Great Works of Art
Main language of instruction: Catalan
Other languages of instruction: English
Great Works of Art History is a 6-credit course taught during the first semester of the 3rd year in the Degree of Humanities and Cultural Studies. It belongs to the field of knowledge of Art History.
Through this course we will make a chronological trip around great works of Art History from the ancient civilisations to the contemporary world. From a selection of master works of different historical periods, we will analyse the works from different points of view: style, iconography, technique, building process, and other related aspects such as the artist and the clients, as well as the most important associated bibliography and documents. The study of each work will be placed in the artistical and historical context of its time, helping to understand it in time and place and having a global and coherent knowledge of it.
It is recommended to have already attended Antique Culture, Medieval Culture, Modern Culture and Contemporary Culture.
-To know about Art History and its artistic trends through the analysis of some of its masterpieces.
-To know how to analyse works of art, from architecture, painting, sculpture, and other singular pieces of art.
-To introduce students to the world of research through the use of specialised sources and bibliography.
The student
8. Know and select specific documentation about cultural experiences
Masterpieces of Egyptian art.
2. Mesopotamia: the art of Sumer, Assyria and Babylon.
3. Rome: from the foundation of the city to the imperial forums. Temples (Pantheon), mausoleums (August), circuses and amphitheaters (Colosseum).
4. Rome: sculpture and painting.
5. Saint Sophia of Constantinople and Byzantine architecture
6. The “renovatio” carolingia: the Aachen Cathedral and the great Carolingian desks
7. Santiago de Compostela and the pilgrimage churches
8. The Córdoba Mosque and the Alhambra: two iconic works of Islamic art in the Iberian Peninsula
9. Notre Dame de Chartres: a Gothic cathedral model
10. The Italian pulpit of Duecento and Trecento: Nicola and Giovanni Pisano
11. The painting of the Italian Trecento: the decoration of the Scrovegni Chapel by Giotto (Padua)
12. The international gothic: The Very Rich Hours of the Duke of Berry and the sculpture of Claus Sluter
13. Jan van Eyck and the Flemish painting of the s. XV: Arnolfini marriage and the altarpiece of the Mystic Lamb
14. El Bosco: The Garden of Delights
15. Saint Peter in Vatican
16. The Sistine Chapel
17. Botticelli: The Spring and The Birth of Venus
18. The Velazquez spinners and The Three Graces of Rubens
19. Versailles
20. Le Brun
21. Poussin, Et in Arcadia ego
22. Arc du Triomphe Du Carrousel - Architectural Neoclassicism XIX
23. The Pompier
24. The École de Barbizon and Courbet
25. Architecture of the twentieth century: Le Corbusier and Mies van der Rohe
26. Architecture of the twentieth century: Sullivan and Frank Lloyd Wright
27. Japanese art and its influence in the West in the s. XIX
28. Gauguin and nabis
29. Japanese art and its influence in the West in the nineteenth century
The classes will combine theory with the analysis of texts. The theorical part will be always accompanied with images and visual content. The practical part will consist of readings of adequate texts from art history sources, research articles, museum visits and field trips. The students must do a research paper on an artistical work not seen in class. There will be individual corrections with the professor.
The assessment will be:
1. A research paper on a work of art not seen in class, handed in the day of the final exam (30%)
2. A Midterm and a Final exam (35% each)
In order to pass the course, the students must pass the paper and the two exams (more that a 5 is needed in every case in order to calculate the average)
The research paper must be submitted the day of the final exam. It will be assessed following these criteria:
1. Formal presentation
2. Documentation and bibliography used
3. Critical analysis and personal opinion
4. Orthography and grammar
Students must take in account:
1. The use of the language is very important in this course, in the exams and in the research paper. Be careful with grammar and orthography mistakes. The use of the specific terminology is recommended. Each of these mistakes will mean 0.25 points less.
2. Plagiarism is absolutely forbidden and will mean a 0. The ideas taken from another author must be referenced in a footnote and in the bibliography, and if it is an exact quote it must be quoted between inverted comas.
Each topic has an specific bibliography which will be given at the beginning of the class.
Bibliografia
Santa Sofia de Constantinoble
Beckwith, J. (1997). Arte paleocristiano y bizantino. Madrid : Cátedra.
Egea, J. M. (2003). Relato de cómo se construyó Santa Sofía : Según la descripción de varios códices y autores. Granada : Centro de Estudios Bizantinos, Neogriegos y Chipriotas.
Krautheimer, R. (2009). Arquitectura paleocristiana y bizantina. Madrid : Cátedra. Mainstone, R. J. (Rowland J. . (1988). Hagia Sophia : architecture, structure, and liturgy of Justinian’s great church. London : Thames and Hudson.
Mango, C. (1975). Arquitectura bizantina. Madrid : Aguilar.
La capella palatina d’Aquisgran i l’art carolingi
Bango Torviso, I. (1989). El Prerrománico en Europa : de Carlomagno a los Otones. Madrid : Historia 16.
Braunfels, W., Arquitectura monacal en Occidente, Barcelona, 1975.
Caillet, J.-P. (2005). L’art carolingien. Paris : Flammarion.
Conant, K. J. (1987). Arquitectura carolingia y románica, 800-1200. Madrid : Cátedra.
