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 BASIC INFORMATION  HOME  CONTEXT AND COMPETENCES  ASSESSMENT  ACTIVITIES AND RESOURCES

Theory and History of Art in the 20th Century

Year

Semester

Credits

2

 HOME Learning results defining the subject

The student, passing this subject, will get the following results:

Introduction

Brief presentation of the subject

Brief motivating description that may be of interest for the student:

6.0

This subject offers an overview of the mainly occidental artistic production generated throughout the 20th century. It aims that the students know about the main artistic movements of our time, since the influence they can have for their own work and learning is much more important than in other moments of history. Given the importance and specialization of the subject, it is considered on its own as an independent subject, not depending on the subject Theory and History of Art, taught in the first year, and which the student is expected to have passed in order to have a proper learning of this subject.

 BASIC INFORMATION Professors

Pedro Luis Hernando Sebastian [email protected]

Natalia Juan Garcia [email protected]

Tuesdays 4 to 9 pm and Wednesdays 10 to 12 am

Recommendations for those taking the subject Prerequisites: (knowledge or previous skills): level corresponding to 2nd grade of ‘bachillerato’ or equivalent and, preferably, having passed the subject Theory and History of Art of the 1st year of the degree in Fine Arts. General knowledge of history and art, specially of the 19th and 20th centuries.

Activities and Key Dates

During the first week of class there will be a wide and clarifying introduction to the subject in which the development of the course will be explained. Also during that same week, the student will be explained the methodology of the subject, the bibliography, and the practical exercises to be handed in along the semester, as well as written assignments. The students will also be told about the assessment criteria.

During the second and third weeks of class Unit 1 will be explained, corresponding to Fauvism and Expressionism, with the following sections: theory part (3 hours), practical part (3 hours), seminar (1 hour) and non-attending work (7 hours).

During the fourth and fifth weeks of class Unit 2 will be explained, corresponding to Pablo Picasso and the importance of cubism in the progression of European avantgarde, with the following sections: theory part (4 hours), practical part (4 hours), tutorship (1 hour), non-attending work (7 hours), and personal work (2 hours). During the sixth and seventh weeks of class Unit 3 will be explained, corresponding to Italian Futurism as total avant-garde, with the following sections: theory part (3 hours), practical part (3 hours), seminar (1 hour) and non-attending work (6 hours). During the eighth and ninth weeks of class Unit 4 will be explained, corresponding to Abstract movements. Neoplasticism, Suprematism and Constructivism, with the following sections: theory part (4 hours), practical part (4 hours), supervised work (1 hour), seminar (1 hour), field work (1 hour), non-attending work (7 hours), and personal work (2 hours). During the tenth and eleventh weeks of class Unit 5 will be explained, corresponding to Dadaism and Surrealism. The work of Marcel Duchamp and its importance in contemporary art, with the following sections: theory part (3 hours), practical part (3 hours), seminar (1 hour) and non-attending work (7 hours). During the 12th and 13th weeks of class Unit 6 will be explained, corresponding to Architecture before the modern movement, with the following sections: theory part (3 hours), practical part (3 hours), supervised work (1 hour), non-attending work (7 hours), and personal work (2 hours). During the 14th and 15th weeks of class Unit 4 will be explained, corresponding to Modern Architecture, with the following sections: theory part (4 hours), practical part (4 hours), supervised work (2 hour), seminar (1 hour), field work (1 hour), non-attending work (7 hours), and personal work (4 hours). During the last week of class – corresponding to the 16th week – the students will be told about aspects related to the exam, some hints about the written work and the practical assignments that may have remained unresolved and the assessment criteria.

 CONTEXT AND COMPETENCES Meaning, context, relevance and general objectives of the subject

The subject and the expected results correspond to the following approach and objectives:

Basic aspects of the subject and learning objectives This subject must enable the student to approach artistic production in the 20 th century and acquire knowledge about the various art movements, techniques and work methodology in History of Art. The student must be capable of recognising different methods for artistic analysis and have sufficient knowledge of the contemporary art world as to improve their own creativity through autonomous learning. Since students must develop their communication skills in the field of art, this subject aims to develop their analysis, synthesis, organization and planning skills. Through this subject the student is expected to reach certain objectives and to know how to use the terminology of the discipline for the analysis of art works. Also the student will have to tell the difference between main or subsidiary ideas. Another objective is to make proper use of concepts and be able to express correctly and on paper the knowledge acquired. Also the student is asked to have a good command of the work methodology of the discipline in order to get use to documentation tasks (individually and in groups), and acquire reading habits. The student must develop a critical attitude towards the works and authors analysed in order to acquire perceptive skills, given the visual nature of the artwork and its position as object of study within the History of Art so that the student can develop a basic sensitivity towards the works of art, in order to enjoy and value them, as well as to acquire the habit of visiting museums and collections outside school hours.

The student is expected to know, understand and interpret the current social and cultural situation, improve the ability to update knowledge and processes in order to be critical about one’s own work. One of the objectives of this subject is to have a very good command of the formal analysis of the artworks belonging to different art movements, telling the difference between their specific features. Also the student must contextualise the art pieces within the historical and cultural frame in which they were created as well as know about the most important works and artists of each period. This subject aims to offer the student with an insight about the relation between artworks and other contemporary cultural manifestations such as theatre, literature or music. The student must be capable of analysing texts and resources selected by the professor for the study of artworks and the identification of techniques and materials used, in order to reconstruct the execution process as well as the techniques and methodologies used in History of Art. Also the student must understand the importance of the technical procedures and how they modify the final result. It is basic for the student to make a proper use of the bibliography provided by the professor and find information in the bibliographical resources provided in each case.

Context and meaning of the subject in the degree This subject is included within the first cycle of the degree in Fine Arts, so it must be considered an introduction. The basic aim in this sense is to offer the students the knowledge, comprehension and understanding of 20th century art. For such purpose, we put special emphasis on the interpretation of artworks, so it is necessary to learn the terminology and know about the historical and artistic multiculturalism so that the student can develop analysis, synthesis, organization and planning skills. Also the student can develop communication skills and skills for the use of information resources in order to allow autonomous learning, creativity, and knowledge of other cultures and habits.

Introduce the student to the history and theory of modern art from the end of the 19th century to the 20th century. We aim to offer an exhaustive overview of the heterogeneity of artistic languages and expressive media used in the context of European avant-garde (painting, sculpture, collages, objects, photography, film, graphic design, scenography, exhibition space, etc), paying special attention to the theories of the different –isms through their manifestos.

Passing this subject will make the student more competent to... 1 LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence. 1. Critical approach to history, theory and discourse of art. Analytical assimilation of concepts related to art. LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence. 2. Critical approach to the evolution of aesthetic, historic, material, economic and conceptual values. Analysis of the values of art from a socio-economic and cultural perspective. LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence. 3. Knowledge of the theory and discourse of art, and the thought of artists through their works and texts. Direct lifelong learning of art through the artists. LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence. 4. Knowledge of vocabulary, codes and concepts in the field of art. Knowledge of the languages of art. LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence. 5. Knowledge of the different functions of art in its historical evolution. Evolution of the role of art through time. LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence. 6. Skills for the identification and comprehension of problems in the field of art. Aspects that generate processes of creation. LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence. 7. Skills for the production of ideas within creative processes. LEVEL 1. Essential. It contributes to the acquisition of 100%-75% of the competence.

LEVEL 2. Necessary. It contributes to the acquisition of 75%-50% of the competence. 1. Knowledge of production methods and techniques. Analysis of the processes of artistic creation. LEVEL 2. Necessary. It contributes to the acquisition of 75%50% of the competence. 2. Basic knowledge of research methodology (sources, analysis, interpretation and synthesis). LEVEL 2. Necessary. It contributes to the acquisition of 75%-50% of the competence. 3. Communication skills. Learn to translate artistic ideas in order to express them. LEVEL 2. Necessary. It contributes to the acquisition of 75%-50% of the competence. 4. Skills for oral and written presentations of complex artistic problems and projects. LEVEL 2. Necessary. It contributes to the acquisition of 75%-50% of the competence. 5. Collaboration with other disciplines. Development of links and exchanges with other fields of knowledge. LEVEL 2. Necessary. It contributes to the acquisition of 75%-50% of the competence. 6. Skills for documenting artistic production. Use of the necessary tools and resources to contextualize and explain one’s own work. LEVEL 2. Necessary. It contributes to the acquisition of 75%-50% of the competence. LEVEL 3. Convenient. It contributes to the acquisition of 50%-25% of the competence. 1. Ability to undertake artistic projects with social repercussion. Use diffusion resources of artistic projects in order to promote their diffusion. LEVEL 3. Convenient. It contributes to the acquisition of 50%-25% of the competence. 2. Skills to integrate artistic projects in a broader context. Development of projection strategies of artistic creation beyond their field of action. LEVEL 3. Convenient. It contributes to the acquisition of 50%-25% of the competence. 3. Proper presentation of artistic projects. Communicate artistic projects in diversified contexts. LEVEL 3. Convenient. It contributes to the acquisition of 50%-25% of the competence.

 ASSESSMENT Assessment activities

The student must prove to have gained the expected learning results through the following assessment activities…

There will be a continuous assessment based on the participative methodology proposed for the subject and there will be three concept that will be equally considered: Practical assignments done during the course. Professor will be explaining a series of assignments that the student will have to hand in within a deadline. No assignment will be accepted after the deadline. Semester assignment that the student will have to hand in during the semester within the deadline. The topic is to be decided by both the professors and the student and its content will cover a part of the topics treated in the syllabus. Final exam. Also attendance and active participation will be taken into consideration. Apart from the theory lessons, the students will do the following assignments: 1) Text analyses, generally sources, be them artistic, historic, religious or literary, closely related to the object of study. •

This practical assignment show the multiplicity of sources of information at the student’s disposal.



Students will use texts whose content they will have to analyse and interpret in order to understand the importance of the historical context of the artworks.

2) Videos



Video constitutes a teaching resource that enables a proper understanding of certain aspects related to the artwork.



It is specially useful when it comes to understating the execution of art techniques, to consider architectural spaces, to compare different works and, in general, to explain any situation in which there is movement.



The resource of video in the classroom is very useful for the student because it enables assimilation and consideration of architectural spaces, something which other resources, such as slides, do not allow.



Videos will be shown either before (to motivate) or after (to reinforce knowledge) the theoretical explanations.



For these reasons, a series of videos will be shown in class all along the semester, in between theory lessons.



Each one of them has an approximate duration of 50 minutes, and after the video there will be time to talk about their topics.

3) Seminars •

All throughout the course there will be seminars related to different topics of the syllabus.



These seminars will be completed with numerous slides and videos, as well as with visits to exhibitions and the participation of other professors invited join the class.



Each seminar will be accompanied with a dossier of complementary material. As a conclusion students and professors will talk about the texts, slides and videos.

4) Visits to museums and workshops •

The use of slides and audiovisual media in the classroom cannot substitute direct contemplation of works of art, because certain values can only be perceived through direct contact.



Therefore the artistic space must be experienced personally in its multiple paths, as well as the urban space, with the comprehension of volume from its different points of view, or with the experience of materials, textures and techniques typical of different artistic movements.



That is why it is necessary to go to museums an exhibitions with the students.



We expect to plan a trip to Paris, capital city of the arts during the 19th and the beginning of the 20th century (depending on the dates, budget and the predisposition of students).

5) Practical assignments proposed and commented in class •

All along the course and through the different thematic units of the program, a series of practical assignments related to the topics treated in class will be proposed. One of them may be writing an essay analysing certain aspects commented in class.



Its objective is to allow the student write essays and think about several issues treated in class so that they have a broader view of the subject.



Thus the students will put the knowledge acquired into practice, together with the explanations and the bibliography. One of the first practical assignments will have the aim of making the student think about and analyse the influence and importance of classic art, specially Greek art, throughout History of Art. For that purpose, the student may quote authors, texts, etc., related to the different art movements, styles and artists, as well as those artworks considered necessary.



Several pieces of news will be commented in class, all of them related to art, artworks, museums, art collections, exhibitions, etc., which somehow keeps the student aware of what happens in the field of art.



For such purpose, the student will have to gather information and take it to class so that it can be commented and debated. Every piece of news compiled throughout the course as well as their analyses will conform a dossier at the students’ disposal.

 ACTIVITIES AND RESOURCES General methodology

The learning process designed for this subject is based on the following aspects:

Methodological approach of the subject, putting special emphasis on the essential aspects it is based on. Combining the theoretical approach with audiovisual materials. Power point used in class explanations, together with readings of the main avant-garde manifestos and with the participation of the students in debates at the end of each thematic unit. When needed, films and videos will be shown in class. Both theory lessons and assignments are student-oriented in order to encourage participation, also through debates and oral presentations. These presentations will be considered as a personal approach to aspects treated in class and will be based on readings or analyses related to the subject. Supervised activities, autonomous work (information research, written opinion; debates and oral presentations). Conferences, visits to museums and trips.

Programmed learning activities The programme offered to the students to help them to get the expected results includes the following activities...

LEARNING UNITS

UNIT 1: FAUVISM AND EXPRESSIONISM

Attending work Non-attending work

THEORY 3 PRACTICE 3 SEMINAR 1

NONATTENDING WORK 7

UNIT 2: PABLO PICASSO AND THE IMPORTANCE OF THEORY 4 CUBISM IN THE PROGRESSION OF EUROPEAN AVANT- PRACTICE 4 GARDE SUPERVISED WORK 1 TUTORSHIP 1

NONATTENDING WORK 7 PERSONAL WORK 2

UNIT 3: ITALIAN FUTURISM AS TOTAL AVANT-GARDE THEORY 3 PRACTICE 3 SEMINAR 1

NONATTENDING WORK 6

UNIT 4: ABSTRACT MOVEMENTS. NEOPLASTICISM, SUPREMATISM AND CONSTRUCTIVISM

THEORY 4 NONPRACTICE 4 ATTENDING SUPERVISED WORK 7 WORK 1 PERSONAL SEMINAR 1 WORK 2 FIELD WORK 1

UNIT 5: DADAISM AND SURREALISM. THE WORK OF MARCEL DUCHAMP AND ITS IMPORTANCE IN CONTEMPORARY ART

THEORY 3 PRACTICE 3 SEMINAR 1

UNIT 6: ARCHITECTURE BEFORE THE MODERN MOVEMENT

THEORY 3 NONPRACTICE 3 ATTENDING SUPERVISED WORK 7 WORK 1 PERSONAL TUTORSHIP 1 WORK 2 THEORY 4 PRACTICE 4 NONSUPERVISED ATTENDING WORK 2 WORK 7 SEMINAR 1 PERSONAL FIELD WORK 1 WORK 4

