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Visual Culture

Code: 108155
Credits: 6
2026/2027
Degree programme Type Course
Humanities and Management of Culture FB 1

Contact lecturer

Name :
Daniel Rico Camps
Email :
daniel.rico@uab.cat

Teaching staff

Maria Mar Valls Fuste

Group languages

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

Prerequisites

It is advisable to have at least a reading level in English in order to access specialized bibliography. Interest in visual culture, art history, and audiovisual languages is recommended.


Objectives

Culture of the Image is an introductory and transversal course whose aim is to provide students with the fundamental tools to understand visual language, interpret images in their various media, and critically analyze the role they have occupied —and continue to occupy— in Western culture.

By the end of the course, students should be able to:

  • Distinguish the features that characterize an image and understand the effectiveness of its basic elements —color, form, and composition— in constructing visual meaning.
  • Identify the different types of images and media (photography, painting, engraving, drawing, video, advertising, social networks) that make up visual language, and recognize what each contributes in terms of function, use, and perception.
  • Understand the visual codes that structure the image in order to analyze how it conveys ideas, emotions, and messages in different contexts.
  • Demonstrate the relationship between the image and the evolution of human thought, and understand how the ways of thinking of an era determine the creation, interpretation, and circulation of images.
  • Correctly interpret the historical, cultural, and media context in which an image was produced, analyzing its original productive context, the belief system that sustains it, and its social or public reception.
  • Analyze images using different methodologies —formalism, iconography, and semiotics— and apply them appropriately depending on the type of image and its medium.
  • Detect gender representations and identify visual stereotypes, assessing their cultural implications.
  • Present visual analyses orally and in writing in a coherent and appropriate manner, using the specific vocabulary of visual culture and art theory.


Learning outcomes

  • CM01 (Evaluate artistic images from innovative perspectives, such as gender, otherness or ethnocentrism.) Evaluate artistic images from innovative perspectives, such as gender, otherness or ethnocentrism.
  • CM02 (Integrate the gender perspective in the analysis of image culture, identifying and evaluating gender stereotypes and inclusive representations.) Integrate the gender perspective in the analysis of image culture, identifying and evaluating gender stereotypes and inclusive representations.
  • KM01 (Describe the influence of the evolution of humanistic thought on the development of visual language.) Describe the influence of the evolution of humanistic thought on the development of visual language.
  • KM02 (Distinguish the features that make up the visual language, the image and its composition, the different types of images and their supports in an artistic work.) Distinguish the features that make up the visual language, the image and its composition, the different types of images and their supports in an artistic work.
  • KM03 (Define the artistic phenomenon from the perspective of ideas, creators and receivers, considering the cultural context in which it is produced and interpreted.) Define the artistic phenomenon from the perspective of ideas, creators and receivers, considering the cultural context in which it is produced and interpreted.
  • SM01 (Analyse artistic images based on the concepts and perspectives provided by aesthetic ideas and art theory.) Analyse artistic images based on the concepts and perspectives provided by aesthetic ideas and art theory.
  • SM02 (Analyse the codes that make up the image in various cultural and media contexts, understanding their impact on human perception and thinking.) Analyse the codes that make up the image in various cultural and media contexts, understanding their impact on human perception and thinking.
  • SM03 (Explain orally and in writing the results of the analysis of artistic images, using the appropriate terminology.) Explain orally and in writing the results of the analysis of artistic images, using the appropriate terminology.

Contents

BLOCK 1: Foundations and language of the image

What an image is and how it works

  • Foundations of visual culture
  • Concept and evolution of visual culture studies.
  • The image as a cultural construction. Functions of the image.
  • Humanistic thought and the development of visual language.
  • Visual language: codes and elements
  • Components of visual language: form, color, composition, perspective.
  • Types of images: figuration, symbolism, abstraction.
  • Media and formats: drawing, painting, photography, and digital devices (video) as main means of image production and circulation.
  • Introduction to visual semiotics.
  • Image, perception, and thought
  • Psychology of visual perception.
  • Relationship between image and collective imagination.

BLOCK 2: Art and cultural context

How the image is analyzed in relation to art and cultural context

  • Image, art, and cultural context
  • The artistic image: creator, work, viewer.
  • Aesthetic ideas and art theory applied to the image.
  • Critical interpretation of images.
  • Image analysis: methods and applications
  • Methods of visual analysis (formalism, iconography, semiotics).
  • Oral and written presentation of visual analyses.

BLOCK 3: The contemporary image

How the image operates in contemporary culture and current imaginaries

  • Image and contemporary audiovisual media
  • Advertising: visual strategies and construction of desire.
  • Cinema: visual narrative, editing, shots, and framing.
  • Music video: rhythm, style, and visual identity.
  • Gender perspective in image culture
  • Gender representations in the history of the image.
  • Visual stereotypes and role construction.
  • Critical perspective and the rise of gender studies.


Learning activities and methodology

Title Hours ECTS Learning outcomes
Study 70 2.8 CM01, CM02, KM01, KM02, KM03, SM01, SM02
Practical and theoretical sessions 60 2.4 CM01, CM02, KM01, KM02, KM03, SM01, SM02
Methological and bibliographic guidance 4 0.16 CM02, KM01, KM02, KM03

In-person classes

  • Theoretical and practical sessions.
  • Presentation and discussion, when appropriate, of student work.
  • Occasional lectures (on paradigmatic image cases).

Tutorials

  • Methodological and bibliographic guidance.
  • Supervised activities.



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
Oral and written presentation of visual analyses 25% 2 0.08 CM01, CM02, KM02, SM01, SM03
Written Exam: Midterm 1 30% 6 0.24 CM01, CM02, KM01, KM02, KM03, SM01, SM02, SM03
Written review or reading test 15% 2 0.08 KM03, SM01, SM02
Written Exam: Midterm 2 30% 6 0.24 CM01, CM02, KM01, KM02, KM03, SM01, SM02, SM03

Review

When results of each assessment activity are published, the professor will inform students (via Campus Virtual) of the procedure and date for grade review.

Resit

The resit date is set by the Faculty. The resit applies only to the two midterm exams and may be taken if:

  • the average of both midterms is below 5 (Pass), or
  • the student has previously been assessed in activities amounting to at least 3/4 of the total grade.

Not assessable

Students will receive a “Not assessable” grade if they have completed less than 30% of the assessment activities. Otherwise, the course will be graded.

Single assessment

Continuous assessment consists of three types of tests:

  • Written exam (Midterms 1 and 2): 60%
  • Reading test: 15%
  • Image analysis: 25%

Resit procedure for single assessment: To participate in the resit, students must have submitted all required tests.

IMPORTANT

  • In evaluating midterm exams and assignments, clarity in expressing concepts and ideas worked on throughout the course, maturity of reasoning, use and citation of specific bibliography and quality digital resources, as well as correctness in writing and spelling will be taken into account. Spelling mistakes and formatting errors in submitted work will be penalized.
  • Any irregularity that may lead to a significant variation in the grade of an assessment activity will result in a grade of 0 for that activity, regardless of any disciplinary process. Multiple irregularities in the same course will result in a final grade of 0.
  • Total or partial plagiarism of any exercise will automatically result in a Fail (0). Plagiarism includes copying sentences or fragments from unidentified sources, including texts taken from the internet, translated or not, incorporated into the work as original production. Intellectual property must be respected and sources must always be identified, ensuring the originality of the text.
  • Regarding the use of artificial intelligence tools, students must explicitly state their use and purpose in an annex or in the methodological section. Failure to do so —if the instructor detects signs of AI use— may result in a Fail. Work written entirely using AI will not be accepted, and presenting AI-generated text as original work is considered academic dishonesty, resulting in a grade of 0 and the impossibility of resitting the activity.