Dodwell, C.R (1995). Artes pictóricas en Occidente, 800-1200. Madrid: Cátedra
webgrafia
Catedral d’Aquisgrà
https://www.aachenerdom.de/en/
Santiago de Compostel·la
Bango Torviso, Isidro (1994). "Las llamadas' iglesias de peregrinación o el arquetipo de un estilo". En: El camino de Santiago: Camino de las Estrellas, Madrid, pág. 233-284.
Castiñeiras González, M. A. (2010). Compostela y Europa : la historia de Diego Gelmírez. Milano: Skira.
Yzquierdo Peiró, R., Castiñeiras, M. A., Valle Pérez, J. C., & Museo del Prado. (2016). Maestro Mateo en el Museo del Prado. [Madrid] : Museo Nacional del Prado.
Yarza Luaces, J. (1979). Arte y arquitectura en España 500-1250. Madrid : Cátedra.
webgrafia
http://www.porticodelagloria.com/lectura-del-portico.html
https://albertosolana.wordpress.com/el-descubrimiento-del-sepulcro/
Santa Maria de Ripoll
Bango Torviso, I. G. (1990). El Monasterio medieval. Madrid : Anaya.
Braunfels, W., Arquitectura monacal en Occidente, Barcelona, 1975
Castiñeiras, M., & Camps i Sòria, J. (2008). El Romànic i la Mediterrània : Catalunya, Toulouse i Pisa, 1120-1180 : Museu Nacional d’Art de Catalunya, 29 febrer-18 maig 2008. Barcelona : Museu Nacional d’Art de Catalunya.
Junyent, Eduard (1975). El monestir de Ripoll. Barcelona
Ordeig, Ramon (2014). El monestir de Ripoll en temps dels seus primers abats (anys 879 - 1008). Vic
Yarza Luaces, J. (1979). Arte y arquitectura en España 500-1250. Madrid : Cátedra.
Yarza, J. (1987) “La portalada de Ripoll”. A: Catalunya romànica. Vol. X, Ripollès.
Webgrafia
http://www.monestirderipoll.cat/
Chartres
Chacon-Gómez Monedero, Francisco y Salamanca López, Manuel (2010). La catedral. Símbolo del renacer de Europa. Cuenca: Ed. Alderabán.
Erlander-Brandenburg, Alain. La catedral. Madrid: càtedra.
Kurmann-Schwarz, B., Kurmann, P., Kayser, T. de., & Sauvageot, C. (2001). Chartres : la cathédrale. [Saint-Léger-Vauban] : [Zodiaque].
Lévis-Godechot, N. (1987). Chartres : révélée par sa sculpture et ses vitraux. [Paris] : Zodiaque.
Mâle, Émile (1983). Notre Dame de Chartres. París: Flammarion
Prache, A., & Jouanneaux Françoise., F. (2000). Chartres, la cathédrale Notre-Dame. Paris : Centre des monuments nationaux.
Recht, Roland (1999). Le croire et le voir. L’art des cathédrales (XIIè – XV siècle). París: Gallimard.
Simson, O. G. von, & Villaverde, F. (1980). La Catedral gótica : los orígenes de la arquitectura gótica y el concepto medieval de orden. Madrid : Alianza.
Williamson, P. (1997). Escultura gótica [1140-1300]. Madrid : Cátedra.
Els púlpit del baptisteri de Pisa de Nicola Pisano i el púlpit de Pistoia d’Andrea Pisano
Carli, E., & Amendola, A. (1986). Giovanni Pisano : il pulpito di Pistoia. Milano : Mondadori.
Moskowitz, A. F. (2001). Italian Gothic sculpture : c. 1250-c. 1400. Cambridge : Cambridge University Press.
Moskowitz, A. F. (2005). Nicola & Giovanni Pisano: the pulpits: pious devotion, pious diversion. London: Harvey Miller.
Pope-Hennessy, J. W. (1996). Italian gothic sculpture (4th ed.). London : Phaidon.
White, J. (1989). Arte y arquitectura en Italia: 1250-1400. Madrid : Cátedra.
Giotto
Frugoni, C., Criscenti, L., Criscenti, N., & Mondadori, C. (2005). La Cappella degli Scrovegni di Giotto. Torino : Einaudi.
White, J. (1989). Arte y arquitectura en Italia : 1250-1400. Madrid : Cátedra.
Molt riques hores del duc de Berry
Husband, T., J. Paul Getty Museum., & Metropolitan Museum of Art (New York, N. Y. (2008). The art of illumination : the Limbourg brothers and the Belles heures of Jean de France, Duc de Berry. New Haven: Metropolitan Museum of Art.
Harthan, J. P. (1988). Books of hours and their owners (Repr.). London : Thames and Hudson.
Longnon, J., Cazelles, R., & Meiss, M. (1969). The Très Riches Heures of Jean, Duke of Berry : musée Condé, Chantilly. New York : George Braziller.
Musée du Louvre., É., & Avril, F. (2004). Paris, 1400 : les arts sous Charles VI. [Paris] : Fayard.
Jan van Eyck
Harbison, C. (1991). Jan van Eyck : the play of realism. London : Reaktion Books.
Pächt, O., & Schmidt-Dengler, M. (1999). Van Eyck and the founders of early Netherlandish painting. London : Harvey Miller.
Yarza Luaces, J. (1993). Jan van Eyck. Madrid : Historia 16.