Romanesque Art
Code: 100560 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500239 Art History | OB | 3 | 1 |
Contact
- Name:
- Manuel Antonio Castiñeiras Gonzalez
- Email:
- manuel.castineiras@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
- Manuel Antonio Castiñeiras Gonzalez
Prerequisites
A minimum knowledge of English or French is recommended in order to carry out the supervised and autonomous activities. It's worth remembering that part of the material for the course works are written in English.
The teaching methodology and the evaluation proposed in the guide may undergo some modification subject to the onsite teaching restrictions imposed by health authorities.
Objectives and Contextualisation
General introduction to Romanesque art
Competences
- 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.
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.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Efficiently presenting knowledge in oral and written form.
- Encouraging creativity and fomenting innovative ideas.
- 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.
- Working in teams, respecting the other's points of view and designing collaboration strategies.
Content
1. Introduction. -The term “Romanesque”. Main historiographical approaches. - Figurative arts and literary arts. -General issues of Romanesque sculpture: creative centres and exchanges; descriptive categories; the polychromy in monumental sculpture.
2. Historical and cultural context of the architectural renewal during the Romanesque period. Cluny. The Gregorian reform. The art "of the Pilgrimage Roads" (1075-1125). -Romanesque architecture: form, function, and symbolism. The experience of architecture. -A geography of Romanesque architecture
3. The rebirth of monumental sculpture: great portals and historiated capitals.
4. Mural painting, mosaic and illuminated manuscripts: creative centres and iconographic programmes.
5. The cult of images. -From the reliquary to the devotional image. The sacred images -The special worship to the Virgin Mary. - Majestats and other devotional images.
Methodology
Master classes, class discussions and seminars, compulsory readings and book review, individual exercises.
15 minutes of a class will be reserved, within the calendar established by the center / degree, for the complementation by the students of the surveys of evaluation of the performance of the teaching staff and of evaluation of the subject
The teaching methodology and the evaluation proposed in the guide may undergo some modification subject to the onsite teaching restrictions imposed by health authorities
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, 12, 5, 1, 7, 10, 11, 13, 6 |
| Type: Supervised | |||
| Supervised | 10 | 0.4 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6, 14 |
| Type: Autonomous | |||
| Autonomous | 20 | 0.8 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6 |
Assessment
I-Continous Evaluation:
First exam: Units 1-2
Second exam:Units 3-4-5
Control of compulsory readings: article or book review
The final grade will be the result of the addition of the book/or article review (25%), the first exam (25%) and the second exam (50%).
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 a reassessment exam in which he will be examined of the suspended part.
As far the reassessment exam is concerned, its date is officilly fixed. Who has not submitted the book/article review cannot pass this exam.
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.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, 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
II-Unique evaluation:
The single assessment will consist of a written test that includes the first (30%) and second (50%) exams (80% of the final mark), and the delivery of a review of a book or article (20% of the final mark).
As far the reassessment exam is concerned, its date is officilly fixed. Who has not submitted the book/article review cannot pass this exam.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| First Exam | 30% | 0 | 0 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6 |
| Reading control | 20% | 0 | 0 | 3, 4, 2, 12, 5, 1, 7, 9, 10, 11, 13, 6, 8, 14 |
| Second exam | 50% | 0 | 0 | 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6, 14 |
Bibliography
Racommended books with *
Ambrose, Kirk, The Marvellous and the Monstrous in the Sculpture of Twelfth-Century Europe (Boydell Studies in Medieval Art and Architecture), Boydell Press, 2013
Bango, Isidro., El Arte románico, Madrid, 1989.
Barral, Xavier., Contre l'art roman? Essai sur un passé réinventé, París, 2006.
Braunfels, Wolfgang., Arquitectura monacal en Occidente, Barcelona, 19752.
Cahn, Walter., Romanesque Bible Illumination, Nova York, 1982.
Christe, Yves, Les grands portails romans. Études sur l’iconographie des Teophanies romanes, Ginebra, 1971.