Bibliography

  • ARASSE, Daniel. “The Art of Painting” a Vermeer. Faith in painting. Princeton: Princeton University Press, 1993, pp. 40-58.
  • ARNHEIM, Rudolf. Arte y percepción visual: psicología de la visión creadora. Madrid: Alianza, 2002.
  • BACCI, Michele. The many faces of Christ: Portraying the holy in the East and the West (300 to 1300). Londres: Reaktion Books, 2014.
  • BARASCH, Michael. Giotto y el lenguaje del gesto. Madrid: Akal, 1999.
  • BAXANDALL, Michael. Pintura y vida cotidiana en el Renacimiento. Arte y experiencia en el Quattrocento. Madrid: Gustavo Gili, 1980.
  • BAXANDALL, Michael. Modelos de intención: sobre la explicación histórica de los cuadros. Madrid: Hermann Blume, 1989.
  • BAXANDALL, Michael. Giotto y los oradores: la visión de la pintura en los humanistas italianos y el descubrimiento de la composición pictórica, 1350-1450. Madrid: Visor, 1996.
  • BELTING, Hans. Antropología de la imagen. Katz Barpal Editores, 2013.
  • BERGER, John. Modos de ver. Barcelona: Gustavo Gili, 2007.
  • BRUSATIN, Manlio. Historia de las imágenes. Madrid: Julio Oller, 1992.
  • BURKE, Peter. Visto y no visto. El uso de la imagen como documento histórico. Barcelona: Crítica, 2005.
  • BURKE, Peter. El Renacimiento italiano: cultura y sociedad en Italia. Madrid: Alianza, 2015.
  • CALABRESE, Oman. Cómo se lee una obra de arte. Madrid: Cátedra, 2000.
  • CASTIÑEIRAS, Manuel A. Introducción al método iconográfico. Barcelona: Ariel, 1998.
  • CHADWICK, Whitney. Mujer, arte y sociedad. Madrid: Destino, 1999.
  • CHILVERS, Ian; OSBORNE, Harold. Diccionari d’art d’Oxford. Barcelona: Edicions 62, 1996.
  • CHIPP, Herschel B.; TAYLOR, Joshua C.. Teorías del arte contemporáneo. Madrid: Akal, 1995.
  • D’ALLEVA, Anne. Methods & Theories of Art History. Londres: Laurence King Publishing, 2005.
  • ECO, Umberto. Tratado de semiótica general. Barcelona: Lumen, 2000.
  • ELKINS, James. Stories of Art. Londres: Routledge, 2002.
  • FIED, Michael. El lugar del espectador: estética y orígenes de la pintura moderna. Madrid: A. Machado Libros, 2000.
  • FOUCAULT, Michel. “Capítulo 1: Las Meninas” a Las palabras y las cosas. Madrid: Siglo XXI, 1999, pp. 13-26.
  • FRANCO, Borja; MOLINA, Álvaro; VIGARA, José A.. Imágenes de la tradición clásica y cristiana. Madrid: Editorial Universitaria Ramón Areces, 2024.
  • FRANCO, Borja; MORENO, Francisco J.. Pintando al converso. Madrid: Cátedra, 2019.
  • FURIÓ, Vicenç. Sociología del arte. Madrid: Cátedra, 2000.
  • FURIÓ, Vicenç. Arte y reputación. Barcelona: Memoria Artium, 2013.
  • GARCÍA, Rafael. Iconografía e iconologia, Vol. I. Madrid: Encuentro Arte, 2008.
  • GARRARD, Mary D.. Artemisia Gentileschi. El poder del arte femenino. Madrid: Akal, 2020.
  • GOMBRICH, Ernst. Imágenes simbólicas. Madrid: Alianza, 1983.
  • GOMBRICH, Ernst. Arte e ilusión. Phaidon, 2002.
  • GOMBRICH, Ernst. La imagen y el ojo. Madrid: Debate, 2000.
  • GOMBRICH, Ernst. Història de l’art. Barcelona: Columna, 2002.
  • GOMBRICH, Ernst. “Estilos artísticos y estilos de vida” a Los usos de las imágenes. Madrid: Debate, 2003.
  • GOODMAN, Nelson. Los lenguajes del arte. Barcelona: Seix Barral, 1976.
  • GRABAR, André. Las vías de la creación en la iconografía cristiana. Madrid: Alianza, 2008.
  • HALL, James; CLARK, Kenneth. Diccionario de temas y símbolos artísticos. Madrid: Alianza, 1987.
  • HARRISON, Charles. Primitivismo, cubismo y abstracción. Madrid: Akal, 1988.
  • HASKELL, Francis. La historia y sus imágenes. Madrid: Alianza, 1994.
  • HUEGHES, Robert. El impacto de lo nuevo. Barcelona: Galaxia Gutenberg, 2001.
  • JACKSON, Eleanor; HARRISON, Julian (Eds.). Medieval women. Voices & Visions. Londres: The British Library, 2024.
  • KRESS, Gunther; VAN LEEUWEN, Theo. Reading Images. Londres: Routledge, 2016.
  • LAFUENTE, Enrique. La fundamentación y los problemas de la historia del arte. Madrid: Instituto de España, 1985.
  • LANEYRIE-DAGEN, Nadeije. Leer la pintura. Madrid: Larousse, 2008.
  • MANGEL, Alberto. Leyendo imágenes. Bogotá: Norma, 2002.
  • NOCHLIN, Linda. ¿Por qué no ha habido grandes mujeres artistas? Madrid: Cátedra, 2020.
  • PANOFSKY, Erwin. El significado en las artes visuales. Madrid: Alianza, 2008.
  • PANOSFSKY, Erwin. Idea: contribución a la historia de la teoría del arte. Madrid: Cátedra, 1989.
  • PEÑA GÓMEZ, María del Pilar. Manual básico de Historia del arte. Badajoz: Universidad de Extremadura, 2013.
  • RAMON, Magdalena (Coord.). Vocabulari d’història de l’art. Palma: UIB, 2006.
  • REAU, Louis. Iconografía del arte cristiano, Vol. I. Barcelona: Serbal, 2008.
  • RIPA, Cesare. Iconología I y II. Madrid: Akal, 2007.
  • RUEDA, Francesc-Josep (Coord.). Introducció a la història de l’art. Barcelona: Pòrtic, 1999.
  • SETTIS, Salvatore. La “Tempestad” interpretada. Madrid: Akal, 1990.
  • SHINER, Larry. La invención del arte. Madrid: Paidós, 2014.
  • SHONE, Richard; STONARD, John-Paul (Eds.). The Books that shaped Art History. Londres: Thames & Hudson, 2013.
  • STOCKSTAD, Marilyn; COTHREN, Michael W.. Art History, 2 vols. Pearson Prentice Hall, 2017.
  • STOICHITA, Victor. La invención del cuadro. Barcelona: Serbal, 2000.
  • WHITE, John. Nacimiento y renacimiento del espacio pictórico. Madrid: Alianza, 1994.
  • WOODFORD, Susan. Cómo mirar un cuadro. Barcelona: Gustavo Gili, 2007.


Software

Not 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