ECTS credits ECTS credits: 6
ECTS Hours Rules/Memories Hours of tutorials: 2 Expository Class: 32 Interactive Classroom: 16 Total: 50
Use languages Spanish, Galician
Type: Ordinary Degree Subject RD 1393/2007 - 822/2021
Departments: History of Art
Areas: History of Art
Center Faculty of Geography and History
Call: Second Semester
Teaching: With teaching
Enrolment: Enrollable
-Enable students to relate each artwork to the political, ideological, economic, and social systems that make it possible, recognizing art as both an expression and an agent of a period’s values.
-Develop the ability to combine iconographic reading, formal analysis, and a socio-historical approach in order to interpret critically images from the fifteenth to the twentieth century.
-Analyse the impact of technical and material innovations, as well as dissemination channels, on the creation of artworks and visual images in general.
-Examine the propagandistic, political, and identity-building uses of visual culture.
-Use critical and digital tools for the study, documentation, and dissemination of cultural heritage.
1. Images of Humanism: Art and Society in Fifteenth-Century Italy and Flanders
2. “The Harmony of the Ideal”: the High Renaissance and the Age of Genius
3. Images in Conflict: Late-Renaissance Art in the Era of the Reformations
4. Ecstasy and Power: Baroque Art in the Service of Absolutism
5. From Frivolity to Virtue: Rococo, the Enlightenment, and Neoclassicism
6. Identities in Conflict: Romanticism, Orientalism, and the Construction of the ‘Self’ and the ‘Other’
7. Realism and Social Conscience: Art and Industrial Society in the Nineteenth Century
9. Impressions and Expressions of Modern Life: Impressionism and Post-Impressionism
10. The Explosive Avant-Garde: Artistic Ruptures at the Dawn of the Twentieth Century
11. Art, War, and Propaganda: Avant-Gardes and Regimes between 1914 and 1945
12. From the Museum to the Supermarket: Pop Art and Mass Culture in the 1960s
13. Comics: Graphic Narrative and Visual Culture in Modernity
14. “The Personal Is Political”: Feminist Art and Gender Activism
15. From the Museum to Cyberspace: Cultural Heritage and the Digital Humanities
Boer, Wietse de. (2022). Art in dispute: Catholic debates at the time of Trent. Brill.
Boime, A. (1994). Historia social del arte moderno: el arte en la época de la Revolución. 1750-1800. Alianza
Boime, A. (1996). Historia social del arte moderno: el arte en la época del bonapartismo. 1800-1815. Alianza.
Bonora, Elena (2019). La Controriforma. GLF editori Laterza.
Calvo Gómez, J.L., Peirats Navarro, A. I. (Coords.) (2023). Humanidades Digitales y Patrimonio Cultural. Proyectos y tendencias. Tirant lo Blanch.
Chapman, Kathleen G. (2019). Expressionism and Poster Design in Germany 1905–1922 Between Spirit and Commerce. Brill
Clark, Toby (2000). Arte y propaganda en el siglo XX : la imagen política en la era de la cultura de masas. Akal
Crow, Thomas (1989). Pintura y sociedad en el París del siglo XVIII. Nerea.
Crow, Thomas (2002). El Arte moderno en la cultura de lo cotidiano. Akal
Daix, P. (2002). Historia cultural del mundo moderno. De David a Cézanne. Cátedra
Eisenman, S. et al. (2001). Historia crítica del arte del siglo XIX. Akal
Foster, H. et al. (2006). Arte desde 1900. Modernidad, antimodernidad, posmodernidad. Akal.
Fulco, Daniel (2016). Exuberant apotheoses - Italian frescoes in the Holy Roman empire: visual culture and princely power in the age of enlightenment. Brill
García, Santiago (2010). La novela gráfica. Astiberri
Gombrich, E. H. (1982). El legado de Apeles: Estudios sobre el arte del Renacimiento. Alianza
Griese, Malte et al (eds.) (2021). Revolts and Political Violence in Early Modern Imagery. Brill
Isaak, Jo Anna (1996). Feminism and contemporary art: the revolutionary power of women’s laughter. Routlege
Larry, Silver (2023). Art and dis-illusion in the long sixteenth century. Brill
Marchán Fiz, Simón (2000). Las Vanguardias en las artes y la arquitectura. Espasa Calpe.
Marías, Fernando (1989). EL largo siglo XVI: los usos artísticos del Renacimiento español. Taurus
Murray, Linda (1995). El alto Renacimiento y el Manierismo: Italia, el Norte y España, 1500-1600.Destino
Netton, Ian Richard (2013). Orientalism revisited: art, land and voyage, Routledge.
Nochlin, Linda (1991). El Realismo. Alianza
Nochlin, Linda (2022). Mujeres artistas. Alianza Forma
Nortmann, Ulrich. (2019). City Views in the Habsburg and Medici Courts : Depictions of Rhetoric and Rule in the Sixteenth Century. Brill
Parry, R. (ed.) (2010). Museums in a digital age. Routledge.
Pevsner, N. (2022). Pioneros del diseño moderno. Infinito
Ramírez, J. A. (Dir.) (1996-1997), Historia del Arte. La edad moderna. Alianza Editorial
Ramírez, J. A. (Dir.) (1996-1997), Historia del Arte. El mundo contemporáneo. Alianza Editorial
Rewald, John (1994). Historia del Impresionismo. Seix Barral.
Rodríguez Moreno, J. J. (2019). Fabricantes de viñetas. Marvel comics y la industria de la historieta estadounidense del siglo XX. UCA
Schiff, R. (2002). Cezanne y el fin del impresionismo. Estudio de la teoría, la técnica y la valoración críticas del arte moderno. Antonio Machado.
Smithers, Tamara. (2016). Michelangelo in the New Millennium. Conversations about Artistic Practice, Patronage and Christianity. Brill
Sougez, Marie-Loup (1996). Historia de la fotografía. Cátedra
Toman, R. (ed.) (1997). El Barroco. Könemann
Toman, R. (ed.) (1999). El Arte del Renacimiento en Italia. Könemann
Toman, R. (ed.) (2000), Neoclasicismo y Romanticismo. Könemann
Ventura, Gal (2018). Maternal Breast-Feeding and Its Substitutes in Nineteenth-Century French Art. Brill
-Possess and understand knowledge that provides a foundation or opportunity to be original in developing and/or applying ideas, especially in a research context.
-Apply acquired knowledge and problem-solving skills in new or unfamiliar environments within broader (or multidisciplinary) contexts related to the student’s field of study.
-Integrate knowledge and address the complexity of forming judgments based on incomplete or limited information, including reflection on the social and ethical responsibilities linked to applying that knowledge and those judgments.
-Communicate conclusions—and the knowledge and underlying reasons that support them—to both specialist and non-specialist audiences clearly and unambiguously.
-Possess learning skills that enable students to continue studying in a largely self-directed or autonomous manner.
-Apply analytical, critical, logical, and creative thinking, demonstrating innovation skills.
-Acquire a rational and critical understanding of humanity’s past in order to comprehend the present.
-Identify theoretical and methodological resources offered by other human and social sciences for studying and understanding History.
-Establish connections with other areas of scientific knowledge that provide information about human history.
-Identify historical information sources, gather and analyse data, and produce syntheses based on them.
-Be able to use technological tools applied to the knowledge, understanding, and dissemination of historical contexts.
-Be able to select, interpret, and disseminate information and interpretations about the historical past, adapting them to different audiences and social needs.
-Be able to work in teams with a collaborative and interdisciplinary attitude in study and work environments, engaging in debate and exchanging ideas and viewpoints.
In order to facilitate and streamline the teaching of the subject, the following techniques will be used:
-Lectures, in which the various topics listed in the syllabus will be explained through master classes supported by images, texts and other digital resources.
-Interactive classes, where students, in small groups or individually, will analyse texts and works of art that allow them to put the acquired knowledge into practice.
-Field practice.
-Personalised tutoring.
Assessment will be carried out throughout the course using the following methods:
-Activities linked to the interactive sessions will account for 40 % of the final grade.
-The written test (exam) will account for the remaining 60 % of the final grade.
A minimum of 50 % must be achieved in each part to pass the subject in the first sitting. Therefore:
-If the interactive component is passed but the exam in the first sitting is not, the mark for the interactive sessions will appear on the transcript and will be kept for the second sitting.
-If the interactive component is not passed, it will not be possible to sit the exam in the first sitting. The exam in the second sitting will include questions drawn from both the interactive and lecture sessions.
Second sitting:
-Students who complete and pass the interactive activities may keep that mark and will only have to take the exam on the material taught in the lectures.
-Students who did not carry out or did not pass the interactive activities must sit the exam in this second sitting; the exam will cover material from both the lectures and the interactive sessions.
Students granted an attendance waiver (under the “Regulamento de asistencia a clase …”, approved by the Governing Council on 25 November 2024) will be assessed by a final exam worth 100 % of the grade. Nevertheless, by mutual agreement with the student, the lecturer may arrange substitute assignments for the interactive sessions; if passed, the student would take the exam only on the lecture material. In all cases, students with a waiver must contact the course coordinator at the start of the course or as soon as the waiver is granted.
In cases of academic fraud, as defined in Article 42 of the USC Coexistence Regulations and in accordance with Article 11(g) of the Spanish University Coexistence Act, the sanctions set out in those regulations will be applied. Premeditated behaviours aimed at falsifying the results of an exam or assignment include plagiarism and the unauthorised use of Artificial Intelligence tools.
The course is worth 6 ECTS credits, equivalent to 150 hours of student work, distributed as follows:
1. Face-to-face hours: 51 hours, of which
1.a. Lecture-based teaching: 32 h
1.b. Interactive teaching, including field practice: 16 h
1.c. Tutorials: 3 h
2. Self-study and personal activity: 99 hours, of which:
2.a. Independent study, individually or in groups: 60 h
2.b. Assigned readings, library work and preparation of assignments: 27 h
2.c. Other tasks, such as attending lectures: 12 h
-Attendance and participation in the lecture and interactive sessions.
-Preparation of the course material using class notes, supplemented with the recommended bibliography.
-Use of tutorial hours.
-As part of the students’ work, participation may be included in any activities organised at the centre or nearby that are related to the course content.
-Students with specific educational support needs and/or disabilities should contact the University Participation and Inclusion Service (SEPIU) and submit their adaptation request via the form available on the SEPIU website or in the virtual student office. Further information: sepiu.santiago [at] usc.gal (sepiu[dot]santiago[at]usc[dot]gal) or by phone on +34 881 812 859 / +34 881 812 858.
-Electronic devices may not be used except when employed as a working tool in accordance with the instructions given by the teaching staff; students are responsible for any legal or academic consequences that may arise from inappropriate use.
-Use of the University’s institutional technological tools is mandatory: RAI email, the Virtual Campus, Microsoft Office 365, and any other platform supplied by the faculty and approved by the University as an official resource.
-Emails requesting information about the subject that is already available on the USC website or on the Virtual Campus will not be answered.
Carme Lopez Calderon
Coordinador/a- Department
- History of Art
- Area
- History of Art
- carme.lopez [at] usc.es
- Category
- Professor: University Lecturer