UNIT 7: MODERN ARCHITECTURE

HOURS IN TOTAL: 150

60

NONATTENDING WORK 7

90

Plan and calendar Calendar of attended sessions and deadlines

Contents to be developed by the students throughout the course, divided into units. The contents will be explained by the professor (and, whenever possible, by collaborators experts in a specific topic) but, at the same time, the teaching period will be based on oral or written contribution by the students. Theory lessons will also contain images (slides or power point), texts related to the topics treated in class or any other material that may be of interest for the student such as videos or documentary films. 1ª week INTRODUCCIÓN A LA ASIGNATURA, EXPLICAR AL ALUMNO LA METODODLOGÍA DE LA ASIGNATURA, LA BIBLIOGRAFÍA, LA ELABORACIÓN DE LAS PRÁCTICAS Y DE LOS TRABAJOS Y LOS CRITERIOS DE EVALUACIÓN 2ª week UNIT 1. FAUVISMO AND EXPRESSIONISM 3ª week UNIT 1. FAUVISMO AND EXPRESSIONISM 4ª week UNIT 2. PABLO PICASSO AND THE IMPORTANCE OF CUBISM IN THE PROGRESSION OF EUROPEAN AVANT-GARDE 5ª week UNIT 2. PABLO PICASSO AND THE IMPORTANCE OF CUBISM IN THE PROGRESSION OF EUROPEAN AVANT-GARDE 6ª week UNIT 3. ITALIAN FUTURISM AS TOTAL AVANT-GARDE 7ª week UNIT 3. ITALIAN FUTURISM AS TOTAL AVANT-GARDE 8ª week UNIT 4. ABSTRACT MOVEMENTS. NEOPLASTICISM, SUPREMATISM AND CONSTRUCTIVISM 9ª week UNIT 4. ABSTRACT MOVEMENTS. NEOPLASTICISM, SUPREMATISM AND CONSTRUCTIVISM 10ª week UNIT 5. DADAISM AND SURREALISM. THE WORK OF MARCEL DUCHAMP AND ITS IMPORTANCE IN CONTEMPORARY ART 11ª week UNIT 5. DADAISM AND SURREALISM. THE WORK OF MARCEL DUCHAMP AND ITS IMPORTANCE IN CONTEMPORARY ART 12ª week UNIT 6. ARCHITECTURE BEFORE THE MODERN MOVEMENT

13ª week UNIT 6. ARCHITECTURE BEFORE THE MODERN MOVEMENT 14ª week UNIT 7. MODERN ARCHITECTURE 15ª week UNIT 7. MODERN ARCHITECTURE 16ª week EXPLANATION OF ASPECTS RELATED TO THE EXAM

Resources Bibliography BIBLIOGRAPHY, MATERISL, RESOURCES SPECIFIC BIBLIOGRAPHY FOR THE UNITS UNIT 1. FAUVISM AND EXPRESSIONISM • • •

J. CASALS, El expresionismo. Orígenes y desarrollo de una nueva sensibilidad, Barcelona, Montesinos, 1982. B. DENVIR, El fauvismo y el expresionismo, Barcelona, Labor, 1975, J. ELDERFIELD, El fauvismo, Madrid, Alianza, 1983. P. SELZ, La pintura expresionista alemana, Madrid, Alianza, 1989.

UNIT 2. PABLO PICASSO AND THE IMPORTANCE OF CUBISM IN THE PROGRESSION OF EUROPEAN AVANT-GARDE

• • •

J. GOLDING, El cubismo, una historia y un análisis, Madrid, Alianza, 1993. C. HARRISON, F. FRASCINA y GILL PERRY, Primitivismo, cubismo y abstracción. Los primeros años del siglo XX, Madrid, Akal, 1998. J. RICHARDSON, Picasso, una biografía (2 vols.), Madrid, Alianza, 1995, 1997.

UNIT 3. ITALIAN FUTURISM AS TOTAL AVANT-GARDE • • •

P. HULTEN y otros, Futurismo & futuristi, Milán, Fabbri, 1986. P. T. MARINETTL, Manifiestos y textos futuristas, Barcelona, Del Cotal, 1978. J.M. NASH, El cubismo, el futurismo y el constructivismo, Barcelona, Labor, 1975.

UNIT 4. ABSTRACT MOVEMENTS. NEOPLASTICISM, SUPREMATISM AND CONSTRUCTIVISM • • • •

C. BLOK, Historia del arte abstracto, Madrid, Cátedra, 1982. W. KANDINSKY, De lo espiritual en el arte, Barcelona, Seix Barral, 1973. C. LODDER, El constructivismo ruso, Madrid, Alianza, 1987. F. WHITFORD, Bauhaus, Barcelona, Gustavo Gili, 1995.

UNIT 5. DADAISM AND SURREALISM. THE WORK OF MARCEL DUCHAMP AND ITS IMPORTANCE IN CONTEMPORARY ART • • • • •

D. ADES, El dadá y el surrealismo, Barcelona, Labor, 1975. BRETON, Manifiestos del surrealismo, Barcelona, Labor, 1992. M. NADEAU, Historia del surrealismo, Barcelona, Ariel, 1972. PAZ, Apariencia desnuda. La obra de Marcel Duchamp, Madrid, Alianza, 1991. J.A. RAMIREZ, Duchamp. El amor y la muerte, incluso, Madrid, Siruela, 1993.

UNIT 6. ARCHITECTURE BEFORE THE MODERN MOVEMENT • • • • •

D. DERNIE/ A. CAREN-LOX, Victor Horta, Great Britain, Academy Editions, 1995. J. STEELE, Charles Rennie Mackintosh, Synthesis in form, Great Britain, Academy Editions, 1994. X. GÜELL, Gaudí, Barcelona, Editorial Gustavo Gili, 1991. P. HAIKO, Vienna, 1850-1930, Architecture, New York, Rizzoli I.P., 1992. G. BERNABEI, Otto Wagner, Barcelona, Editorial Gustavo Gili, 1984.

