Art and Power under the Dictators - 2nd semester
1) To acquire a thorough knowledge of the main problems faced by art in a period that runs from the end of I World War to the beginning of II World War.
2) To explain the role of painting, sculpture and architecture in the consolidation of dictatorships in Europe during the 1930s, identifying the artists ´contribution and presenting in classes examples of that activity.
Docente a definir
Weekly - 3 letivas + 1 tutorial
Total - Available soon
AAVV (1996), Arti i Poder. LEuropa dels Ditadors (1930-1945), Barcelona, Centre de Cultura Contemporània.
AAVV (1987), Paris. 1937 Cinquantenaire. Paris: Institut Français d´Architecture, Paris-Musées.
AAVV (1981), Les Réalismes (1919-1939), Paris: Centre Georges Pompidou.
ACCIAIUOLI, M. (1998), Exposições do Estado Novo: 1934-1940, Lisboa: Livros Horizonte.
AAVV (1997), Années 30 en Europe: Le Temps Menaçant 1929-1939, Paris: Musée d´Art Moderne de la Ville de Paris/Flamarion.
This curricular unit is based on sessions that regularly combine an exposition component and a group debate that addresses each topic of the programme. The aim of this methodology is to deepen and consolidate the acquired knowledge and ensure the students critical and active involvement in the discussion of referential texts previously selected by the teacher.
The final evaluation is based both on the students performance concerning the preparation and participation in the regular class debates (30%), and on the development of an individual final essay (70%).
1) The Return to Order in the 1920s and the modernista imperatives. Classicism and Valori Plastici. From Methapysical painting to New Objectivity. The Italian Novecento. From National Art to State Art.
2) U.R.S.S. and the modern movement. The debate on the role of art and artists and Socialist Realism. Art as monument.
3) National Socialism and Modern Art. The role of genre painting in the definition of the new German painting. Aspects of art and power in the III Reich.
4) The arts at the Paris International Exhibition (1937) and the nation´s power. The Germany and U.R.S.S. representations. The Spanish Pavilion and Picasso´s Guernica. Portugal´s participation, António Ferro´s programme. Exhibition and Architectural positions. Sculpture and Decorative Painting.
5) The preview of Tomorrow´s World in New York World´s Fair in 1939. Foreign representations and the U.R.S.S. and Italy pavilions. Portugal´s participation, António Ferro´s programme and his vision for the future.
Programs where the course is taught: