Given that this is an optional subject that is attended during the third or fourth year of the degree, the student must show a solvency
not only in the accomplishment of the written tests, but also in the oral tests. Likewise, the baggage of having attended previously two
courses of the degree, with subjects that go from the art of antiquity to the contemporary world, should allow the student to have a panoramic
knowledge of historical-artistic circumstances of different periods and the capacity for critical analysis to place the role of women as artists and 
as patrons in the history of art and in the historiography that this has produced.

The aim of this subject is to present a state on the role of women in relation to artistic practice in the Western world and reflect on different aspects
regarding the interpretation of the work, feminine artistic patronage or literature artistic produced by women, which has often been ignored by the
great compilations of sources and documents for the history of art. From the Middle Ages and the modern era, we will reach contemporaryity and the
postcolonial world, to see how today's artists face the challenges of our times.

In addition, beyond questions concerning the female gender, the relationship between art and the LGTBIQ+ environment will be analysed.

1. Theoretical approach to issues of art and gender.
										
											
										
											1.1. What do we talk about when we talk about gender?
										
											
										
											1.2. The birth of the feminist history of art
										
											
										
											1.3. Theoretical approaches to issues of art and gender
										
											
										
											  2. The gender and the history of the art: subjects of study
										
											
										
											2.1. The passage from the Middle Ages to the Renaissance: artistic praxis and feminine patronage. 

2.2. Beig a woman artist at the Baroque era. From the catholic courts to the Protestant world.
										
											
										
											2.3. Academy, Salonnières and illustrated: women and artistic practice in the eighteenth century.
										
											
										
											2.4. Women artists and the challenges of the contemporary world: from the nineteenth century to the avant-garde.
										
											
										
											2.5. The second half of the 20th century and the postcolonial world.
										
											
										
											2.6. Being a woman artist today. Other ways of "being" in the art world: gallery owners, merchants, museologists, historians and art critics.

3. Beyond gender. Art and LBTGIQ+ environment. 

The methodology during the course will be the following:
										
											
										
											- For the most part (80%) will consist of plenary or master sessions given by the teacher.
										
											
										
											-15% of the sessions will be dedicated to discuss works and any other subjects with the students. 
										
											
										
											-Un 5% of the sessions will consist of lectures by experts in some aspects of the art and gender studies.
										
											
										
											-The teacher reserves the possibility to propose a visit to any exhibition or space that may be useful for the development of the subject.

A written exam with a value of 50% of the final grade.

An individual essay (20% of the final grade).

Work in group to be specified in class (30% final mark).

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.

In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.

Bibliography

The most relevant titles will be specified at the beginning of the course, and as the course progresses, other specific titles that may be of interest to the contents of the subject will be indicated. 

• Alario Trigueros, María Teresa (cop. 2008 ). Arte y feminismo . San Sebastián: Nerea. 

 

• Aliaga, Juan Vicente (cop. 2004 ). Arte y cuestiones de género . San Sebastián: Nerea.  

 

• Bornay, Erika (1998 ). Mujeres de la Biblia en la pintura del barroco : imágenesde la ambigüedad . Madrid: Cátedra. 

 

• Bornay, Erika (1990 ). Las Hijas de Lilith . Madrid: Cátedra. 

 

• Cao, Marián (2011) Mulier me fecit: hacia un análisis feminista del arte y su educación, Madrid: Horas y Horas.

 

• Chadwick, Whitney (1999 ). Mujer, arte y sociedad (2ª ed., rev. y aum.). Barcelona: Destino. 

 

• Diego, Estrella de (2009 ). La Mujer y la pintura del XIX español : cuatrocientas olvidadas y algunas más . Madrid: Cátedra. 

 

• Faxedas, M. Lluïsa (2009 ). Feminisme i història de l'art . Girona: Documenta Universitaria: Universitat de Girona. 

 

• Godoy Domínguez, Ma. Jesús (2007). La Mujer en el arte : una contralectura de la modernidad . Granada: Universidad de Granada.  

 

• Mayayo, Patricia (cop. 2003 ). Historias de mujeres, historias del arte . Madrid: Cátedra. 

 

• Nochlin, Linda (2019). Representing women. Londres: Thames & Hudson.

 

• Pollock, Griselda (1988, 2013). Visión y diferencia. Feminismo, feminidad e historias del arte (1988),Ciudad de Buenos Aires: Fiordo, 2013.

 

• Pollock, Griselda (1999 ). Differencing the canon: feminist desire and the writing of art's histories . New York: Routledge. 

 

• Porqueres, Bea (DL 1995 ). Deu segles de creativitat femenina : una altra història de l'art . [S.l.]: Institut de Ciències de l'Educació. Universitat Autònoma de Barcelona.

 

• Porqueres, Bea (cop. 1994 ). Reconstruir una tradición: las artistas en el mundo occidental . Madrid: Horas y Horas.

 

• Serrano de Haro, Amparo (2000). Mujeres en el arte . Barcelona: Plaza & Janés.