UNIT 7. MODERN ARCHITECTURE BAUHAUS AS EXPERIMENTAL SCHOOL OF ART AND DESIGN: THE INTEGRATION OF ARTS AND CRAFTS AND THE AESTHETIC PRODUCTION ORIENTED TO SOCIAL NEEDS •



W. CURTIS, La arquitectura moderna desde 1900, Madrid, Hermann Blume, 1981. K. FRAMPTON, Historia crítica de la arquitectura moderna, Barcelona, Gustavo Gili, 1981. W. PEVSNER, Pioneros del diseño moderno: de William Morris a Walter Gropius, Buenos Aires, Infinito, 1958.

Dictionaries: v AGUILERA CERNI, Vicente (dir.), Diccionario del arte moderno, Valencia, Fernando Torres, 1979.

v DUROZOI, Gèrard (dir.), Diccionario del Arte del siglo XX, Torrejón de Ardoz (Madrid), Akal, 1997. v LUCIE-SMITH, Edward, Diccionario de términos artísticos, Barcelona, Destino, 1997. v OSBORNE, Herbert (dir.), Guía del arte del siglo XX, Madrid, Alianza, 1990. v THOMAS, Karin, Diccionario del arte actual, Barcelona, Labor, 1994. v VV.AA., Gran diccionario de la pintura: siglo XX, Carroggio, Barcelona, 2000. Documents and theoretical texts v BARR, Alfred, La definición del arte moderno, Madrid, Alianza, 1989. v BOIX, Esther, Del Arte Moderno, Barcelona, Polígrafa, 1989. v CHIPP, Herschel B., Teorías del arte contemporáneo. Fuentes artísticas y opiniones críticas, Móstoles (Madrid), Akal, 1995. v ECO, Umberto, La definición de arte, Barcelona, Planeta Agostini, 1985. v FRASCINA, Francis y HARRIS, Jonathan (eds.), Art in modern culture: an anthology of critical texts, London, Phaidon, 1997. v FREIXA, Mireia, Las vanguardias del siglo XX, tomo VIII de la colección Fuentes y documentos para la Historia del Arte, Barcelona, Gustavo Gili, 1982. v GUASCH, Anna María, Los manifiestos del arte posmoderno: textos de exposiciones: 1980-1995, Madrid, Akal, 2000. v HESS, W., Documentos para la comprensión del arte moderno, Buenos Aires, Nueva Visión, 1973. v MALDONADO, Tomás, Vanguardia y racionalidad: artículos, ensayos y otros escritos: 1946-1974, Barcelona, Gustavo Gili, 1977. v SAURA, Antonio, Fijeza: ensayos, Barcelona, Galaxia Gutemberg, 1999. v STANGOS, N., Conceptos del Arte Moderno, Madrid, Alianza, 1987. v SUBIRATS, Eduardo, Linterna mágica. Vanguardia, media y cultura tardomoderna, Madrid, Siruela, 1997. v VV.AA., Escritos de arte de vanguardia, 1900-1945, Madrid, Turner, 1979. v FREELAND, Cynthia, Pero ¿esto es arte?: una introducción a la teoría del arte, Madrid, Cátedra, 2003. v GARDNER, James, ¿Cultura o basura? Una visión provocativa de la pintura, la escultura y otros bienes de consumo, Madrid, acento, 1996. v HERNÁNDEZ MARTÍNEZ, Ascensión, ¿Artistas o caraduras? Claves para comprender el arte actual, Zaragoza, Alcaraván Ediciones, 1998. v HOLZ, Hans Heinz, De la obra de arte a la mercancía, Barcelona, Gustavo Gili, 1979. General histories of contemporary art v ARGAN, Giulio Carlo, El arte moderno. 1770-1970, Valencia, Fernando Torres, 1984. v ARGAN, Giulio Carlo, El arte moderno, Madrid, Akal, 1992. v ARGAN, Giulio Carlo, El arte moderno: del iluminismo a los movimientos contemporáneos, Madrid, Akal, 1998. v ARNASON, H.H., Historia del Arte Moderno, Barcelona, Daimon, 1972. v BLOK, Cor, Historia del Arte abstracto. 1900-1960, Madrid, Cátedra, 1987. v BOZAL, Valeriano, Historia de las ideas estéticas y de las teorías artísticas contemporáneas, 2 vols., La balsa de la medusa, Visor, Madrid, 2000.

v CIRLOT, Juan Eduardo, Arte del siglo XX, tomo I (arquitectura y escultura) y tomo II (pintura), Barcelona, Labor, 1972. v DAIX, Pierre, Historia cultural del arte moderno. El siglo XX, Madrid, Cátedra, 2002. v FERRIER, Jean-Louis (dir.), El arte del siglo XX, tomo 1 (1900-1049) y tomo 2 (1950-1990), Barcelona, Salvat, 1990. v HATJE, U., Historia de los estilos artísticos, vol. 2, Madrid, Istmo, 1979. v HUYGHE, Rene, El arte y el hombre, vol. 3, Planeta, Barcelona, 1967. v HUYGHE, Rene, El arte y el mundo moderno, vol. 2: de 1920 a nuestros días, Planeta, Barcelona, 1977. v JANSON, H. W., Historia General del Arte. Volumen 4: El mundo moderno, Madrid, Alianza, 1991. v JUNQUERA, J. J. (dir.), Historia Universal del Arte, Tomo 11: Arte del siglo XX. De la Segunda Guerra Mundial hasta nuestros días, Madrid, Espasa-Calpe, 2002. v LE NORMAND-ROMAINE, A. et al., La escultura. La aventura de la escultura moderna en los siglos XIX y XX, Barcelona, Skira-Carroggio, 1986. v LYNTON, N., Historia del Arte Moderno, Barcelona, Destino, 1988. v MILICUA, José (dir.), Historia Universal del Arte, Volumen 9: El siglo XX, Barcelona, Planeta, 1998. v MOSZYNSKA, Anna, El arte abstracto, Barcelona, Destino-Thames and Hudson, 1996. v MUNARI, Carlo, Arte Moderna, Novara, Istituto Geografico de Agostini, 1973. v PIJOÁN, José, Summa Artis: Historia general del arte, vol. 48: el arte posicionado: pintura y escultura fuera de España desde 1929, Madrid, Espasa-Calpe 2001. v RAMÍREZ, Juan Antonio (ed.), Historia del Arte. Volumen 4: El mundo contemporáneo, Madrid, Alianza, 2001. v SCHAPIRO, Meyer, El arte moderno, Madrid, Alianza, 1993. v VILLAR MOVELLÁN, Alberto, Lo mejor del arte del siglo XX, 3 vols, Madrid, Historia 16, 1998. v VV.AA., Historia del Arte Gallach, Volumen 15/Siglo XX, Barcelona, Océano: Instituto Gallach de Librería y Ediciones, 1996. v VV.AA., Historia del Arte, vols. 27-30, Salvat, Barcelona, 2000. General works v ABADIE, Daniel et al., Les années 50, París, Editions du Centre Georges Pompidou, 1988. v ALBRECHT, H.J., Escultura en el siglo XX. Conciencia del espacio y configuración artística, Madrid, Blume, 1981. v ARACIL, A., y RODRÍGUEZ, D., El siglo XX: Entre la muerte del Arte y el Arte Moderno, Madrid, Istmo, 1988. v ARDENNE, Paul, Art, l’âge contemporain: une histoire des arts plastiques à fin du XXe siècle, París, Editions du Regard, 1997. v BÄTSCHMANN, Oskar, The artist in the modern world: the conflict between market and self-expression, 1997. v BOZAL, Valeriano, Arte de vanguardia: un nuevo lenguaje, Madrid, Cuadernos para el diálogo, 1970. v BOZAL, Valeriano, Modernos y posmodernos, Madrid, Historia 16, 1989. v BOZAL, Valeriano, El tiempo del estupro: la pintura europea tras la Segunda Guerra Mundial, Madrid, Siruela, 2004.

v BREA, José Luis, Un ruido secreto: el arte en la era póstuma de la cultura, Murcia, Mestizo, 1996. v CABANNE, Pierre, El arte del siglo XX, Barcelona, Polígrafa, 1983. v CABO MAGUREGUI, Iñigo, Nova objectivitat, Girona, Fundació Espais d’art Contemporani, 2002 v CALAF, Roser, Ver y comprender el arte del siglo XX, Madrid, Síntesis, 2000. v CALVO SERRALLER, Francisco (ed.), Los espectáculos del arte: instituciones y funciones del arte contemporáneo, Barcelona, Tusquets, 1993. v CALVO SERRALLER, Francisco, El Arte contemporáneo, Madrid, Grupo Santillana de Ediciones, 2001. v CIRLOT, Juan Eduardo, La pintura abstracta, Barcelona, Omega, 1951. v CIRLOT, Juan Eduardo, La pintura contemporánea (1863-1963), Barcelona, Seix y Barral, 1963. v CIRLOT, Juan Eduardo, Nuevas tendencias pictóricas, Barcelona, Seix y Barral, 1965. v CIRLOT, Lourdes, Historia del Arte: últimas tendencias, Barcelona, Planeta, 1998. v COMBALÍA, Victoria, Comprender el arte moderno: artistas, Barcelona, Debolsillo, 2003. v COMBALÍA, Victoria, Comprender el arte moderno: movimientos, Barcelona, Debolsillo, 2003. v DIEGO, Estrella de, Arte contemporáneo II, Madrid, Historia 16, 1999. v DORFLES, Gino, Últimas tendencias del arte de hoy, Barcelona, Labor, 1976. v FUSTER, Joan, El descrédito de la realidad, Barcelona, Seix y Barral, 1957. v GALI, Montserrat, El arte en la era de los medios de comunicación, Madrid, Fundesco, 1988. v GARCÍA FELGUERA, María de los Santos, El arte después de Auschwitz, Madrid, Historia 16, 1989. v GARCÍA FELGUERA, María de los Santos, Las vanguardias históricas (y 2), Madrid, Grupo 16, 1989. v GOLDBERG, Roselle, Performance art: desde el futurismo hasta el presente, Barcelona, Destino, 1996. v GREENBERG, Clement, Arte y cultura: ensayos críticos, Barcelona, Gustavo Gili, 1979. v GONZÁLEZ RODRÍGUEZ, Antonio Manuel, Las claves del arte: últimas tendencias, Barcelona, Arín, 1989. v GUASCH, Ana María, El arte último del siglo XX: del posminimalismo a la multiculturalidad, Madrid, Alianza, 2005. v HOFMANN, W., La escultura del siglo XX, Barcelona, Seix y Barral, 1960. v LOZANO BARTOLOZZI, María del Mar, Las claves del arte abstracto, Barcelona, Planeta, 1990. v LUCIE-SMITH, Edward, El arte hoy. Del expresionismo abstracto al nuevo realismo, Madrid, Cátedra, 1983. v LUCIE-SMITH, Edward, Movimientos artísticos desde 1945: temas y conceptos, Barcelona, Destino, 1998. v LUCIE-SMITH, Edward, Art today, London, Phaidon Press, 1999. v LYOTARD, J. F., La posmodernidad (explicada a los niños), Barcelona, Gedisa, 1987. v MARCHÁN FIZ, Simón, Del arte objetual al arte de concepto: (1960-1974), Torrejón de Ardoz (Madrid), Akal, 1997.

v MARTÍNEZ MUÑOZ, Amelia, De Andy Warhol a Cindy Sherman, Valencia, Universidad Politécnica, 2000. v MARTÍNEZ MUÑOZ, Amelia, De la pincelada de Monet al gesto de Pollock, Valencia, Universidad Politécnica, 2000. v MARTÍNEZ MUÑOZ, Amelia, Arte y arquitectura del siglo XX, Barcelona, Montesinos, 2001. v MENDEZ BAIGES, Mª Teresa, La mirada inútil: la obra de arte en la edad contemporánea, Madrid, Julio Ollero, 1992. v MICHELI, Mario de, Las vanguardias artísticas del siglo XX, Madrid, Alianza, 2000. v PARDIÑAS, Rubén, Emancipación ¿de qué?: una visión pragmatista del arte contemporáneo, Girona, Fundació Espais d’art Contemporani, 2001. v POLETTI, Federico, El siglo XX: Vanguardias, Barcelona, Electa, 2006. v POPPER, Frank, Arte, acción y participación: el artista y la creatividad hoy, Madrid, Akal, 1999. v RAMÍREZ, Juan Antonio, Medios de masas e Historia del Arte, Madrid, Cátedra, 1976. v RAMÍREZ, Juan Antonio, Arte y arquitectura en la época del capitalismo triunfante, Visor, Madrid, 1992. v RAMÍREZ, Juan Antonio, El arte de las vanguardias, Madrid, Anaya, 1997. v RAMÍREZ, Juan Antonio, Historia y crítica del Arte, Lanzarote, Fundación César Manrique, 1998. v RAMÍREZ, Juan Antonio et al., La polémica de la posmodernidad, Madrid, Ediciones Libertarias, 1986. v READ, Herbert, El arte ahora, Buenos Aires, Infinito, 1973. v RESTANY, Pierre, Le nouveau réalisme, París, Union Générale d’editions, 1978. v ROSEMBERG, Harold, Art on the edge : creators and situations, London, Secker and Warburg, 1976. v RUBERT DE VENTÓS, Xavier, El arte ensimismado, Barcelona, Península, 1978. v RUSH, Michael, Nuevas expresiones artísticas a finales del siglo XX, Barcelona, Destino, 2002. v SAGER, Peter, Nuevas formas de realismo, Madrid, Alianza, 1981. v SMITH, Bernard (dir.), Interpretación y análisis del arte actual, Pamplona, Eunsa, 1977. v SOBRINO MANZANARES, Mª Luisa, Escultura contemporánea en el espacio urbano, Madrid, Electa, 1999.SUBIRATS, Eduardo, La crisis de las vanguardias y la cultura moderna, Madrid, Ediciones Libertarias, 1985. v TAYLOR, Brandon, El arte hoy, Tres Cantos (Madrid), Akal, 2000. v THOMAS, Karin, Hasta hoy. Estilos de las artes plásticas en el siglo XX, Barcelona, Ediciones del Serbal, 1988. v VV.AA., El arte de este siglo: el Museo Guggenheim y su colección, Bilbao, Museo Guggenheim, 1997. v VV.AA., El arte del siglo XX, Madrid, Debate, 1999. v VV.AA., Arte desde 1900: modernidad, antimodernidad, posmodernidad, Tres Cantos (Madrid), Akal, 2006. v WALKER, John A., El arte después del pop, Barcelona, Labor, 1975. v WOOD, Paul et al (trads.), La modernidad a debate: el arte a partir de los años cuarenta, Tres Cantos (Madrid), Akal, 1999. v ZULAIKA, Joseba, Crónica de una redención. El museo Guggenheim de Bilbao, Nerea, Madrid, 1997.

