Part of this Programme
Level of Qualification|Semesters|ECTS
Bachelor | Semestral | 6
Year | Type of course unit | Language
2 |Mandatory |Português
Total of Working Hours | Duration of Contact (hours)
150 | 75
Recommended complementary curricular units
Prerequisites and co-requisites
Theme of the semester: portrait 1 visual search: images that define the canon and variations of the portrait genre presented in PowerPoint with their respective datasheets and definitions. 2 exercises of sustained observation in the structure, unfolding and updating of the portrait. the representation from the direct observation of the model assuming canonical compositions: collective portrait, full body, a ¾, mythological, figure, equestrian, self-portrait (of the self or as another). the adequacy of the format and frames to the size of the medium and the scale of representation of the picture (s). body and facial expression. the mask and the character. - personal project - public art project: 1 mural with project methodology (individual proposal with collective execution): research, site-specific exploratory exercises, studies, formalization of the proposal, execution in loco.
To stimulate self-criticism in relation to the work produced; to extend competences of mimetic representation through the direct observation of one's self and others. Demonstrate creative criteria in the suitability of instruments, media and pictorial supports. Know how to code for painting: skin, hair, draperies, expressions of body and face. Distinguish between verisimilitude and caricature. Understand the visual and plastic relationship between figure (s) / background and scenario. To dominate concepts, variants, symbologies and attributes characteristic of the portraitistic characterization. Develop the experimental and personal universe in each approach to the exercises. Conscientize for the importance of authorship. Develop a (self) critical distance in the Personal Project and the Site-specific Project comprising the methodological steps: idea, research, project design and execution.
Knowledge, abilities and skills to be acquired
Knowledge and recognition of what a Portrait is in its variants as Genre of Painting. Understanding the implication of representations at the 1: 1 scale by comparison with miniature and enlargement records. Domain of the pictorial codification of the constituent elements of the composition of a portrait: skin, drapery, relation figure / background, contextual scene. The long poses vs. the spontaneous gestures. Capacity for self-observation and distinction between the ideal and the real. Total autonomy in the execution of a personal project. Ability to develop site-specific projects with a sense of public responsibility and aesthetic quality. Ability to distinguish the different possibilities of a creative approach to public space and the connotations that this difference potentiates.
Teaching methodologies and assessment
Exemplification and demonstration and indication of bibliography. Imaging research for the realization of a personal gallery. Application of the stages of a projective, plastic and expository pictorial project (idea, praxis and factum est). The evaluation method is continuous, in person (75%) and includes parameters of punctuality, attendance and relationship with colleagues (25%). It is evaluated the annotation of ideas, the sketches, the finalization and way of showing / exposing the completed works. EVALUATION: 50% mural painting project (Professor Inês Marques) 50% personal project and exercises on portraiture (Professor Margarida Prieto) This UC does not have a 1st examination period. 2nd period exam: all exercises complete and exhibited with exposure criteria.
BABO, M. A. (2003) Olhando o olhar no retrato. In Revista Comunicação e Linguagens ¿ Imagem e vida, nº 31. Lisboa: Relógio d¿Água
DUBUS, P. (2006) Qu¿est-ce qu¿un portrait?. Paris: Insolite.
MAIA, T. (2009) Assombra. Ensaio sobre a origem da imagem. Lisboa: Assírio & Alvim.
NANCY, J.-L. (2000) Le Regard du Portrait. Paris: Galilée.
PONTÈVIA, J.-M. (1993, 2ª ed.) La Peinture, Masque e Miroir. Écrits sur l¿art et pensées détachées. Périgueux: William Blake & Co.
RAMOS, A. (2010). O desenho da presença. Lisboa: Campo da comunicação.
RICHTER, G. (2009). Fotografías pintadas. AV Proyectos
BISHOP, Claire (2012). Artificial Hells ¿ Participatory art and the politics of spectatorship, Verso: London, New York
KWON, Miwon (2002). One place after another. Site-specific art and locational identity. Cambridge Massachussets: The MIT Press
LACY, S. (1995). Mapping the terrain: new genre public art. Seattle, Washington:
Baypress LÈGER, F. (1965). Funções da Pintura, Lisboa: Bertrand