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Presentation
Presentation
This CU has two action domains: one is Portrait Painting and the other is Public Art, the relationship between Art and the community.
Each domain of action has the accompaniment of the respective teacher.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 6
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Year | Nature | Language
Year | Nature | Language
2 | Mandatory | Português
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Code
Code
ULHT722-14656
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
Portrait:
1 visual research: images that define the canon and variations of the portrait genre presented in PowerPoint with the respective technical sheets and definitions.
1 observation exercise based on the structure, unfolding and updating of the Portrait. The representation from the (direct) observation of the model assuming canonical compositions: collective portrait, full body, ¾, mythological, figure, equestrian, self-portrait (of oneself or as another). The adequacy of the format and framing to the size of the support and the scale of representation of the portrait(s). Body and facial expression. The mask and the character.
1 Personal project
1 Public art project: 1 mural painting with project methodology (individual proposal with collective execution):
- research,
- site-specific exploratory exercises,
- studies,
- formalisation of the proposal,
- on-site execution.
DCAM exhibitions - philoxenia, Over&Out and Starting Point (participation, assemblies, surveillance and guided tours).
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Objectives
Objectives
The objectives are:
To stimulate self-criticism in relation to the work produced;
Expand skills of mimetic representation through direct observation of self and other(s).
Demonstrate creative criteria in the adequacy between instruments, means and pictorial supports.
Know how to code through painting: skin, hair, panelling, expressions of the body and face.
Distinguish between verisimilitude and caricature.
Understand the visual and plastic relationship between figure(s)/background and setting.
Master concepts, variants, symbologies and attributes specific to portrait characterisation.
Develop the experimental and personal universe in each approach to the exercises.
Raise awareness of the importance of authorship.
Developing a (self-)critical distance in the Personal Project and in the Site-specific Project.
Understanding the methodological stages of artistic work: idea, research, project design and execution.
Conceive and do a collective place and site-specific project.
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Teaching methodologies and assessment
Teaching methodologies and assessment
The CU has 2 modules: one in the field of Portraiture and the other in the field of Public Art and the relationship between Art and the Community.
In the module dedicated to Portraiture, students carry out three projects: one of historical visual research, one of Painting and one of Personal Project. Each project is presented with examples and objectives and is monitored by a tutorial during class time.
In the module dedicated to Public Art and the relationship between Art and the Community, there are work phases which are: the understanding of the space and the community where one is going to intervene, the idea and the realisation of proposals (perhaps with mock-ups), the approval by the institution hosting the project and finally the group realisation of the winning project. Depending on the number of students/class, the projects are either individual or collective. Monitoring takes place in the classroom (tutorials) and on site visits, prior to and during implementation
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References
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:
Baypress
LÈGER, F. (1965). Funções da Pintura, Lisboa: Bertrand
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Office Hours
Office Hours
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Mobility
Mobility
No
