Seminário de História da Arte (not translated)
1. To know the works of art and themes that have prompted a critical and reflexive apparatus of importance not only for art history, but also for other neighboring domains of knowledge;
2. To develop a critical approach both to the studied works/images and the texts that they have given raise to;
3. To understand how these studied works/images and texts have contributed to enrich perceptions on history, art history, politics, society and the contemporary condition;
4. To develop the capacity to contextualize in theorical and historical terms the works/images and the texts that they have given raise to;
5. To use the acquired knowledge to develop research skills in art history.
6. To complete a collective written research essay.
Weekly - 4
Total - Available soon
(a bibliografia corresponde à selecção de obras indicada)
E. Panofsky, Et in Arcadia Ego. O Significado das Artes Visuais. Lisboa: Presença, 1989 (1955)
L. Marin, Panofsky et Poussin en Arcadie. Sublime Poussin. Paris: Seuil,1995.
M. Foucault, Las Meninas. As Palavras e as Coisas. Lisboa: Edições 70, 1998 (1966)
C. Owens, Representation, Appropriation, Power. Beyond Recognition. University of California Press, 1992 (1982).
Daniel Arasse, O Olho do mestre, Não se vê nada, Lisboa, KKYM, 2015
T.J. Clark, The Painting of Modern Life. Princeton University Press, 1984
Th. de Duve, How Manets A Bar at the Folies-Bergère is Constructed. Critical Inquiry, vol. 25, nº 1 (Autumn 1998)
J. Elkins, Critical Response Precision, Misprecision, Misprision. Critical Inquiry, vol. 25, nº 1 (Autumn 1998)
Th. de Duve, Intuition, Logic, Intuition. Critical Inquiry, vol. 25, nº 1 (Autumn 1998)
R. Krauss,The Circulation of the Sign, The Picasso papers. London: T&H, 1998
C. Poggi, In Defiance of Painting: Cubism, Futurism, and the Invention of Collage. New Haven: Yale Univ. Press, 1992
J. Cunha Leal, Trapped bugs, rotten fruits and faked collages: Amadeo Souza Cardosos troublesome modernism, Konsthistorisk tidskrift/Journal of Art History Vol. 82, Issue 2, Routledge, 2013
R. Krauss, The Photographic Conditions of Surrealism, The Originality of the Avantgarde and Other Modernist Myths. MIT Press, 1985 (1981)
Lectures given by the teacher, focusing on a thorough analysis of the works and themes structuring the syllabus, and on the presentation od the texts prompted by them. These lectures alternate with seminar discussions where students present and analyse the appointed texts (made available in FCSH digital platform).
There will also be a final presentation and discussion in class of the research written essays (15-18 pags), which are the outcome of intense tutorial work and shared discussion in class. The essays are always collective undertakings by groups of 2 to 3 students.
The assessment of this seminar is therefore based in 2 elements:
1) presentation and discussion in classes of the pre-appointed texts (40%)
2) written presentation and discussion of the final research essay (60%)
1. Presentation of works and themes that have given raise to a critical and reflexive apparatus of importance not only for art history, but also for other neighboring domains of knowledge (e.g.: Et in Arcadia Ego, by Nicolas Poussin; Las Meninas, by Diego Velasquez; Un Bar en Folie- Bergère, by Edouard Manet; collage [and the faked collages by Amadeo Souza Cardoso]; photography and surrealism [some photographies by Brassai]; on medium [and the work of Jeff Wall]; some questions on Pedro Costas cinema)
2. Critical analysis of the studied works and of the texts they have prompted.
3. Debate on the historical and theoretical contextualization of these works and texts, as well as on the idea of history, art history, politics, society and the contemporary that their analysis introduces.
Programs where the course is taught: