., (1993) Maya Cosmos. Three thousand years on the Shaman's path. NewYork: William Morrow & Co.

RIVERA DORADO, M., (1986) Chilam Balaam de Chumayel. Madrid: Crónicas de América.

SONDEREGUER, C (1998) Arquitectura precolombina. Catálogo de tipos de urbanismos, de obras y constructivos. Argentina. Corregidor.

INQUES

Adams, R.E.W. (2000): Las antiguas civilizaciones del Nuevo Mundo, Barcelona: Crítica.

Alcina Franch, J. (1987): Historia del arte hispanoamericano, 1: Arte precolombino,  Madrid: Alhambra

Berberian, E. – Raffino, R. (1991): Culturas indígenas de los Andes meridionales.

Madrid: Alhambra.

Cieza de León, P. (1984): La crónica del Perú, Madrid: Crónicas de América.

Cieza de León, P. (1985): Señorío de los Incas, Madrid: Crónicas de América.

Poma de Ayala, H. (1987): Nueva crónica y buen gobierno, Madrid: Crónicas de América.

 

The Monastery of Pedralbes and its artistic movable heritage: research, museography, and cultural dissemination about a singular heritage site. Profesor: Rafael Cornudella (UAB)

Aixalà, Carme; Bernal, M. Carme; CVastellano, Aanna (eds.), Dones silenciades. El llegat de sor Eulàlia Anzizu (1868-1916) al Monestir de Pedralbes, Barcelona, 2018

Anzizu, Eulàlia, Fulles historiques del Real Monestir de Santa María de Pedralbes, Barcelona-Sarrià, 1897

Balasch, Ester; Español, Francesca (eds.), Elisenda de Montcada. Una reina lleidatana i la fundació del Reial Monestir de Pedralbes, Lleida, 1997

Beseran i Ramon, Pere, “Un taller escultòric a la Barcelona del segon quart del segle XIV i una proposta per a Pere de Guines”, Lambard. Estudis d’art medieval (1991-1993), 1994, p. 215-245, 483-488

BeseraniRamon, Pere, “Noves observacions a l’entorn del sepulcre d’Elisenda de Montcada”, a I jornades de recerca histórica de les Corts. Ponències i comunicacions (Barcelona, 14 i 15 de març de 1997), Barcelona, 1998, p. 87-99

97, p. 39-57

Beseran i Ramon, Pere; Cubeles i Bonet, Albert; Julià i Capdevila, Josep M., “El convent de Santa Maria de Pedralbes”, a Josep Bracons i Clapés, Pere Freixas i Camps (eds.), L’art gòtic a Catalunya. Arquitectura, I. Catedrals, monestirs i altres edificis religiosos, Barcelona, 2002, p. 193-200

Castellano i Tresserra, Anna, Pedralbes a l’edat mitjana. Història d’un monestir femení, Barcelona, 1998

Carbonell, Marià; Castellano, Anna;Cornudella, Rafael (eds.), Pedralbes: Elstresors del monestir (catàleg de l’exposició), Museu-Monestir de Pedralbes, Barcelona, 2005

Cornudella, Rafael, “Sainte Claire d’Assise et Christ assis au Calvaire du début du xvie siècle conservées au Monastère de Santa Maria de Pedralbes (Barcelone)”, RevueBelge d’Archéologie et Histoire de l’Art, 83 (2014), p. 67-86

Cornudella, Rafael, “Les pintures italianíssimes de Pedralbes”, El Punt Avui, suplement Cultura (divendres, 27 març 2015), p. 28-29

Cornudella, Rafael, “From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape”, Locus Amoenus,16 (2018), p. 19-57

Español, Francesca, “Los membra disjecta de un coro gótico catalán en el Museo de Cleveland”, a Mª Luisa Melero Moneo, Francesca Español Bertrán, Anna Orriols i Alsina, Daniel Rico Camps(eds.), Imágenes y promotores en el arte medieval. Miscelánea en homenaje a Joaquín Yarza Luaces, Bellaterra, 2001

Español, Francesca, El Gòtic català, Manresa, 2002

Martens, Didier, “Le triptyque de la Sainte Famille au travail de Pedralbes, une oeuvre flamande ‘hispanisée’”, Oud Holland, 119, n.1 (2006), p. 41-63

Senserrich i Espuñes, Rosa; Font i Pagès, Lídia, “La planificació del treball al fresc en les pintures que decoren la cel·la de sant Miquel del monestir de Pedralbes”, Quaderns tècnics de l’MHCB, 2 (2007), p. 24-43

Trens, Manuel, Ferrer Bassa i les pintures de Pedralbes, Barcelona, 1936

Yarza Luaces, Joaquin, “María de Navarra y la ilustración del Libro de Horas de la Biblioteca Nazionale Marziana”, a S. Marcon, Mª J. Arnall, J. Yarza Luaces, J. M. García de la Mora, Libro de Horas de la reina María de Navarra, Barcelona, 1996, p. 93-256

 

Return to the Landscape. Professora: Núria Llorens

ANDREWS, Malcolm, Landscape and Western Art, Oxford University Press, Oxford, 1999.

BODEI, Remo, Paesaggi sublimi, Bompiani, Milano, 2008.

DESPORTES, Marc ,Paysages en mouvement, transports et perception de l’espace  XVIIIe-XXe siècle, Gallimard, Paris, 2005.

DUBBINI, Renzo, Geografie dello sguardo : visione e paesaggio in età moderna, Einaudi, Torino, 1994.

HARTLEY, Keith et al. (eds.),The Romantic Spirit in German Art 1790-1990, Thames and Hudson, London, 1994.

JACOBS, Michael, The Painted Voyage, Art, Travel and Exploration 1564-1875, British Museum Press, London, 1990.

KASTNER, Jeffrey, Land and environmental art, London : Phaidon, 1998.

KLINGENDER, Francis D., Arte y revolución industrial, Cátedra, Madrid, 1983.

KASTNER, Jeffrey (ed.), Nature, Col. Documents of Contemporary Art, the MIT Press,  Massachusetts, London, 2012.

MEROT, Alain, Du paysage en peinture dans l’Occident Moderne, Gallimard, Paris, 2009.

MITCHELL, W. J. T., Landscape and power, The University of Chicago Press, The University of Chicago Press, Chicago, 1994.

SCHAMA, Simon, Landscape & Memory, Fontana Press, London, 1996.

SMITH, Bernard, European Vision and the South Pacific, Yale University Press, New Haven and London, 1988.

TIBERGHIEN, Giles A., Nature, art, paysage, Actes Sud, Paris, 2001

 

Software

Nothong in particular