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Roman Art

Code: 100426
Credits: 6
2026/2027
Degree programme Type Course
Art History OB 2
Archaeology OP 4
Ancient Studies OP 3
Ancient Studies OP 4

Contact lecturer

Name :
Montserrat Claveria Nadal
Email :
montserrat.claveria@uab.cat

Group languages

You can consult this information at the end of the document.

Prerequisites

Good level of reading skills in foreign languages is required (English, Italian, French).

Objectives

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.

Learning outcomes

  1. Effectively expressing themselves and applying the argumentative and textual processes of formal and scientific texts.
  2. Carrying out oral presentations using appropriate academic vocabulary and style.
  3. Identifying the specific methods of History and its relationship with the analysis of particular facts.
  4. Identifying the context of the historical processes.
  5. Identifying the characteristic methods of Archaeology and its relationship with the historical analysis.
  6. Using the specific interpretational and technical vocabulary of the discipline.
  7. Recognising the importance of controlling the quality of the work's results and its presentation.
  8. Applying both knowledge and analytical skills to the resolution of problems related to their area of study.
  9. Locating the information in a secondary bibliography.
  10. Analysing ideas about an artistic phenomenon in a given cultural context.
  11. Analysing the creators of an artistic phenomenon in a specific cultural context.
  12. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  13. Autonomously searching, selecting and processing information both from structured sources (databases, bibliographies, specialized magazines) and from across the network.
  14. Using suitable terminology when drawing up an academic text.
  15. Transmitting the results of archaeological research and clearly communicating conclusions in oral and written form to both specialised and non-specialised audiences.
  16. Submitting works in accordance with both individual and small group demands and personal styles.
  17. Using computing tools, both basics (word processor or databases, for example) and specialised software needed in the professional practice.
  18. Identifying main and supporting ideas and expressing them with linguistic correctness.
  19. Mastering the relevant languages to the necessary degree in the professional practice.
  20. Applying proper techniques and analytical tools in case studies.
  21. Interpreting material sources and the archaeological record.
  22. Mastering the diachronic structure of the past.
  23. Mastering the Universal Ancient History.
  24. Mastering and identifying the history of immediate environment.
  25. Analysing the artistic imagery, placing it in its cultural context.
  26. Connecting an artistic imagery with other cultural phenomena within its period.
  27. Reconstructing the artistic outlook of a particular cultural context.
  28. Applying the iconographic knowledge to the reading of artistic imagery.
  29. Analysing the creators of an artistic phenomenon in a specific cultural context.
  30. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  31. Connecting an artistic imagery with other cultural phenomena within its period.
  32. Reconstructing the artistic outlook of a particular cultural context.
  33. Identifying the artistic imagery, placing it into its cultural context.
  34. Accurately defining and explaining an artistic object with the specific language of art criticism.
  35. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  36. Distinguishing the elaboration techniques and processes of an artistic object.
  37. Explaining the reception mechanisms of a work of art.
  38. Efficiently presenting knowledge in oral and written form.
  39. Point out the formal, iconographic and symbolic values of an artistic image from classical antiquity.
  40. Explain the mechanisms of reception of an ancient work of art.
  41. Identify and explain scenes, motifs, gods and other mythical characters on the basis of their artistic representations throughout antiquity.
  42. Encouraging creativity and fomenting innovative ideas.
  43. Working in teams, respecting the other's points of view and designing collaboration strategies.
  44. Autonomously searching, selecting and processing information both from structured sources (databases, bibliographies, specialized magazines) and from across the network.
  45. Analyse an artistic image and place it in its cultural context.
  46. Preparing an oral and written discourse in the corresponding language in a proper and organized way.
  47. Accurately describing the artistic object with the specific language of art criticism.
  48. Relate an artistic image to other cultural phenomena of the same period.
  49. Reconstruct the artistic landscape of a particular cultural context.
  50. Distinguish the techniques and the process for creating an art object.
  51. Apply the techniques and instruments of archaeological analysis to the study of ancient material remains.
  52. Explain the contexts of historical processes in classical antiquity
  53. Describe the main typological characteristics of town centres in Greco-Roman antiquity
  54. Describe the main characteristics of Iberian Peninsula archaeological sites from the Pre-Classical, Greek and Roman periods
  55. Point out the formal, iconographic and symbolic values of an artistic image from classical antiquity
  56. Identify and explain scenes, motifs, gods and other mythical characters on the basis of their artistic representations throughout antiquity
  57. Distinguish the techniques and the process for creating an art object
  58. Explain the mechanisms of reception of an ancient work of art

Contents

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.


Learning activities and methodology

Title Hours ECTS Learning outcomes
Theoretical and practical lessons 43.5 1.74 3, 4, 5, 8, 10, 11, 12, 14, 18, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 39, 40, 41, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58
Integrated tutorships to support learning and project preparation. Challenges Based Learning. Feedback/feedforward 5 0.2 6, 14, 16, 18, 38, 42, 43, 44, 46
Elaboration of projects, documentary and bibliographical consultations, personal study 70 2.8 1, 3, 6, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 41, 42, 43, 44, 45, 46, 48, 49, 50, 52, 55, 56, 57, 58

- 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.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
Classroom activities 10% 3 0.12 1, 6, 7, 9, 13, 14, 15, 16, 17, 18, 19, 38
Exposition of the group project 10% 9 0.36 1, 2, 6, 7, 9, 13, 14, 15, 16, 17, 18, 19, 34, 38, 46
Proof of content 40% 1.25 0.05 1, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 15, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58
Group project 40% 18.25 0.73 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58

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)

Bibliography

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.

Software

No specific software is required.

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