Main movements v ASHTON, Dora, La Escuela de Nueva York, Madrid, Cátedra, 1988. v ALCALÁ, José Ramón y ARIZA, Javier (coords.), Explorando el laberinto: creación e investigación en torno a la gráfica digital a comienzos del siglo 21, Cuenca, Universidad de Castilla-La Mancha, 2004. v FERNÁNDEZ ARENAS, José (coord.), Arte efímero y espacio estético, Barcelona, Anthropos, 1988. v FERNÁNDEZ POLANCO, Aurora, Arte povera, Hondarribia (Guipúzcoa), Nerea, 1999. v FERNÁNDEZ SOBRINO, Raúl, Land Art en la escuela, Valladolid, Consejo de Educación y Cultura, 1998. v HESS, Barbara, Expresionismo abstracto, Barcelona, Taschen, 2005. v HONEFF, Klaus, Pop art, Barcelona, Taschen, 2004. v JOPPOLO, Giovanni, L’Arte Povera. Les annes fondatrices, Saint-Etienne, Fall Edition, 1996. v MADOFF, Steven Henry, Pop art: a critical history, Berkeley, University of California Press, 1997. v MARTIN, Sylvia, Videoarte, Barcelona, Taschen, 2006. v MARZONA, Daniel, Arte minimalista, Barcelona, Taschen, 2004. v MARZONA, Daniel, Arte conceptual, Barcelona, Taschen, 2005. v MESO AYERDI, Koldo, Arte en Internet, Madrid, Anaya, 1997. v MEYER, James (ed.), El arte minimalista, London, Phaidon, 2005. v OLHAGARAY LLANOS, Néstor, Del video-arte al net-art, Santiago de Chile, LOM, 2002. v OSBORNE, Peter (ed.), Arte conceptual, London, Phaidon, 2005. v PERRÉE, Bob, Into video art, Rótterdam, Com Rumore, 1988. v RAQUEJO, Tonia, Land Art, Madrid, Nerea, 1998. v SICHEL, Berta (ed.), F v luxus y fluxfilms: 1962-2002, Madrid, Museo Nacional Centro de Arte Reina Sofía, 2002. v STOKVIS, Willemijn, Cobra: movimiento artístico internacional de la segunda posguerra, Barcelona, Polígrafa, 1987. v TRIBE, Mark y JANA, Reena, Arte y nuevas tecnologías, Barcelona, Taschen, 2006. v VV.AA., Arte conceptual revisado, Valencia, Universidad Politécnica, Facultad de Bellas Artes, 1990. v WILSON, Simon, El arte pop, Barcelona, Labor, 1975.

Master classes, texts, slides, power point presentations, videos, documentary films, pieces of news, news related to the content of the subject and any other useful material.

Apart from the practical assignments, the students will write a compulsory semester assignment, individually or in groups (max. 3 people), following one of these patterns:

1) A bibliographical synthesis or a composition about a topic, using bibliography.



This kind of assignment makes the student read, look for information and analyse specialized bibliography, select and synthesise the most essential parts of a topic, write a coherent composition and present it correctly with the corresponding critical section, appendixes and bibliography.



The object of study can be:



Global study (History, Thought, Religion, Culture, Science and Art) of a certain period in history of art.



Study of a particular movement.



Any other topic suggested by the student.



It will contain the following parts: 1) Presentation of the work (choice and frame of the topic) 2) Introduction to the topic (geographical, historical context… in which the movement takes part). 3) Development (divided into chapters covering several aspects of the object of study) 4) Conclusions (exposing briefly the most significant aspects of the work, personal contributions, and usefulness of this work in the student’s training. 5) Bibliography consulted, classified into ‘general’ and ‘specific’ and in alphabetical order considering the surnames of the authors, for instance:

GUTIERREZ, Ramón y ESTERAS, Cristina, Arquitectura y fortificación de la Ilustración a la Independencia Americana, Madrid, Ediciones Tuero, 1993.

LAMPEREZ Y ROMEA, Vicente, Historia de la arquitectura cristiana española en la Edad Media, Madrid, Espasa-Calpe, 1930.

6. Documentary Appendix, when necessary. Transcription of some texts of interest for the comprehension of the work. 7. Graphic Appendix, when necessary. Photographs (or photocopies of illustrations) of interest for the comprehension of the work.

2). Translation of some book chapter or article of interest on Art.



The text to be translated will be indicated by the professors, considering the student’s preferences.

3). Practical work o •

Such as the following:

Execution of a collection of typological drawings of plans according to reproductions in books. Thus the student can establish evolution series, draw the scheme of a monument, of ceramics, of the organization and composition of a painting, an iconographic programme…



Copies of works of art or scale models. This is a kind of assignment that makes the student think about creation processes of works of art in all their complexity, and it allows the student to put manual skills into practice.



Realization of a video or slide series or CD ROM, or website which incorporate texts and images about a certain topic. This kind of work enables the students to handle bibliography, establish contact with the work of art and think about the problems that arise in order to explain the topic correctly.



All these assignments will include a brief report explaining how the work has been made, together with a compilation of the bibliography.

4). Presentations •

A group of students (up to 3 people) can study certain topics with the supervision of the professor, and will do an oral presentation in class.



These presentations will consist of the following:



Search, reading and analysis of the bibliography.



Basic schemes of the presentation.



Preparation of the necessary material for the presentation: slides, photocopies of plans or drawings and bibliography about the topic, for the students.



Presentation in class

5). Projects related to research •

Students in groups (up to 6 people) can study one particular topic of the History of Art, supervised by the professors Pedro Luis Hernando Sebastián and Natalia Juan García. The guideline is basically the following:



Exhaustive compilation of all the publications on a particular topic.



Compilation of any piece of news related to that topic.



Translation of books and other publications written in a foreign language.



Elaboration of a state of affairs about the issue.



Elaboration of a written piece of work (on CD) about the topic.

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