Class Painting IV

  • Presentation


    In this course students deepen their pictorial skills in portrait painting. At the same time, a collective public art project is developed.

  • Code


  • Syllabus


    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, whole body, a ¾, mythological, figure, equestrian, self-portrait (of one's own or 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.

  • Objectives


    To stimulate self-criticism in relation to the work produced; to extend competences of mimetic representation through the direct observation of oneself 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. Mastering 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.

  • Teaching methodologies and assessment

    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.


    50% mural painting project (Professor Inês Marques)

    50% personal project and exercises on portraiture (Professor Margarida Prieto)

    This UC does not have the first exam season. 2nd period exam: all exercises complete and exhibited with exposure criteria.


  • References


    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: 


    LÈGER, F. (1965). Funções da Pintura, Lisboa: Bertrand 

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    Office Hours

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