ECTS credits ECTS credits: 9
ECTS Hours Rules/Memories Student's work ECTS: 148.5 Hours of tutorials: 4.5 Expository Class: 36 Interactive Classroom: 36 Total: 225
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: First Semester
Teaching: With teaching
Enrolment: Enrollable
Goal of the course
This course is designed to provide the basic knowledge of Renaissance Art, pointing out its more important achievements. The students will also develop the skills to recognize the figurative and architectural codes of a time that would create the cultural parameters of the western civilization until the XX century.
After analyze the specific nature of the Renaissance, it will be studied the creation of the new artistic languages, focusing in the most important artistic proposals of the period, particularly in Italy.
Syllabus:
Unit I. Renaissance: concept and meaning. Renaissance and renaissances. Art and Science. The ancient classical model. Artists and clients.
Unit II. The architecture in Italy. The XV century: From the “first lights” to “dawn”. Brunelleschi and Alberti.- The XVI century: The height of the regular system and the license. Vignola and the Rule. The Venetian renovation.
Init III. Figurative arts in Iyaly. The Quattrocento: Lack of stylistic definition and normative investigation. Florence in the first half of century. The last Florentine generation. Padua. Ferrara. Venice.- The Cinquecento: The High Renaissance or the Time of the Genius. Anticlassicism and Mannerism. Venice.
Unit IV. The Renaissance diffusion in Europe.
REQUIRED READING
Nieto Alcaide, V. y Checa Cremades, F., El Renacimiento. Formación y crisis del modelo clásico, Madrid, 1980.
BASIC: Freedberg, S. J., Pintura en Italia 1500-1600, Madrid, 1978. Heydenreich, L.H. y Lotz, W., Arquitectura en Italia 1400-1600, Madrid, 1991. Nieto Alcaide, V. El arte del Renacimiento, Madrid, 1996. Pope-Hennessy, J., La escultura italiana en el Renacimiento, Madrid, 1989. Ídem, Italian High Renaissance and Baroque Sculpture, Nueva York, 1985.
COMPLEMENTARY: Antal, F., El mundo florentino y su ambiente social. La república burguesa anterior a Cosme de Médicis: siglos XIV-XV, Madrid, 1987. Argan ,G.C., Renacimiento y Barroco, Madrid, 1987. Blunt, A., Arte y arquitectura en Francia, 1500-1700, Madrid, 1977. Ídem, La teoría de las artes en Italia 1450-1600, Madrid, 1979. Burke, P., El renacimiento italiano. Cultura y sociedad en Italia, 1450-1600, Madrid, 1993. Chastel, A., El renacimiento meridional 1460-1500, Madrid, 1965. Ídem, El gran taller de Italia 1460-1500, Madrid 1966. Ídem, Arte y humanismo en Florencia en la época de Lorenzo el Magnífico, Madrid, 1982. Ídem, El saco de Roma, Madrid, 1986. Ídem y R. Klein, El humanismos, Madrid, 1971. Checa Cremades, F, Pintura y escultura del Renacimiento en España, Madrid, 1983. Fusco R., El Quattrocento en Italia, Madrid, 1999. Gombrich, E. H., El lagado de Apeles. Estidios sobre el arte del Renacimiento, Madrid, 1982.Ídem, Imágenes simbólicas. Estudios sobre el arte del Renacimiento, Madrid, 1983. Ídem, Norma y forma. Estudios sobre el arte del renacimiento, Madrid 1984. Ídem, Nuevas visiones de viejos maestros. Estudios sobre el arte del Renacimiento, Madrid, 1987. Heydenreich, L.H., Eclosión del Renacimiento. Italia 1400-1460, Madrid, 1972. Ídem y Passavant, G., La época de los genios.Renacimiento italiano 1500-1540, Madrid, 1974. Keller, M., El renacimiento italiano, Madrid, s.a. Marías, F., El largo siglo XVI. Los usos artísticos del Renacimiento español, Madrid, 1989. Murray, P., Arquitectura del Renacimiento, Madrid, 1972. Murray, L., El Alto Renacimiento y el Manierismo, Barcelona, 1995. Murray, P. y L., El arte del Renacimiento, Mexico, 1965. Paleotti, J. T. y Radke, G. M., El arte en la Italia del Renacimiento, Madrid, 2002. Panofsky, E., Estudios sobre iconología, Madrid, 1972. Ídem, La perspectiva como forma simbólica, Barcelona, 1973.Ídem, Renacimiento y renacimientos en el arte occidental, Madrid, 1975. Ídem, Los primitivos flamencos, Madrid 1998. Ramirez, J.A. (coord.), Historia del Arte, vol. 3, Madrid, 1997. Rowe C. y Satkowski L., La arquitectura del siglo XVI en Italia, Barcelona, 2013. Shermann, J., Manierismo, Bilbao, 1984. Warburg, A., El Renacimiento del paganismo. Aportaciones a la historia cultural del Renacimiento europeo, Madrid, 2005. Waterhouse, E. Pintura en Gran Bretaña 1530-1790, Madrid, 1993 (primera parte). Wilde, J., La pintura veneciana de Bellini a Ticiano, Madrid, 1988. Wind, E., Los misterios paganos del Renacimiento, Bercelona 1872. Wittkower, R., Los fundamentos de la arquitectura en la edad del humanismo, Madrid, 1995. Wölfflin, H., Conceptos fundamentales de la historia del arte, Madrid, 1970. Ídem, El arte clásico. Una introducción al renacimiento italiano, Madrid, 1982.
