20th-century Art (20057)
Degree/study: Degree in Humanities
Year: 3rd
Term:1st
Number of ECTS credits: 5 credits
Hours of studi dedication:
Teaching language or languages: Catalan
Teaching Staff: Anna Pujadas Matarín [email protected]
1. Presentation of the subject
Study of the fundamental principles, the outstanding historical facts, the main movements and their remarkable representatives of the different genres of 20th-century art.
2. Competences to be attained
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General competences |
Specific competences |
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1. INSTRUMENTAL COMPETENCES Knowing and interpreting academic essays in a correct and reasonable way. Being able to justify opinions with proper arguments and to defend them publicly. 2. PERSONAL COMPETENCES Having an independent reasoning and an analytical distance when dealing with controversial topics. Knowing that the diversity of viewpoints is essential for academic life and consubstantial to contemporary society. Being able to give opinions respecting differing opinions. 3. SISTEMIC COMPETENCES Being curious and wishing to know what is unknown, which is essential to study and work. Being able to put the acquired knowledge into practice in a flexible and creative way and to adapt oneself to different contexts and situations. Being able to progress in an independent and constant way. |
1. DISCIPLINARY KNOWLEDGE Being able to know, locate and interpret the main works of art and artistic movements (including music and cinema), paying a special attention to the modern and contemporary world. To know first-hand the main textual or iconographic documentary sources which have developed preceding knowledge. 2. PROFESSIONAL COMPETENCES Being able to interpret written texts, iconographic testimonies, statistics and cartographic documents in a reasonable and proficient way, in order to elaborate a justified opinion. Being able to connect diverse information and documents which come from different fields in order to get an integrated and transverse perspective. Being able to make personal judgements or to issue well-reasoned and expert opinions if there is a controversy. 3. ACADEMIC COMPETENCES Being aware of how important artistic and cultural human heritage is, both international and local, and being conscious of the importance of preserving and promoting it. Knowing that knowledge is transverse and that it is convenient to combine different academic fields. It is especially important to overcome the division between the so-called two cultures: humanistic and scientific. Being conscious of the necessity to revise and update our own knowledge. 4. BASIC COMPETENCES To prove the student has knowledge of a specific field including advanced textbooks as well as knowledge in the vanguard of research. To have the ability to gather and interpret outstanding information (from a specific field) in order to make judgements with social, scientific or ethical observations.
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3. Contents
ARCHITECTURE
5. THE «ÉLAN» VITAL
5.1. Art Nouveau Architecture. Organic expressionism. Horta and the coup de fouet. Van de Velde and the complementary line. Guimard and naturalism. Brick rationalism. Berlage and the Amsterdam Stock Exchange. Mackintosh and the Glasgow School. Otto Wagner, Josef Hoffmann and Joseph Maria Olbrich: Viena by the end of the century. 5.2. USA in parallel. Louis Sullivan and the Chicago School. Frank Lloyd Wright and the organic architecture.
6. SUBJECTIVE EXPRESSION
6.1. Expressionist architecture. Hermann Muthesius and the Deutscher Werkbund. Adolf Behne and the Arbeitsrat für Kunst. Hans Poelzig and the Gothic ideal. Rudolph Steiner and the Goetheanum. Bruno Taut and the Gläserne Kette. Erich Mendelsohn and the Einstein Tower. Hugo Häring and the CIAM debate (1928).
7. AESTHETIC REASON
7.1. Functionalism and Rationalism. Adolf Loos and the ornament. Peter Behrens and the AEG Factory. Walter Gropius and the Bauhaus School. De Stijl Architecture: Van Doesburg, J.J. P. Oud, Van Eestern and G. Rietveld. Ludwig Mies van der Rohe and the Barcelona Pavillion. Le Corbusier and Ronchamp.
SCULPTURE
1. THE GENERATING SHAPE
1.1. Aguste Rodin. The walking man. The Gates of Hell, a shape reserve. Marcottage and repetition. The monument: The Burghers of Calais, Victor Hugo and Balzac. The hand of God. 1.2. Sculpture of painters. Degas and movement. Paul Gauguin and relief. Matisse' Backs.
2. LOOKING FOR INFINITY
2.1.Cubist Sculpture. Picasso, Fernande's heads and the tableau-objet. Archipenko and the sculptureo-painting. Otto Gutfreund and its father's portraits. Lipchitz's transparents and its connection with Juan Gris. Braque's reliefs. Laurens and the sculptural chiaroscuro. 2.2. Futurist Sculpture. Boccioni and the plastic infinity. Balla and the dynamism.
3. OPENING TOWARDS SPACE
3.1. Constructivist Sculpture. Picasso's Guitar. Vladimir Tatlin and counter-reliefs. Naum Gabo and transparency. Antoine Pevsner and reflection. Obrist, Itten, Gropius, Tatlin, Gabo, monuments for a new age. Rodchenko and flat sculpture. Lissitzky's PROUN room. 3. 2. Suprematist sculpture. Georges Vantongerloo and De Stijl. Laszlo Moholy-Nagy and light. Oskar Schlemmer and Bauhaus. Kurt Schwitters and Merzbau.
4. THE IMPORTANCE OF MASS
4.1. Introduction to vacuum. Juli González and the space cages. Alexander Calder and drawing in space. Alberto Giacometti and the sculpted object. David Smith and the iron sculpture. 4.2. Mass' persistence. Hans Arp and concretions. Constantin Brancusi and mass' wisdom. The Maiastra and the Bird in Space. Mlle. Pogany, the Muse. The Endless Column. 4.3. Space as mass. Vacuum as mass. Henry Moore and the inner form. Barbara Hepworth and perforations.
*The full version with the sections 4. Assessment, 5. Bibliography and teaching resources, 6. Methodology and 7. Planning of activities is available in the original version.
4. Assessment
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5. Bibliography and teaching resources
5.1. Basic bibliography
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5.2. Complementary bibliography
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5.3. Teaching resources
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6. Metodology
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7. Planning of activities
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