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2023/2024

Roman Art

Code: 100426 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OB 2 1
2500241 Archaeology OT 3 0
2500241 Archaeology OT 4 0
2503702 Ancient Studies OT 4 1

Errata

Professors Jorge Rodriguez Ariza and Heriberto Abruña Marti are not part of the teaching team.

Contact

Name:
Montserrat Claveria Nadal
Email:
montserrat.claveria@uab.cat

Teaching groups languages

You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.

Teachers

Jorge Rodriguez Ariza
Heriberto Abruņa Marti

Prerequisites

Good level of reading skills in foreign languages is required (English, Italian, French).


Objectives and Contextualisation

To provide fundamental knowledge of stylistic, technical, iconographic and historical nature of the artistic Roman productions.

The student will be qualified to analyse the works, to locate them in the period in which they were produced and to relate them with the cultural context of their time.


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 develop the necessary learning skills in order to undertake further training with a high degree of autonomy.
    Archaeology
  • Applying the necessary skills to the management, valuation and divulgation of the historical-archaeological patrimony.
  • Contextualizing and analysing historical processes.
  • Developing critical thinking and reasoning and communicating them effectively both in your own and other languages.
  • Managing the main methods, techniques and analytic tools in archaeology.
  • 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 collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethic relevant issues.
  • 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 to undertake further training with a high degree of autonomy.
  • Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.
    Ancient Studies
  • Be able to express oneself orally and in writing in the specific language of history, archaeology and philology, both in one's own languages and a third language.
  • Interrelate linguistic, historical and archaeological knowledge of the ancient world with knowledge of other areas of the humanities, mainly ancient literature, philosophy and art.
  • Recognise the impact of some important aspects of the ancient world in contemporary culture and society.
  • Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.

Learning Outcomes

  1. Accurately defining and explaining an artistic object with the specific language of art criticism.
  2. Accurately describing the artistic object with the specific language of art criticism.
  3. Analyse an artistic image and place it in its cultural context.
  4. Analysing ideas about an artistic phenomenon in a given cultural context.
  5. Analysing the artistic imagery, placing it in its cultural context.
  6. Analysing the creators of an artistic phenomenon in a specific cultural context.
  7. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  8. Apply the techniques and instruments of archaeological analysis to the study of ancient material remains.
  9. Applying both knowledge and analytical skills to the resolution of problems related to their area of study.
  10. Applying proper techniques and analytical tools in case studies.
  11. Applying the iconographic knowledge to the reading of artistic imagery.
  12. Autonomously searching, selecting and processing information both from structured sources (databases, bibliographies, specialized magazines) and from across the network.
  13. Carrying out oral presentations using appropriate academic vocabulary and style.
  14. Connecting an artistic imagery with other cultural phenomena within its period.
  15. Describe the main characteristics of Iberian Peninsula archaeological sites from the Pre-Classical, Greek and Roman periods
  16. Describe the main typological characteristics of town centres in Greco-Roman antiquity
  17. Distinguish the techniques and the process for creating an art object
  18. Distinguish the techniques and the process for creating an art object.
  19. Distinguishing the elaboration techniques and processes of an artistic object.
  20. Effectively expressing themselves and applying the argumentative and textual processes of formal and scientific texts.
  21. Efficiently presenting knowledge in oral and written form.
  22. Encouraging creativity and fomenting innovative ideas.
  23. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  24. Explain the contexts of historical processes in classical antiquity
  25. Explain the mechanisms of reception of an ancient work of art
  26. Explain the mechanisms of reception of an ancient work of art.
  27. Explaining the reception mechanisms of a work of art.
  28. Identify and explain scenes, motifs, gods and other mythical characters on the basis of their artistic representations throughout antiquity
  29. Identify and explain scenes, motifs, gods and other mythical characters on the basis of their artistic representations throughout antiquity.
  30. Identifying main and supporting ideas and expressing them with linguistic correctness.
  31. Identifying the artistic imagery, placing it into its cultural context.
  32. Identifying the characteristic methods of Archaeology and its relationship with the historical analysis.
  33. Identifying the context of the historical processes.
  34. Identifying the specific methods of History and its relationship with the analysis of particular facts.
  35. Interpreting material sources and the archaeological record.
  36. Locating the information in a secondary bibliography.
  37. Mastering and identifying the history of immediate environment.
  38. Mastering the Universal Ancient History.
  39. Mastering the diachronic structure of the past.
  40. Mastering the relevant languages to the necessary degree in the professional practice.
  41. Point out the formal, iconographic and symbolic values of an artistic image from classical antiquity
  42. Point out the formal, iconographic and symbolic values of an artistic image from classical antiquity.
  43. Preparing an oral and written discourse in the corresponding language in a proper and organized way.
  44. Recognising the importance of controlling the quality of the work's results and its presentation.
  45. Reconstruct the artistic landscape of a particular cultural context.
  46. Reconstructing the artistic outlook of a particular cultural context.
  47. Relate an artistic image to other cultural phenomena of the same period.
  48. Submitting works in accordance with both individual and small group demands and personal styles.
  49. Transmitting the results of archaeological research and clearly communicating conclusions in oral and written form to both specialised and non-specialised audiences.
  50. Using computing tools, both basics (word processor or databases, for example) and specialised software needed in the professional practice.
  51. Using suitable terminology when drawing up an academic text.
  52. Using the specific interpretational and technical vocabulary of the discipline.
  53. Working in teams, respecting the other's points of view and designing collaboration strategies.

