Baroque Art
Code: 100548Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Art History | OB | 2 |
Contact lecturer
- Name :
- Francesc Miralpeix Vilamala
- Email :
- francesc.miralpeix@uab.cat
Teaching staff (external to UAB)
- Per determinar
Group languages
You can consult this information at the end of the document.
Prerequisites
There is no prerequisite.
Objectives
This course, of basic formation and of 6 ECTS, is included within the subject "General history of modern art" (24 ECTS).
The fundamental objective of the course is to provide the student with some basic keys to interpret a cycle of Italian and European art that is generally identified with the name "Baroque" and emerged at the end of the XVIth century and lasted until the XVIIIth century. At the same time, it is intended to promote the intellectual autonomy of the student and particularly a critical attitude towards the bibliographical sources, which allows him to question, if necessary, the current interpretive models.
Learning outcomes
- Applying the iconographic knowledge to the reading of artistic imagery.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Working in teams, respecting the other's points of view and designing collaboration strategies.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Reconstructing the artistic outlook of a particular cultural context.
- Identifying the artistic imagery, placing it into its cultural context.
- Accurately defining and explaining an artistic object with the specific language of art criticism.
- Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Explaining the reception mechanisms of a work of art.
- Efficiently presenting knowledge in oral and written form.
- Encouraging creativity and fomenting innovative ideas.
Contents
1.Introduction. The Baroque period.
1.1. The Baroque, the problematic of the term: meaning and critical fortune. Problems of periodization. The historiographical debate (between \"ancient\" and \"modern\"). The historical and cultural context.
2. Art of the XVII century in Italy.
2.1. \"Naturalists\", Caravaggio and his followers. \"Classicists\", from the Carracci to Pietro da Cortona. Elisabetha Sirani and Artemisia Gentileschi.
2.2. Gian Lorenzo Bernini and the unity of the arts. Other outstanding personalities: Alessandro Algardi and François du Quesnoy.
2.3. Origin and evolution of Baroque architecture: Carlo Maderno and the completion of St. Peter's Basilica in the Vatican. The aesthetics of wonder and imagination: Gian Lorenzo Bernini, Francesco Borromini, Pietro da Cortona and Guarino Guarini.
2.4. The ideology of the \"Roma Triumphans\" and the paradigm of the Baroque city. The urban reform of Pope Sixtus V. \"Il Gesù\", as a model of the counter-reformist churches and prototype of colonization.
3. Art of the XVII century in Europe.
3.1. Netherlands (Flanders). Rubens and Baroque painting.
3.2. Netherlands (Holland). \"The art of describing\". Frans Hals, Rembrandt and Vermeer of Delft.
3.3. Velázquez and the painting of the \"siglo de oro”.
3.4. The interpretation of Caravaggism in France. The Royal Academy and Charles Le Brun.
3.5. The ideal landscape of Poussin and Claude Lorrain.
3.6. Spain. The devotional sculpture. From Juan Martínez Montañés and Gregorio Fernández to Luisa Roldán.
3.7. France. The architecture at the service of Louis XIV: the Louvre and Versailles.
4. Art of the XVIII century in Europe.
4.1. The internationalization of styles. An introduction to the visual arts of the eighteenth century.
4.2. Late Baroque, Rococo and Neoclassicism.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Preparation an essay about a subject to be chosen | 57.5 | 2.3 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 |
| Search for information andcritical analysis of a work of art or an artist | 40 | 1.6 | 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13 |
| Explanation and development of the main contents of the program | 40 | 1.6 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 |
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Written exam | 50% of the total of the avaluation | 1.5 | 0.06 | 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13 |
| Oral presentation of the written work | 15% of the total of the avaluation | 1 | 0.04 | 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13 |
| Delivery of an individual critical essay | 35% of the total of the avaluation | 10 | 0.4 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
Evidence 1. Written assessment test (at the end of the course).
50%. Recoverable
Development of a topic related to the subject taught in the face-to-face theoretical classes. The reading of essential and complementary bibliography will be taken into account.
Evidence 2. Practical work (one month before the end of the course)
35% Recoverable
Work on a work and/or author or on a suggested topic based on complementary readings. The authors and the works or themes will be assigned by the teacher.
