CURRICULUM OF THE OFFICIAL DEGREE IN DESIGN SUBJECT PROGRAM Name of the subject: HISTORY AN THEORY OF ART I Course: 1 st - 1 st semester Itinerary: Common Typology: Basic Character: Conceptual Number of ECTS credits: 6 (One ECTS credit equals 25 hours of total student effort distributed according to the estimated effort applied to the conceptual subjects) Prerequisites and previous orientations for the subject: None Subjects that must be taken simultaneously: None Description of contents The program is centred on teaching the history of art, its theories and productions from the late nineteenth century until the third decade of the twentieth century. The field of analysis focuses on three axes: cultural context, ideological framework & social impact, and aesthetic/ visual analysis of the productions. Throughout the course, a visual tour will be undertaken, where fundamental artworks, significant authors, and ideas that took place in that period of changes and transformations that led to modernity will be analysed. Regardless of those concepts that the teacher considers have to be incorporated in the program to reach the right acknowledge on the subject, the following contents are included in the course. Pág.!1
Basic syllabus 1. The construction of modernity. Socio-politic and cultural transformations in Europe at the end of the 19th century. Urban culture, the art market and the new public. From the institutional culture to the bourgeois culture. From Impressionism to Postimpressionism. 2. Tradition, modernity and the avant-garde. The first artistic impacts of the 20th century Fauvism. Expressionism. Cubism. Futurism. 3. Dissidence and rupture in European art between wars. The abstraction of the Soviet and Dutch avant-garde. The poetic and political appropriation of Dada. The dream world of Surrealism. New Objectivity 4. Photography and avant-garde cinema, between reality and imagination. Technique and language of a new creative medium. From the social document to the free narrative. Pág.!2
Evaluation Continuous evaluation: Attendance to the classes, and participation in class discussions. Individual and/or group work: Group work: After readings, visits to museums and institutions and exercises during classes. Individual work: Diary notebook. Individual research work, finished with oral and written presentation. Consist in reading certain bibliographies that will be pointed out throughout the course. The research will be related to the texts and the objective is to check the progress of the student in a relational a critical way. Number of Works: Individual work / exam: 1 Group Work (during class hours): between 2 and 4 Evaluation: Individual work / exam: 65% of the qualification Continuous evaluation: 10% Class exercises: 10% Art Diary: 15% Themes of the works The themes of the works are determined according to the subject program with special emphasis on the concepts of modernity and the avant-garde art movements until 1940. Work methodology The work methodology consists of: master classes with audio-visual support; readings and debates on the provided texts; screenings of avant-garde films, documentary films and feature films about artists; if the program advances properly: conferences-master classes from guests (figures belonging to the local or international art scene) whose work is based on the avant-garde period as a thematic item or as inspiration; visits to museums and art galleries. The teacher is allowed, always informing previously the students, to vary the order of the themes to improve the quality of teaching. Pág.!3
Bibliography History of Art Batchelor, David; Wood, Paul; Fer, Briony (1993) Realism, Rationalism, Surrealism: Art Between the Wars (Modern Art Practices and Debates) London: Paperbackshop UK Import. Cooper, Douglas (1971) The Cubist Epoch. New York: MET Publications. Curtis, Willian J.R. Modern Architecture Since 1900. London: Phaidon. Dixon, Wheeler Winston, and Gwendolyn Audrey Foster (2002). Experimental Cinema: The Film Reader. London and New York: Routledge. Elderfield, John (1976) The "wild beasts": Fauvism and its affinities. New York: Museum of Modern Art. Fishman, Robert (1982). Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, and Le Corbusier. Cambridge, MA: MIT Press. Frampton, Kenneth (2007) Modern Architecture: A Critical History (World of Art). London: Thames & Hudson Ltd. Green, Christopher (2003) Art in France, 1900 1940. New Haven & London: Yale University Press. Green, Christopher (1996) Léger and the Avant-Garde. New Haven & London: Yale Green, Christopher (1993) Juan Gris, Cubism and Its Enemies. New Haven & London: Yale Haiko, Peter (1992) 1850-1930, Architecture. New York: Rizzoli. Hultén, Pontus (1986) Futurism & Futurisms = Futurismo & Futurismi. New York: Abbeville Press. Jiménez, Agustín (2008) Memoirs of the Avant-garde. Mexico: Editorial RM Perry, Gil; Frascina, Francis; Harrison, Charles (1993) Primitivism, Cubism, Abstraction: The Early Twentieth Century (Modern Art : Practices and Debates). New Haven & London: Yale Selz, Peter (1974) German Expressionist Painting. Berkeley, CA: Univ of California Press. Pág.!4
Theory of Art Baudelaire, Charles (1964) The Painter of Modern Life and Other Essays. London: Phaidon. Benjamin, Walter (1935) The Work of Art in the Age of Mechanical Reproduction in Illuminations, edited by Hannah Arendt, 1969. New York: Schocken Books. Berman, Marshall (1982) All That Is Solid Melts Into Air: The Experience of Modernity. London: Verso. Danto, Arthur (1964) The Artworld. Journal of Philosophy. Volume 61. Issue 19. New York: Columbia University. Davies, Stephen (1991), Definitions of Art. New York: Cornell Derek, Allan (2009) Art and the Human Adventure. André Malraux's Theory of Art. Amsterdam: Rodopi. Eco, Umberto (1989) The Open Work. Cambridge, MA: Harvard Foucault, Michel (1977) Discipline and Punish: The Birth of the Prison. London: Penguin Books. Greenberg, Clement (1960) On Modernist Painting in Forum Lectures. Washington DC: Voice of America. Hamilton Barr, Alfred; Sandler, Irving; Newman, Amy (1986) Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. New York: Harry N Abrams Inc. Novitz, David (1992)The Boundaries of Art. Philadelphia: Temple Pág.!5