Content

1. Discovering Roman art: ¿where and when did it happen?

2. The genesis. Between Etruscans and Greeks.  

3. Working in the workshop.

4. Roman art and the urban setting.

5. Art, ritual, and funerary space.

6. Art and self-representation in the provinces.

7. When it was not the man who was represented. What do we know about it?

8. In the genesis of Western art.

 


Methodology

- Theoretical lessons.

-  Learning by tasks: Essays and, if applicable, microlessons, using bibliographic documentation and diverse resources of specialized information.

- Tutorials by using the Moodle.

- Tutorship of the supervised activities and the work of the student.

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      
Theoretical and practical lessons 43.5 1.74 6, 7, 31, 1, 19, 23, 46, 14
Type: Supervised      
Integrated tutorships to support learning and project preparation. Challenges Based Learning. Feedback/feedforward 5 0.2 6, 7, 31, 1, 19, 23, 14
Type: Autonomous      
Elaboration of projects, documentary and bibliographical consultations, personal study 70 2.8 6, 7, 31, 1, 19, 23, 46, 14

Assessment

Evidence 1:

Group project (4 points, 40 % of the final grade). Minimum mark to be able to take the average: 2 points out of 4. If the grade is lower, the teacher will indicate to the group how to improve it and the date of delivery of the required correction task.

Evidence 2:

Exposition of the group project (2 points, 20 % of the final grade). Minimum mark to be able to take the average: 1 points out of 2. If the grade is lower, the teacher will indicate to the group how to improve it and the date of delivery of the required correction task.

Evidence 3:

Proof of concepts (2,5 points, 25% of the final grade). Minimum grade to be able to average 1 point out of 2,5. Recoverable activity.

Evidence 4:

Classroom activities (1,5 points, 15 % of the final grade). This activity is not recoverable.

The final mark is the result of the sum of the marks obtained in the 4 evidences, provided that the minimum marks indicated in activities 1,2 and 3 have been obtained.

Students will receive a grade of "not evaluable" if they have not taken any of the evaluative 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.

Only the students who have not passed and have sat for the compulsory activities have the right to a reassessment – the date is set by the Facultie’s Academic Management.

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 and it will not be recoverable, 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.