Evidence 3. Oral presentation in the classroom (at the end of the course).
15%
Presentation of the work, explanation of the methodology, sources and bibliography used for the study of the practical work. Attendance and continuity of tutorials will also be valued
Format of Evidence
The final grade of the evaluation will arise from the sum of the total percentage of the evidence 1,2,3. However, if Evidence 1 (less than 2,5 points out of the total of 5) or Evidence 2 (less than 1,5 points out of the total of 3,5) is failed, the subject will be considered failed.
The work must necessarily incorporate the citation system of notes (within the text or at the bottom of the page) with the references of the bibliographic or documentary sources used. Evidence of plagiarism, in the writing of the papers, can represent a failure. Plagiarism is the appropriation of other people's ideas without citing the source, especially if they are the core ideas of the work, as well as the transcription of other people's phrases without putting them in quotation marks and without indicating the source in the corresponding note. Written tests and papers written in Catalan or Spanish and also in other languages (English, French, Italian) will be accepted.
Qualification review procedure
At thetime of each assessment activity, the teacher will inform the students (Moodle) of the procedure and the date of review of the grades.
Recovery
The recovery of Evidence 1 and 2 is contemplated.
Single assessment
The single assessment will consist of a single written exam on some aspect of the whole subject of the syllabus. The date of the exam will be the same as that provided for Evidence 1.
Not ASSESSABLE
It will be considered NOT ASSESSABLE when the student has NOT submitted more than 30% of the evaluation activities.
Plagiarism or fraudulent conduct
In the event that the student makes any irregularity that may lead to a significant variation in the grade of an evaluation act, this evaluation act will be graded with 0, regardless of the disciplinary process that may be instructed. In the event of several irregularities in the evaluation acts. of the same subject, the final grade of this subject will be 0. Evaluation acts in which there have been irregularities are not recoverable.
Use of Artificial Intelligence (AI)
Recruitment in search of bibliographic information, images or support materials. In no case it will be accepted its use to elaborate total or fragmentary contents, being considered a lack of academic honesty and behaving if it is detected that the evaluation is a 0 and cannot be recovered.
Bibliography
The most relevant bibliography will be specified at the beginning of the course.
GENERAL BIBLIOGRAPHY
Argan, G. C., Renacimiento y Barroco II, Akal, Madrid, 1997
Battisti, E., Renacimiento y barroco, Madrid, Catedra, 1990
Bazin, G., Barroco y Rococó, Barcelona, Destino, 1992
Bottineau-Fuchs, Y., El arte del barroco, Madrid, Akal, 1990
Carrasco Ferrer, M., Ex Roma Lux: la Roma antigua en el Renacimiento y el Barroco, Madrid : Ministerio de Educación y Cultura, Biblioteca Nacional, Electa España, 1997
Castex,J. \"El trágico siglo XVll: divergencias de interpretación\". p. 219-231.\" El nuevo orden urbano del campo: El jardin a la francesa\", p. 325-333. Renacimiento, Barroco y Clasicismo, 1420-1720. Madrid: Akal, 1994.
Castria Marchetti, F., Zuffi, S., et. al., El Barroco 1600-1700: el arte europeo de Caravaggio a Tiepolo, Barcelona, Electa, 2005
Cortes del barroco: de Bernini y Velázquez a Luca Giordano (proyecto científico de Fernando Checa Cremades), Madrid, Patrimonio Nacional, 2003
Checa Cremades, F., i Morán Turina, J. M., El Barroco, Madrid, Istmo, 1989
Haskell, F., Patronos y pintores: arte y sociedad en la Italia barroca, Madrid, Catedra, 1984
Kostof, S., \"Absolutismo y burguesia europea, 1600-1750\", p. 908-945. Historia de la arquitectura. Madrid: Alianza, 1985.
