Degree | Type | Year | Semester |
---|---|---|---|
4313768 Analysis and Management of the Artistic Heritage | OB | 0 | 1 |
There are no prerequisites.
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.
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.
Professor : Rafael Cornudella.
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.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Conferences and visits to artistic sites | 16 | 0.64 | 9, 7, 6, 11, 13 |
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.
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 |
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
Nothong in particular