The shaping of space, symbolic language and memory in Romanesque art
Objectives
- Analyze what is in the genesis of art from the eleventh to the thirteenth centuries and foster knowledge that allows students to catacterize the essential aspects of Romanesque art (with its territorial and temporal variants);
- To promote the discovery of the Romanesque as an artistic phenomenon of a \"global\" character and to perceive in what this phenomenon is characterized;
- Starting with the theme of UC, addressing and discussing essential themes of the Romanesque from the point of view of \"case studies\": will allow students to focus on delimited (though abutting) aspects, aiming to deepen knowledge on specific topics, as well as the relational capacity between works from different geographies, as well as the ability to identify iconographies and esthetic values through the intensive training of the \"interrogative look\" and the comparative process.
General characterization
Code
722061096
Credits
10.0
Responsible teacher
Alicia Miguélez Cavero
Hours
Weekly - 3
Total - 280
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
BACILE, Rosa Maria and John McNEILL, (eds.), Romanesque and the Mediterranean. Points of Contact across the Latin, Greek and Islamic Worlds c. 1000 to c. 1250, Leeds, 2015.
BARRAL I ALTET, Xavier, Contre l'art roman? Essai sur un passé réinventé, Paris, Fayard, 2006.
BREDEKAMP, Horst and Stefan TRINKS (eds.), Transformatio et Continuitatio. Forms of Change and Constancy of Antiquity in the Iberian Peninsula 500-1500, Berlin: De Gruyter, 2017.
DIDI-HUBERMAN, Georges, The Surviving Image: Phantoms of Time and Time of Phantoms. Aby Warburg's History of Art, Philadelphia, 2017.
GEARY, Patrick, The Myth of Nations. The Medieval Origins of Europe, Princeton University Press, 2002.
LASALLE, Victor, L'influence antique dans l'art roman provençal, Paris, 1983.
MATTHEWS, David, Medievalism. A Critical History, Cambridge, D. S. Brewer, 2015.
McNEILL, John and Richard PLANT, Romanesque and the Past. Retrospection in the Art and Architecture of Romanesque Europe, London: British Archaeological Association, 2013.
MICHAUD, Éric, Les invasions barbares: Une généalogie de l'histoire de l'art, Paris, Gallimard, 2015.
MÜLLER, Monika E. (ed.), The Use of Models in Medieval Book Painting, Newcastle: Cambridge Scholars Publishing.
PASSINI, Michela, La fabrique de l'art national. Le nationalisme et les origines de l'histoire de l'art en France et en Allemagne (1870-1933), Paris, Editions de la Msh, 2012
PEZZINI, Barbara (ed.), Special Issue Medieval Modernity. Visual Resources. An International Journal on Images and Their Uses, vol. 32, 1-2 (March-June 2016).
WARBURG, Aby, Die Erneuerung der heidnischen Antiken. Kulturwissenschaftliche Beiträge zur Geschichte der europäischen Literatur, Bd. 2, hg. Von Horst Bredekamp und Michael Diers, Berlin, 1998.
Teaching method
The teaching method is based on theoretical classes with the presentation of content by the teacher, and practical classes, with the active participation of the students, with the preparation of themes that will be presented / discussed in the classroom or in the places where the works of art meet, thus fostering the active and dynamic participation of the students.
Evaluation method
Evaluation method:
Active participation in classes - 50.0%
Written essay (with oral presentation) - 50.0%
Subject matter
1. Introduction. Genesis and evolution of the “Romanesque” in the historiography of European medieval art
2. The reception of the past in architecture, material culture and visual culture in the 11th-13th centuries
3. The reception, projection and representation of architecture, material and visual culture from the 11th-13th centuries in modern and contemporary times
Programs
Programs where the course is taught: