Degree | Type | Year |
---|---|---|
Art History | OB | 2 |
Archaeology | OT | 4 |
Ancient Studies | OT | 4 |
You can view this information at the end of this document.
Good level of reading skills in foreign languages is required (English, Italian, French).
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.
1. The genesis. Between Etruscans and Greeks
2. Materials and workshops.
3. Roman art contexts.
4. Sculpture, painting and mosaic. The art of luxury.
5. Roman art iconography.
6. State art and provincial identity.
7. Gender approach.
8. The genesis of Western art.
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 |
- Theoretical lessons.
- CBL.
- 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.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Classroom activities | 10% | 3 | 0.12 | 6, 7, 3, 5, 9, 12, 17, 19, 18, 39, 37, 40, 38, 22, 25, 33, 32, 28, 30, 14, 47, 53, 52 |
Exposition of the group project | 10% | 9 | 0.36 | 3, 12, 22, 24, 13, 36, 48, 44, 47, 14, 21, 49, 53, 52, 50 |
Group project | 40% | 18.25 | 0.73 | 7, 4, 11, 10, 8, 9, 41, 12, 39, 43, 22, 20, 51, 33, 34, 32, 28, 30, 35, 36, 48, 44, 46, 14, 21, 49, 53, 52, 50 |
Proof of content | 40% | 1.25 | 0.05 | 6, 7, 4, 3, 5, 31, 11, 41, 42, 1, 2, 15, 16, 19, 17, 18, 38, 43, 23, 24, 27, 25, 26, 20, 51, 33, 29, 28, 35, 46, 45, 14, 47, 21, 52 |
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 (1 point, 10 % of the final grade). Minimum mark to be able to take the average: 0,5 points out of 1. 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 (4 points, 40% of the final grade). Minimum grade to be able to average 2 points out of 4. Recoverable activity.
Evidence 4:
Classroom activities (1 point, 10 % 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.
IA
For this course, the use of Artificial Intelligence (AI) technologies is permitted exclusively for support tasks, such as bibliographic research, text correction or translation, summaries, or improving the direction of the narrative created by the student. The student must clearly identify which parts have been generated using this technology, specify the tools used, and include a critical reflection on how these tools have influenced both the process and the outcome of the activity. Lack of transparency in the use of AI in assessed activities will be considered a breach of academic integrity and may result in a partial or total penalty in the activity’s grade, or more severe sanctions in serious cases.
SINGLE EVALUATION
Coursework 40% (4 points, Recovery: improvement indicated by the teacher)
Coursework status report 10% (1 point, 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)
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.
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.
Barrero Martín, Nova (2022): Ornamenta Muliebria. El adorno personal femenino en Mérida durante la Antigüedad, Monografías Emeritenses 13, Mérida.
Bell, Sinclair W.- Borbonus, D., MacLean, R. (2024): Freed Persons in the Roman World: Status, Diversity and Representation, Cambridge.
Borg, Barbara E. (2015): A companion to Roman Art, Chichester.
Buccolo, Raffaella (2024): Museo dell’arte classica. Gipsoteca. Nuova edizione. Vol 2, Perugia.
Conti, C. (2024): Lectures on Trajan’s column and its architect Apollodorus of Damascus, L’Erma di Bretschneider.
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: Womenin 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.
Martín-Esperanza Montilla, Paloma (2023): La Antigüedad clásica en el programa político y cultural de los Reyes Católicos: relaciones entre España e Italia, Madrid.
Mattingly, David J. (2011): Imperialism, power and Identity. Experiencing the Roman Empire, New Jersey.
Ocampo, Estela (1988): Diccionario de términos artísticos y arqueológicos, Barcelona.
Plat, Verity – Squire, Michael (2017): The Frame in Classical Art: A Cultural History, Cambridge.
Ranatala, Jussi, Harlow, Mary (2019): Gender, Memory, and Identity in the Roman World, Amsterdamm.
Romera Novella, Luís (2024): El Foro de los Bañales de Uncastillo. Arquitectura y programas epigráficos, escultóricos y decorativos, Pamplona.
Scott, Michael (2013): Space and Society in the Greek and Roman Worlds, Cambridge.
Squire, Michael (2016): Sight and the Ancient Senses, Londres.
Staebler, P. D de, Hrychuk Kontokosta, Anne (2019): Roman Sculpture in context, Boston.
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.
No specific software is required.
Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(PAUL) Classroom practices | 1 | Catalan | first semester | morning-mixed |
(TE) Theory | 1 | Catalan | first semester | morning-mixed |