The student will learn to
– Familiarize with a crucial period of our civilization.
– Recognize the Renaissance languages.
– Experiment different ways of approaching to the artistic product.
– Improve the analysis of the Work of Art.
The professor will lecture from a multidisciplinary perspective that allows the study of the work of art as a whole, insisting on the Morphological aspects, with the purpose of sensitizing the retina in relation with specific forms of expression; Iconographic to understand their meaning; and Cultural to contextualize the studied art works.
The Practice Classes will focus on the analysis and comment of different works with the syllabus. Students, individually or in groups, will carry out text commentaries and reasoned readings that will be discussed in class, as well as works related to certain parts of the subject that they will have to prepare and that will be presented in the classroom.
It is advisable the consult of the Handbooks before each class so the student has a general idea of the materials.
Field practices will take place in the city of Santiago de Compostela
Grades:
First Attempt
Written Test: 70%
Class Participation and Homework/Written Papers: 30%
In order to get a final grade, students will have to score, at least, 50% on each of the parts. In case of a failing grade, students will have a second opportunity to pass the class by taking a final exam, at a date provided in the official schedule. Whoever carries out and approves the activities corresponding to the interactive classes will only have to examine the matter taught in the expository classes. In the case of not having passed the activities corresponding to the interactive classes, you will have to take an exam on the subject related to the interactive classes.
In both, first and second attempts, the written test could include: text analysis, the analysis of certain works and an essay question.
Absences:
Class attendance is mandatory. Students are allowed only 20% absence in this course. A student who exceeds this absence threshold will get 0% of the class participation grade and won’t be allowed to take the written test on the first opportunity. Those student will have to take the final exam.
Following the Instruction Nº 1/2017 of Secretaría Xeral, students who are exempt from attendance in certain situations will be evaluated with a specific final exam (100%). Exemption from attendance must be authorized in advance by the university.
The student will be subject to the disciplinary measures included in “Regulations for evaluating students' academic performance and reviewing grades.”
Mandatory class attendance
-Lectures 51 hours
-Workshops 24 hours
-Office hours 3
Personal Study and work outside the classroom
-Between 45-60 Minutes per Theoretical Hour of Class.
-3 Hours of Preparation per each Practice Class.
-15 Hours to write the personal paper.
How to prepare for the class
- The Obligation of the Students, from the third week on, is to keep the materials giving by the professor during his lectures up to date, so there can be a productive discussion during the interactive classes. Do not forget that proper visual learning requires a Continuum work and effort.
-To ask the professor at any time, the explanations that the student considers necessaries in relation with those aspects that along the lectures or in the interactive classes were not clear enough, so the students should not leave the classroom having the any doubts about the theme of the lecture or the discussion.
-To make use of the interactive classes to solve any doubts the student has.
Fernando Pérez Rodríguez
Coordinador/a- Department
- History of Art
- Area
- History of Art
- Phone
- 881812596
- Category
- Professor: Temporary PhD professor
Federico Antonio Lopez Silvestre
- Department
- History of Art
- Area
- History of Art
- Phone
- 881812605
- federico.lopez.silvestre [at] usc.es
- Category
- Professor: University Lecturer
| Monday | |||
|---|---|---|---|
| 17:00-19:00 | Grupo /CLE_01 | Spanish | Classroom 12 |
| Tuesday | |||
| 17:00-19:00 | Grupo /CLE_01 | Spanish | Classroom 12 |
| Friday | |||
| 15:00-17:00 | Grupo /CLE_01 | Spanish | Classroom 12 |
| 01.09.2025 11:30-14:00 | Grupo /CLE_01 | Classroom 10 |
| 01.09.2025 11:30-14:00 | Grupo /CLE_01 | Classroom 12 |
| 06.20.2025 12:00-14:30 | Grupo /CLE_01 | Classroom 12 |