SINGLE EVALUATION

Coursework 40% (4 points, Recovery: improvement indicated by the teacher)

Coursework status report 10% (1 points, Recovery: improvement indicated by the teacher)

Examination of concepts 50% (5 points, a 2 must be obtained in order to obtain an average. Recoverable activity)


Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Classroom activities 15% 3 0.12 6, 7, 3, 5, 9, 12, 19, 17, 18, 40, 37, 39, 38, 22, 25, 33, 32, 28, 30, 14, 47, 53, 52
Exposition of the group project 20% 9 0.36 3, 12, 22, 24, 13, 36, 48, 44, 14, 47, 21, 49, 53, 52, 50
Group project 40% 18.25 0.73 7, 4, 11, 10, 8, 9, 41, 12, 40, 43, 22, 20, 51, 33, 32, 34, 28, 30, 35, 36, 48, 46, 44, 14, 21, 49, 53, 52, 50
Proof of content 25% 1.25 0.05 6, 7, 4, 3, 5, 31, 11, 41, 42, 1, 2, 15, 16, 19, 17, 18, 39, 43, 23, 24, 25, 26, 27, 20, 51, 33, 29, 28, 35, 46, 45, 14, 47, 21, 52

Bibliography

AA.VV. (1981-1998): Lexicon Iconographicum Mytologiae Classicae (= LIMC), vols. I-VIII, Zurich-Munich.

AA.VV. (2006): Couleurs et mattières dans l'antiquité: textes, tecniques et pratiques, Paris.

Andreae, Bernard (1984): Arte romano, Roma.

Anguissola, Anna (2018), Supports and Roman Marble Sculpture, Cambridge.

Anguissola, Anna (2021): Pliny the Elder and the Matter of Memory: An Encyclopediatic Workshop, Roledge UK.

Baldasarre, Ida et alii (2002): Pittura romana: dall'ellenismo al tardo-antico, Milano.

Barbet, Alix (1985): La Peinture murale romaine: les styles décoratives pompéiens, Paris.

Borg, Barbara E. (2015): A companion to Roman Art, Chichester.

Elsner, Jas (2007): Roman Eyes: Visuality and Subjectivity in Art and Text, Princeton-Oxford.

Falcón Martínez, Constantino et alii (1997): Diccionario de mitología clásica, 2 vols., Madrid.

Friedland, Elisa A.et alt. (2015): The Oxford Handbook of Roman Sculpture, Oxford.

Fejfer, Jane (2008): Roman portraits in context, Berlin-New York.

Lain Ferris, Lain (2017): The Mirror of Venus: Women in Roman Art, Gloucestershire.

Giuman, Marco (2013): Archeologia dello sguardo, Roma.

Gros, Pierre (1996): L'Architecture romaine I, Paris.

Gros, Pierre (2001): L'Architecture romaine II, Paris.

Gros, Pierre - Torelli, Mario (1994): Storia dell'urbanistica. Il mondo romano, Roma-Bari.

Grossman, Janet (2003): Looking at Greek and Roman sculpture in stone: A guide to terms, styles and techniques, Los Angeles.

Hölscher, Tonio (1987): Il linguaggio dell'arte romana, Torino.

Hölsher, Tonio (2018): Visual power in Ancient Greece and Rome. Between art and social reality, Berkeley.

Kleiner, Diana (1993): Roman Sculpture, Nova York.

Kousser, Rachel M. (2008): Hellenistic and Roman sculpture. The allure of the classical, Cambridge.

Lancha, Janine (1997): Mosaïque et culture dans l'Occident romain, Ier.- Vè. siècles, Rome.

Lapatin, Kenneth (2015): Luxus: The sumptuous Art of Greece and Rome, Malibú.

Marconi, Clemente (2015): The Oxford handbook of Greek and Roman art and architrecture, New York.

Mattingly, David J. (2011): Imperialism, power and Identity. Experiencing the Roman Empire, New Jersey.

Ocampo, Estela (1988): Diccionario de términos artísticos y arqueológicos, Barcelona.

Ranatala, Jussi, Harlow, Mary (2019): Gender, Memory, and Identity in the Roman World, Amsterdamm.

Scott, Michael (2013): Space and Society in the Greek and Roman Worlds, Cambridge.

Squire, Michael (2016): Sight and the Ancient Senses, Londres.

Turcan, Robert (1995): L'Art romain dans l'histoire: six siècles d'expressions de la romanité, Paris.

Zanker, Paul (1992): Augusto y el poder de las imágenes, Madrid.


Software

No specific software is required.