Art and Image

Recommended Prerequisites

Basic-level skills in English, French and/or Spanish languages are recommended to a better understanding of specific bibliography.

Teaching Methods

Theoretical and practical sessions. The presentation of theoretical contents will be accompanied by the analysis of images and, occasionally, texts that must be problematized by students. Students will be encouraged to a continuous investment in practical work, in the form of documented field trips, research and critical review of bibliography, or individual presentation of case studies.

Learning Outcomes

This course aims at providing students with the necessary tools to a comprehensive, informed and accurate approach to the fields of art and images, understood both as primary sources and operative tools of a 2nd cycle of studies in Art and Heritage. Thus, students shall be able to identify the fundamental differences between art and image, and to recognize the consequences of their frequent interdependence throughout art history. Endowed with the conceptual apparatus indispensable to the problematization of images inside and outside the boundaries of art, students are expected to develop critical reflection on: the triangular relationship established between art, image and representation; the epistemology of art; the limits of interpretation and the aesthetic judgment based on mimetic qualities; the disciplinary transversal nature of the study of images. 

Work Placement(s)

No

Syllabus

I. Art and image: questioning

1. art without image and image without art

2. the historical and artistic omnipresence of image

3. the blurring of the lines between art and image

 

II. Art, Image, History of Art and Heritage

1. The image as a documentation of art and heritage

2. Source of images and images as sources

3. History of Illustrated Art: images in historic art

4. the hyper-reproductivity of images: access, consumption, storage

 

III. "Image Treason"

1. Art, Representation and Mimesis

2. "Treasonous" images: the (im)possibility of capturing reality

3. "Treasonous" images: partial understanding and interpretive abuses

4. Image values: speculate, creative, ontological

 

IV. The Artistic Domains of the Image

1. temporal dimension and narrativity

2. movement and performativity

3. emotional and aesthetic responses

4. images of cult and worship

5. transgressive images and of transgression

 

V. Case Studies: practical exercises.

Head Lecturer(s)

Joana Filipa da Fonseca Antunes

Assessment Methods

Assessment
Research work: 100.0%

Bibliography

BELTING, Hans, Likeness and Presence: A History of the Image Before the Era of Art, Chicago, The University of Chicago Press, 1993.

 

DIDI-HUBERMAN, Georges, Confronting Images: Questioning the Ends of a Certain History of Art, Pennsylvania, The Pennsylvania State University, 2005.

 

FREEDBERG, David, The Power of Images: studies in the history and theory of response, Chicago and London, The University of Chicago Press, 1991.

 

GOMBRICH, E. H., Arte e ilusão: um estudo da psicologia da representação pictórica, São Paulo, Martins Fontes, 1995.

 

OBALK, Hector, Aimer Voir: Comment on regarde un tableau, Paris, Editions Hazan, 2011.

 

PÉREZ CARRENO, Francisca, Los placeres del parecido : icono y representación, Madrid, Visor, 1988.

 

 SCHMITT, Jean-Claude, “Images and the historian”, History and Images: Towards a New Iconology, (eds. Alex Bolvig, Phillip Lindley), Turnhout, Brepols, 2003, p. 19-48.