Mâle, E., El Barroco: arte religioso del siglo XVII: Italia, Francia, España, Flandes, Madrid, Encuentro, 1985
Martin, J. R., El Barroco, Xarait, Bilbao, 1986
Minor,Vernon H., Baroque & Rococo: art & culture, Londres, Laurence King, 1999
Ors, Eugeni d', Lo Barroco, Madrid, Aguilar, 1936
Tapié, V., Barroco y Clasicismo, Madrid, Cátedra, 1978
Toman, R., El Barroco: Arquitectura, escultura, pintura, Colonia, Könemann, 1997
Valverde, J. M., El Barroco, una visión de conjunto, Barcelona, Montesinos, 1981 (2ª ed.)
Weisbach, W., El Barroco: arte de la contrarreforma, Madrid, Espasa Calpe, 1942
Wölfflin, H., Renacimiento y Barroco, Paidós, Barcelona, 1986 (1888)
ITALIAN BAROQUE PAINTING
Annibale Caracci: Venus, Adonis y Cupido (cat.exp.), Museo Nacional del Prado, Madrid, 2005
Caravaggio (cat. exp.), Electa, Museo Nacional del Prado, Madrid, 1999
Caravaggio y la pintura realista europea (cat. exp.), Museu Nacional d'Art de Catalunya, Barcelona, 2005
Berne-Joffroy, A, Dossier Caravaggio, Suffolk, 2005
Longhi, R., Il Caravaggio, Milan, A. Martello, 1952
Pacciarotti, G., La pintura barroca en Italia, Istmo, Madrid, 2000
Hibbard Howard, Caravaggio, Thames and Hudson, Londres, 1983
La Scuola dei Carracci: I seguaci di Annibale e Agostino, Modena, Artioli, 1995
Strinati, C., Caravaggio (cat. exp. Roma, Scuderie del Quirinale), Skira, Roma, 2010
Vodret, R., Caravaggio. Opera completa, Roma, Silvana Editoriale, 2010.
ITALIAN BAROQUE ARCHITECTURE
Alonso García, E., San Carlino: la máquina geométrica de Borromini, Valladolid, Secretariado de Publicaciones e Intercambio Editorial de laUniversidad de Valladolid, 2003
Argan, G. C., La arquitectura barroca en Italia, Argentina, Nueva Visión, 1984
Argan, G.C., Borromini, Xarrait, Madrid, 1980
Blunt,A., Borromini, Alianza, Madrid, 1982
Francesco Borromini: atti del convengo internazionale, Roma 13-15 gennaio 2000, acura di Christoph Luitpold Frommei, Elisabeth Sladek, Milán, Electa, 2000
Portoghesi, P., Franesco Borromini, Milán, Electa, 1977 (2ª. edició).
Portoghesi, P., Roma baroca: storia di una civilità architettonica, Roma, C. Bestetti, 1966.
Rámirez, J.A. \"Hacia una iconología de las connotaciones. La cultura de Borromini\". p. 187-251. \"La política de la puesta en práctica del clasicismo bajo Luis XIV\". p. 361-378. Edificios y Sueños. Ensayos sobre arquitectura y utopia. Málaga: Universidad de Málaga. 1983.
Varriano, J., Arquitectura italiana del barroco al rococó, Madrid, Alianza, 1990
Wittkower, R., Arte y arquitectura en Italia 1600-1750, Madrid, Cátedra, 1995
Wittkover, R. \"Edificios centralizados de Bernini, Cortona y Borromini\". p. 92-97. \"Palladio y Bernini. p.17-28. \"Francesco Baromini, su vida y su caràcter\", p. 170-182. \"Guarini, el hombre\". p. 207-216. Fundamentos de la arquitectura en la Edad del Humanismo. Madrid: Alianza, 1993.
BERNINI SCULPTOR
Bernini scultore: la nasita del barroco in Casa Borghese (cat. exp. a càrrec de A. Coliva), Galeria Borghese, [S.l.] : De Luca, 1998
I Marmi vivi: Berniniela nasita del ritratto barocco (cat. exp. a càrrec de A. Bacchi et al.), Firenze : Firenze Musei : Giunti.