Conant, Kennet. John., Arquitectura carolingia y románica (1954), Madrid, 1982.
Dale, Thomas, Pygmalion’s Power: Romanesque Sculpture, the Senses, and Religious Experience, Penn State University Press, 2019 *
Demus, Otto., La peinture murale romane, París, 1970.
Dodwell, Charles R., Artes pictóricas en Occidente 800-1200, Madrid, 1995.
Durliat, Marcel., La sculpture du XIe siècle en Occident, París, s.d.
Durliat, Marcel, La sculpture romane de la route de Saint-Jacques. De Conques à Compostelle, Mont-de-Marsan, 1990.
El romànic i la Mediterrània. Catalunya, Toulouse i Pisa. 1120-1180 (MNAC, 29 febrer – 18 maig 2008), eds. Manuel Castiñeiras i Jordi Camps, Barcelona, 2008.
Elliot , Gillian B., Architecture, and the Moving Viewer, c. 300-1500 CE: Unfolding Narratives (Art and Material Culture in Medieval and Renaissance Europe, Leiden, Brill, 2022.*
Elliot, Gillian B.,Sculpted Thresholds and the Liturgy of Transformations in Medieval Lombardy, Routledge, New York, 2022. *
Emmerson, Richard K., Illuminated: The Visual Exegesis of Revelation in Medieval Illustrated Manuscripts, Pennsylvania State University Press, 2018.
Enciclopedia dell’Arte Medievale, Istituto della Enciclopedia Italiana, Roma (10 vols.).
Español,Francesca, Yarza, Joaquín., El romànic català, Manresa, 2007.
Focillon, Henri., La escultura románica. Investigaciones sobre la historia de las formas (1931), Madrid, 1987.
Forsyth, Ilene. H., The Throne of Wisdom. Wood Sculptures of the Madonna in Romanesque France, Princeton, 1972.
Frugoni, Chiara, Uomini e animali nel Medioevo. Storie fantastiche e feroci. Il Mulino, Bolonia, 2018. *
Fuentes y documentos para la historia del arte. III. Arte medieval. II. Románico y gótico, ed. Joaquín Yarza et al., Barcelona, 1982.
García Omedes, Antonio, El románico aragonés. Mirar viendo, Zaragoza, 2022.*
Gauthier, Madeleine., Émaux du Moyen Âge occidental, Friburg, 1978.
Glass, Dorothy., The Sculpture of Reform in North Italy, ca 1095-1130: History and Patronage of Romanesque Façades, Farnham, 2010.
Goldschmidt, Adolf., Die Elfenbeinsculptures aus der romanische zeit, XI-XIII. Jahrhundert, 2 vols., Berlín, 1923-1926.
Grabar, André, y Nordenfalk, Carl., La Peinture romane du onzième au trezième siècle, Lausana, 1958.
Grodecki, Louis., Le vitrail roman, Friburgo, 1977.
Hearn, Millard. F., Romanesque Sculpture. The Revival of Monumental Stone Sculpture in the Eleventh and Twelfth Centuries, Oxford, 1981.
Ibáñez Palomo, Tomás, Memoria visual de Jerusalén: contemplar, evocar e inventar la ciudad en el arte medieval, Guillermo Escolar Editor, SL, 2022. *
Krautheimer, Richard, Introducción a una iconografía de la arquitectura medieval, Sans Soleil Ediciones, Vitoria-Buenos Aires, 2018.*
La France romane, catàleg de exposició (Paris, Museo del Louvre, 10 marzo – 6 junio 2005), coord. DanielleGaborit-Chopin, París, 2005
Lacoste, Jacques., Les maîtres de la sculpture romane dans l’Espagne du pèlerinage à Compostelle, Burdeus, 2006.
Lakey, Christopher, Sculptural Seeing. Relief, Optics, and the Rise of Perspective in Medieval Italy, New Haven-London, 2017.*
Kendall,Calvin. B., The Allegory of the Church. Romanesque Portals and their Verse Inscriptions, Toronto, Buffalo, Londres, 1998.
Lasko, Peter, Arte sacro 800-1200 (1972), Madrid, 1999.
Mâle, Émile., L'Art religieux du Xlle siècle en France. Étude sur les origines de l'iconographie du moyen age, París, 1922.
Nodar, Victoriano, El Bestiario de la catedral de Santiago de Compostela: espacio, función y audiencia, Santiago, 2021.*
Panofsky, Erwin, Saxl, Fritz, Mitología clásica en el arte medieval, Sans Soleil Ediciones, Vitoria-Buenos Aires, 2016.*
Patrimonio artísticode Galicia y otros estudios. Homenaje al Prof. Dr. Serafín Moralejo Álvarez, 3 volsI, ed. Ángela Franco Mata, Santiago, 2004
Porter, Arthur. Kingsley., Romanesque Sculpture of the Pilgrimage Roads, Boston, 1923.
Puig i Cadafalch, Josep; Falguera, Antoni; Goday i Casals, Josep., L’arquitectura romànica a Catalunya, 4 vols., Barcelona, 1909-1918.
Salvini, Roberto., La escultura románica en Europa, Mèxic, 1962.
Santerre, Jean-Marie, Les images sacrées en Occident au Moyen Âge. Madrid, Akal, 2021.*
Saxl, Fritz, English Sculptures of the Twelfth Century, Londres, 1954.
Schapiro, Meyer., Estudios sobre el románico, Madrid, 1984.
Schapiro, Meyer., Romanesque Architectural Sculpture. The Charles Eliot Norton Lectures The University of Chicago Press, Chicago, Londres, 2006.
Swarzenski, Hanns., Monuments of Romanesque Art. The Art of Church Treasures in North-Western Europe, Chicago, 19672.
Sureda, Joan., La pintura románica en Cataluña, Madrid, 1981.
Sureda, Joan., La pintura románica en España, Madrid, 1985.
The Art of Medieval Spain, Metropolitan Museum of Art, Nova York, 1993.
Tolkien, J. R. R., The Legend of Sigurd & Gudrún, HarperCollins, 2010.
Toman, Rolf (ed.), El Románico, Colònia i Barcelona, 1996.
Vallery-Radot, Jean, Églises Romanes. Filiations et échanges d’influences, París, 1973.
Vergnolle, Eliane, L’art roman en France, París, 1994.*
Verzar Borstein, Christine., Portals and politics in the early Italian city-state: The sculpture of Nicholaus in contex, Parma, 1988.
Wettstein, Janine., Fresques et peintures des églises romanes en France, París, 1974.
Wettstein, Janine, La fresque romane. Italie-France-Espagne. Études comparatives, París 1971; y La fresque romane. La route de Saint-Jacques, de Tours à Leon, París, 1978.
Wirth, Jean., L’image à l’époque roman, París, 1999.
Yarza, Joaquín., Arte y Arquitectura en España 500/1250, Madrid, 1979.*
Websites
Dictionnaire raisonnéde l’architecture française du XIe au XVIe siècle, Eugène Viollet-le-Duc, 1856 (http://fr.wikisource.org/wiki/Dictionnaire_raisonn%C3%A9_de_l%E2%80%99architecture_fran%C3%A7aise_du_XIe_au_XVIe_si%C3%A8cle)
Visita virtual a la catedral de Santiago (http://www.catedraldesantiago.es/visita/visitavirtualcatedral.htm?catpres) )
Art Medieval (www.artmedieval.net)(DaniLatorre). Fotografías y descripciones de edificios románicos de diferentes regiones de España, Portugal y Catalunya
Amigos del Románico (AdR) (www.amigosdelromanico.org): Inventario románico, noticias y artículos de opinión.
Románico Aragonés (Antonio García Omedes)(www.romanicoaragones.com)
Camino de Santiago, Catedral de Santiago y Pórtico de la Gloria
https://porticodelagloria.fundacionbarrie.org
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Software
None