Ancient and Medieval History of Art
Code: 100025Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Humanities | OB | 2 |
Contact lecturer
- Name :
- Joan Duran Porta
- Email :
- joan.duran@uab.cat
Group languages
You can consult this information at the end of the document.
Prerequisites
No prerequisites
Objectives
The course aims to offer a basic overview of the history of Western art, from Ancient world to the end of the Middle Ages. It will provide students with the fundamental reading keys for understanding the artistic evolution and the main features of the periods studied.
Learning outcomes
- Analysing the legal framework of copyrights in cinematography.
- Applying the knowledge about aesthetic ideas and art theory to the analysis of the cinematographic imagery.
- Contrasting the various legal frameworks of the artistic heritage.
- Designing programmes of museography or management of the artistic heritage.
- Distinguishing the techniques and elaboration process of an artistic object from the avant-garde and the latest artistic trends.
- Identifying the artistic imagery, placing it into its cultural context.
- Preparing a proposal for an exhibition from a provided material.
- Reconstructing the artistic outlook of the contemporary world.
- Relating the artistic creations from various periods with other cultural phenomena.
Contents
1. Order and Beauty: Greek origins of Western art (8th-2th centuries BC)
2. Rome: arts and politics (3rd century BC-3d century AD)
3. An unexpected rupture: art of the Late Empire (3rd-4th centuries)
4. From Rome to Constantinople (5th-7th centuries)
5. A not so dark era: art of the Early Middle Ages (8th-10th centuries)
6. New world, new identity: Romanesque art (11th-12th centuries)
7. Splendor and crisis in the world of Gothic (13th-14th centuries)
8. The medieval autumn and the return to reality (15th century)
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Tutorials | 5 | 0.2 | |
| Readings | 10 | 0.4 | |
| Autonomous study | 60 | 2.4 | |
| Visit to museums or exhibitions | 5 | 0.2 | |
| Master clases | 40 | 1.6 | |
| Collection and analysis of images | 20 | 0.8 |
Primary methodology of the course is master class, supported by projection of images. Discourse focuses on the analysis of the specific works of art, in order to evoke, from them, the general characteristics of the artistic production of each period studied. This will be completed with various readings, and the optional assistance to exhibitions and museums related to the contents of course. The teaching methodology and the evaluation proposed in the guide may undergo some modification subject to the onsite teaching restrictions imposed by health authorities.
*Note: 15 minutes of a class will be reserved, within the calendar established by the center/degree, for students to fill in surveys to evaluate the performance of the teaching staff and to evaluate the subject .
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Partial exam | 40 | 2.5 | 0.1 | 1, 2, 3, 4, 5, 6, 7, 8, 9 |
| Evaluated exercise (essay) | 10% | 2.5 | 0.1 | 6, 9 |
| Evaluated exercise (image identification) | 10% | 2.5 | 0.1 | 6 |
| Partial exam | 40 | 2.5 | 0.1 | 1, 2, 3, 4, 5, 6, 7, 8, 9 |
CONTINUOUS ASSESSMENT
The course is assessed through four different tests. Two of these tests are partial exams, each of which counts for 40% of the final grade. The other two are exercises that will be done in class: the writing of an essay and an image identification exercise. In the event of not being able to take one of the tests for a justified reason, it may be made up at the end of the semester. An unjustified failure to appear for an exam will not entitle the student to a make-up exam.
Students will obtain a Not assessed/Not submitted course grade unless they have submitted more than 1/3 of the assessment items.
Students who fail with a final mark (derived from the three evaluation tests) of between 3.5 and 4.9 will be allowed to sit a conditional retake. The maximum grade for this retake will be a pass mark (5).
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 irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.
ONE-TIME ASSESSMENT
The student will be able to take advantage of the single assessment, which will consist of a final exam on the entire course syllabus, and the completion of the same two exercises carried out during the course (or an adaptation of these).
The same assessment method as continuous assessment will be used.
REVISION OF GRADES
On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedures to be followed for reviewing all grades awarded, and the date on which such a review will takeplace.
IA USE
This subject entirely prohibits the use of AI technologies in all of its activities.Any submitted work that contains content generated using AI will be considered academic dishonesty; the corresponding grade will be awarded a zero, without the possibility of reassessment. In cases of greater infringement, more serious action may be taken.
Bibliography
BANGO, Isidro, Alta Edad Media. De la tradición hispanogoda al románico, Madrid, 1989
BANGO, Isidro, El arte románico, Madrid, 1989
BANGO, Isidro & Concepción ABAD, Arte medieval I, Madrid, 1996.
BARRAL, Xavier, Contre l’art roman? Essai sur un passé réinventé, Paris, 2006.
BECKWITH, John, Arte paleocristiano y bizantino, Madrid, 1997 (1979).
BIRON, Isabel, Émaux sur métal du ixe au xixe siècle : histoire, technique et matériaux, Dijon, 2015.
BOARDMAN, John, El arte griego, Barcelona, 1991 (1967).
BORG, Barbara E. (ed), A Companion to Roman Art, Chicester, 2015;
BOARDMAN, John, El arte griego, Barcelona, 1991 (1967).
CAILLET, Jean-Pierre (dir), L’Art du Moyen Age. Occident. Byzance. Islam, Paris, 1995.
CAILLET, Jean-Pierre, L’art carolingien, Paris, 2005.
CASTELFRANCHI, Liliana, Lo splendore nascosto del Medievo. Arti minore: una storia parallela, Milan, 2005.
CHARLES, Victoria & Klaus H. CARL, Gothic Art, Londres, 2008.
CORTÉS ARRESE, Miguel, Escenarios del arte bizantino, Murcia, 2017.
DE BLAAUW, Sible, Storia dell’Architettura Italiana. Da Costantino a Carlo Magno, Milan, 2010.
DELIYANNIS, Deborah M., Ravenna in Late Antiquity, Cambridge, 2014.
DELIYANNIS, Deborah M. & Hendrik DEY & Paolo SQUATRITRI, Fifty Early Medieval Things, Ithaca/London, 2019.
DESCAMPS-LEQUIME, Sophie (dir.), Peinture et couleur dans le mond grec antique, París, 2007.
DODWELL, Charles R. Artes pictóricas en Occidente, 800-1200, Madrid, 1995 (1993).
ETTINGHAUSEN, Richard & Oleg GRABAR & Marilyn JENKINS-MADINA, Islamicart and architecture, 650-1250, New Haven/London, 2001.
FRANKFORT, Henry, Arte y arquitectura del Oriente antiguo, Madrid, 1982 (1954).
FRANKL, Paul, Arquitectura gótica, Madrid, 2002 (1962).
GABORIT-CHOPIN, Danielle, Ivoires du Moyen Age, Friburg, 1978.
GRACIANI, Amparo (ed.), La técnica de la arquitectura en la Antigüedad, Sevilla, 2011.
GRABAR, André, La iconoclastia bizantina, Madrid, 1998 (1984).
GRANT, Michael, Art in the Roman Empire, London-New York, 1995.
HOURIHANE, Colum (ed.), From minor to major. The minor arts in Medieval Art History, Princeton, 2012.
JENSEN, Robin M. & Mark D. ELLISON (eds.), The Routledge Handbook of Early Christian Art, London, 2020.
KRAUTHEIMER, Richard, Arquitectura paleocristiana y bizantina, Madrid, 1984.
LASKO, Peter, Arte sacro 800-1200, Madrid, 1999 (1972).
LOWDEN, John, Early Christian & Byzantine art, London, 1997.
McCLENDON, Charles B., The Origins of Medieval Architecture. Building in Europe 600-900 AD, New Haven-London 2005.
McCORMACK, Robin, Byzantine Art, Oxford, 2018 (2000)
NESS, Lawrence, Early Medieval Art, Oxford, 2001 (Oxford History of Art).
OSBORNE, Robin, Archaic and classical greek art, Oxford, 1998 (1957).
POLLIT, Jerome Jordan, El arte helenístico, Madrid, 1989 (1986).
PREZIOSI, Donald & Louise A. HITCCOCK, Aegean Art and Architecture, Oxford, 1999.
ROBERTO, Umberto & Yann RIVIÈRE (coords.), Roma e i barbari: la nascita di un nouvo mondo, Milan, 2008.
RUDOLPH, Conrad (ed.), A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Oxford, 2000.
SMITH , Tyler Jo & Dimitris PLANTZOS, A Companion to Greek Art, Chichester (West Susex), 2012.
SPARKES, Brian & Keith RUTTER, Word And Image In Ancient Greece, Edimburg, 2020.
STALLEY, Roger, Early Medieval Architecture, Oxford, 1999.
VARNER, Eric R., Mutilation and transformation : damnatio memoriae and Roman imperial portraiture, Leiden, 2004.
VERGNOLLE, Élianne, L’art roman en France, Paris, 1994.
WILLIAMSON, Paul, Escultura gótica, 1140-1300, Madrid, 2000.
YARZA, Joaquín & Marisa MELERO, Arte medieval II, Madrid, 1996.
YEGÜL, Fikret & Diane FAVRO, Roman Architecture and Urbanism. From the Origins to Late Antiquity, Cambridge, 2019.
Software
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Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 1 | Catalan | first semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Catalan | first semester | morning-mixed |