Wittkower, R., Gian Lorenzo Bernini: el escultor del barroco romano, Alianza, Madrid, 1990 (1963)
FLEMISH BAROQUE
Ayala Mallory, N., La pintura flamenca del siglo XVII, Alianza, Madrid, 1995
Brown, J. i Brown, C., Velázquez, Rubens y Van Dyck: pintores cortesanos del siglo XVII, (cat. exp.),Museo Nacional del Prado, Madrid, 1999.
Rubens, Van Dyck, Jordaens. Mestres de la pintura flamenca del segle XVII a les col.leccions del museu Ermitage (cat. exp.), Barcelona, 2003.
Vergara, A., Rubens and his spanish patrons, Cambridge i Nova York, 1999.
Vosters S. A., Rubens y España: esudio artístico-literario sobre la estética del barroco, Cátedra, Madrid, 1990.
DUTCH BAROQUE
The Glory of the Golden Age: Dutch Art of the 17th Century, Rijksmuseum, Amsterdam, 2000
Rembrandt pintor de historias (cat. exp. ), Museo del Prado, Madrid, 2008
Rosenberg J., Slive, S. i Ter Kuile, E. H., Arte y arquitectura en Holanda 1600-1800, Cátedra, Madrid, 1994 (1966)
Slive, S., Frans Hals (3.v), Londres, Phaidon, 1970-1974.
Vermeer y el interior holandés (cat. exp. A. Vergara), Museo del Prado, Madrid, 2003
SPANISH BAROQUE
Brown, J., La edad de oro de la pintura en España, Madrid, Nerea, 1990
Brown, J., Escritos completos sobre Velázquez, Centro de Estudios Europa Hispánica, 2008
Coliva, A., Velázquez a Roma, Milan, Skira, 1999.
Gallego, J., Visión y símbolos en la pintura española del Siglo de Oro, Madrid, Catedra, 1984.
González Sánchez, C.A., El espíritu de la imagen. Arte y religión en el mundo hispánico de la Contrareforma, Madrid, Cátedra, 2017.
Harris, E., Velázquez, Vitoria-Gasteiz : Ephialte Instituto Municipal de EstudiosIconográficos, 1991.
El palacio del Rey Planeta: Felipe IV y el Buen Retiro (cat. ex.), Madrid, Museo Nacional del Prado, 2005.
Navarrete Prieto, B., Murillo y las metáforas de la imagen, Madrid, Cátedra, 2017,
Pérez Sánchez, A. E., Pintura barroca en España 1600-1750, Madrid, Catedra, 1992.
Portús Pérez, J., Pintura y pensamiento en la España de Lope de Vega, Hondarribia [Guipúzcoa] : Nerea, cop. 1999
Sebastián, S., Contrarreforma y Barroco: lecturas iconográficas e iconológicas, Madrid, Alianza, 1985
Sureda, J., La Gloria de los Siglos de Oro: mecenas, artistas y maravillas en la España imperial, Barcelona, Lunwerg, 2006
Sureda, J., Velázquez pintor y hombre del rey, Barcelona, Lunwerg, 2009
Valdivieso, E., Vanidades y desengaños en la pintura española del Siglo de Oro, [S.l.] : Fundación de Apoyo a la Historia del Arte Hispánico, 2002
Pier Andrea De Rosa, Figure illustri. Protagonisti del Grand Tour a Roma e in Vaticano, Città del Vaticano 2026
Gianfranco Brunelli. Barocco. Il Gran Teatro delle Idee, 2026
Frommel, Sabine (dir.) Ferdinand, Juliette (dir.) Cicali, Giulia (dir.), Suspendre l'éphémère : l'art de la fête en Europe à l'époque moderne , 1. ed. Éditions Hermann, 2025 (Histara)
VV.AA., Escribir la pintura en España en el Siglo de Oro : El Coliseo del Buen Retiro en el entramado socio-cultural de la España del Barroco ,1. ed., Casa de Velázquez, 2025 (Mélanges de la Casa de Velázquez ; 55/1)
Martín Marco, Jorge, Arquitectura barroca en Aragón : antiguos arciprestazgos de Belchite y Daroca entre 1601 y 1750, Instituto de Estudios Turolenses, 2025
Software
If specific programming is used, this would be indicated in due course.
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 | second semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |