I.

GENERAL DATA

SUBJECT History of Art I

PRE-REQUISITE None
CODE HISARTB
YEAR AND SEMESTER 2018-I
NUMBER OF CREDITS 03
THEORY HOURS 03
PRACTICE HOURS 00
TEACHERS Ana Claudia Reinoso Monroy
DURATION OF THE SUBJECT From March 19 to July 07
FACULTY Faculty of Philosophy, Education and
Human Sciences
School of Social Sciences
Faculty of Engineering and Management

II. Summary

The course proposes an approach to art through the study of some key themes.
that allow the student to understand the artistic phenomenon as a creative experience. It
Try to narrate some moments in the history of art based on works and authors.
representatives. The historical context in which they were created will be studied and the
elements inherent to the plastic language. All this aims to provide
information for aesthetic enjoyment, for the understanding of the work of art and for the
self-knowledge of the student.

III. OBJECTIVES

Competencies
At the end of the course, the student will be able to understand the role of art in the
configuration of culture, decoding some key elements of a work (iconography) and
consider their possible meanings taking into account their respective context. All of this will
will allow the student to appreciate and enjoy art as an aesthetic experience.

Capabilities
Manage a method that allows you to interpret works of art, analyzing them in
starting from its formal elements and iconography.
Reflect on your own aesthetic experience and link it to your process of
self-knowledge.
Relate the works of art to their respective historical contexts and
compare them to each other recognizing their similarities and differences.
Identify some of the most important works, authors, and styles in history
of art, and relate them to current artistic proposals.
Discuss and contrast the main existing positions about a
certain work.
Evaluate the aesthetic dimension and consciously incorporate it into your
everydayness.

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IV. CONTENTS

First Training Unit: Introduction. Art and the aesthetic experience. The steps
of the hermeneutic method: To see, to look, and to contemplate. Art and the wondrous reality.
Paleolithic and Neolithic.
Second Training Unit: The splendor of form and the materialization of the idea.
Egypt, Greece, and Rome
Third Training Unit: Image and Representation of the Divine in Christianity.
From Paleochristian to Gothic.
Fourth Educational Unit: The human being as the center of creation. Renaissance,
Mannerism and Baroque
Fifth Training Unit: The autonomy of art. Romanticism, Realism,
Impressionism and Post-Impressionism.
Sixth Training Unit: The art and the impact of the new. Avant-gardes. The art in
our days.

V. SCHEDULE

MY WEEK CONTENTS TYPE OF EVALUATION

Introduction. Art and experience
Week 1
aesthetics.
The splendor of form. Egypt

Week 2 The splendor of form. Archaic Greece,

Classical and Hellenistic.

Week 3 The splendor of form.

Group practices
Rome.
Week 4 Image and representation of the divine. Art
1st. Graded practice
in the Middle Ages. Paleochristian and Byzantine.
Week 5 Image and representation of the divine. Art
in the Middle Ages. Romanesque.
Group practices
Week 6 Image and representation of the divine. Art
in the Middle Ages. Gothic.
Week 7 Image and representation of the divine. Art
Group practices
Flamenco.
Week 8
Partial evaluations
Week 9 The human being as the center of creation.
Group practices
Early Renaissance: The Quattrocento
The human being as the center of creation.
Week 10
High Renaissance.

The human being as the center of creation.

Week 11
Mannerism and Baroque. 2nd. Graded practice

Week 12 The autonomy of art: Neoclassicism. Between Exhibitions

Neoclassicism and Romanticism, Goya.

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 Exhibitions
Week 13 The autonomy of art: Romanticism,
Impressionism
Visit report to the Museum

The autonomy of art: Post-Impressionism,

Week 14 Exhibitions
Matisse, Van Gogh, Gauguin.

The art and impact of the new.

Week 15 Avant-gardes of the 20th century. Exhibitions

Week 16 Final evaluations

Week 17
Make-up exams

VI. METHODOLOGY

The course will be developed through lecture classes in which, in addition to introducing to
student to the historical context, some of the most emblematic works of each will be analyzed
period, taking into account its formal elements (composition, light, movement,
rhythm, etc.) and its iconography. The student will reinforce what has been studied in class through reading
mandatory bibliography texts and their visits to art exhibitions (museums or galleries). They
They will develop exercises based on the readings that will be carried out periodically and in groups.
In addition, there will be two graded practices consisting of reading tests.
recognition exercises. Likewise, at the end of the semester, the student must develop a
group exhibition on a previously designated topic and also submit the report of
a visit to an exhibition that demonstrates that, apart from using the method
hermeneutic for the interpretation of a work, has managed to compare and establish links
between a contemporary artwork and some of the works seen in class. The exam
The midterm and the final exam will be written tests that will include image projection.

VII. EVALUATION SYSTEM

The subject will be evaluated throughout the entire semester, for this the teachers will do
use of different evaluation instruments.

Percentage Activities included

Partial assessment 30% Written test
2 graded practices (20%)
Jobs,
04 Group practices (10%)
practices or 40%
01 Exhibition + 01 Visit report to a
controls
Museum (10%)
Final assessment 30% Written test

Partial evaluation.- It will be a written evaluation that will also include projection of
images. It will be taken in the eighth week of the course. The content and readings
Those involved will be communicated by the teacher. This evaluation corresponds to 30% of the
final grade of the subject.

Practices or controls.- Two graded practices will be taken, each weighing 10%.
that will include reading controls and recognition exercises.
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 Group practices will be held (exercises based on the readings)
that will add up to a score.

Exhibition and Report of a visit to a Museum.- A group exhibition will be prepared in

I return to a research job related to a topic suggested by the teacher.
In addition, the student will be asked to present a report on one of their visits to exhibitions.
of art. In this report, the student must apply the hermeneutic method to
interpret a certain work and relate it to some of the works viewed in
Class. Both the presentation and the report will weigh 10%.

Final evaluation.- It will consist of a written assessment that will also include projection.
of images. The contents and readings subject to evaluation will be communicated by the
Teacher. This evaluation corresponds to 30% of the final grade.

VIII. BIBLIOGRAPHY

Fundamental or basic

Danto, A. (1999). Introduction: modern, postmodern and contemporary. In After the

end of art: contemporary art and the boundary of history (pp. 25-41). Barcelona:
Paidós.

Art History

Fleming, W. (1986). Art, music, and ideas. Mexico: Interamericana.

Gombrich, E.H. (1987). History of Art. Madrid: Alianza editorial.

Gombrich, E.H. (2000). Norm and Form. Studies on Renaissance Art, 1.

Debate.

Gombrich, E.H. (2000). New Visions of Old Masters. Studies on Art

Renaissance, 4.Debate.

Hauser, A. (1994). Social history of literature and art. Santa Fé de Bogotá: Labor.

Hodge, Susie. 50 things you need to know about Art. Ariel.

Tatarkiewicz, W. The art: history of a concept. In History of six ideas. Art,

beauty, form, creativity, mimesis, aesthetic experience (pp. 62-78). Madrid: Tecnos,
1996.

Complementary

Asemissen, H. (1994). Jan Vermeer. The Art of Painting. A Picture of the Trades. Mexico
D.F.: Twenty-First Century. 759.32 V52A

The Sense of Sight

The Baroque Sculpture in Italy

Treatise on Painting

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 The Artistic Avant-Gardes of the 20th Century
Editorial.

Desroches Noblecourt, C. (1987). Illustrated History of Artistic Forms. 2. Egypt.

Madrid: Alliance. (709/H/2/1987)
…3. Greece (709/H3)
...4. Etruria and Rome (709/H4)
...5. The Christian World III-XI (709/ H5 1987)
...6. The Byzantine World XI-XV (709/H6)

Faure, E. (1990). History of Art. 1. Ancient Art. Madrid: Alianza Editorial.

(709/F1)
...2. Medieval art. Madrid: Alianza Editorial, 1990. (709/F2)
The Art of the Renaissance
The Spirit of Forms

Art, Music, and Ideas

The Order of Things

F7M1/1972

This is not a pipe

Freeland, C. (2003). But is this art?

The Relevance of the Beautiful

Gombrich Essential: Selected Texts on Art and Culture

Debate. 704.07 G68
Hauser, A. (1994). Social history of literature and art (23rd ed.). Santa Fe
Bogotá: Labor. 3 t. 809 / H25/1994

(1961). Introduction to the History of Art. Madrid: Guadarrama. (709/ H25)

The impact of the new: art in the 20th century

Gutenberg. E/ 709.04/ H88

General History of Art

(709/ J21/ t.1)

...2. The Middle Ages (709/J21/t.2)

3. Renaissance and Baroque (709/ J21/t.3)

Impressionism

Marani, P. (2002). The Last Supper. Guide to the refectory. Venice: Electa. 759.5 V71M1

Martín González, J. (1982). History of Art. 3rd. Madrid: Gredos. (709/ M26/ t.I)

Nieto Alcaide, V. (1986). History of Art. Madrid: Santillana. (709/ N56)

Pächt, Otto. (1989). History of Art and Methodology. Madrid: Alianza Forma. (709/P13)

Panofsky, E. (1979). The Meaning in the Visual Arts. Madrid: Alianza. (701.1/ P23)
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 Pijoan, J. (1966) Summa Artis. General History of Art. Madrid: Espasa Calpe. 25
vols. (UARM Library)

Plazaola, J. (1996). History and Meaning of Christian Art. Madrid: B.A.C.. 704.948 / P66

Sartre, J. (2007). Venice, Tintoretto. Madrid: Gadir editorial. 759.5 T3Z4S

Schneider Adams, L. (2004). Explore the art. Barcelona: Blume. 707 / S311

Tatarkiewicz, W. (1996). History of six ideas. Art, beauty, form, creativity,

mimesis, aesthetic experience. Madrid: Tecnos.

Beyond Interpretation

From One, H. (1981). The piety of the cathedral of Florence by Michelangelo. Madrid:
Alianza Editorial. 730.92 M5E
How to Look at a Picture

Winternitz, A. (1993). Itinerary towards Art. XI Lessons. Lima: PUCP. (707/ W61)

Recommended Web Links:

Digital Archive of Peruvian Art (MALI)http://archi.pe/

Christ the King (Religious Art)http://www.christusrex.org/www1/icons/index.html

Encyclopedia of ArtThe provided text is a web address and does not require translation.

Uffizi Gallery (Florence - Italy)http://www.uffizi.com/

Museum of Contemporary Art of Limaahttp://www.maclima.pe/

Lima Art Museum (MALI)http://www.mali.pe/

Museum of Modern Art (New York–USA)http://www.moma.org/

Louvre Museum (Paris–France)http://www.louvre.fr/

Prado Museum (Madrid-Spain)www.museodelprado.es

Thyssen Bornemisza Museum (Madrid - Spain)http://www.museothyssen.org/

Vatican Museums (Italy)Invalid request. Please provide text for translation.

National Gallery (London–United Kingdom)http://www.nationalgallery.org.uk/

National Gallery of Arts (Washington D.C.–USA)http://www.nga.gov/

The British Museum (London-United Kingdom)http://www.britishmuseum.org/default.aspx

The Metropolitan Museum of Art (New York–USA)http://www.metmuseum.org/

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 Web Art GalleryUnable to translate URLs.

Webmuseum