Art an Design History

N/A

The methodological choices conducive to the fulfillment of the program of the course will focus on two key educational components:
– Oral presentation oriented to the estimated contents;
– Study and reflection, under the guidance of the teacher.
EVALUATION METHODS
The evaluation on the curricular unit will, at the option of the student, of the following modalities:
– Continuous evaluation;
– Exam.
The evaluation in those modalities will obey criteria that will be explained in the statements and/or oyher elements presented, according to the following components and weights:
CONTINUOUS EVALUATION
– Participation – weight of 20% in the overall evaluation;
– Work (in group): weight of 30% in the overall evaluation;
– Test – weight of 50% in the overall evaluation.
EXAM
– The syllabus domain – weight of 70% in the overall evaluation of the exam;
– Ability to express ideas – weight of 30% in the overall evaluation of the exam.

3.1 To enrich the student’s culture with diversified and precise examples of works that constitute historical landmarks, acquiring knowledge about the different periods and movements of the history of art and design, and understanding the reason for its evolutionary process;
3.2 Encourage a sensitive meeting with works considered paradigmatic in the history of art and design, in a diachronic context in relation to Europe and artistic practices;
3.3 Develop critical and reflective skills centered on contemporary works of art and design;
3.4 Distinctively recognize the specificities of a work of art or artistic expression, providing the most relevant links that relate them to other artistic expressions or domains;
3.5 Understand the artistic phenomena of today, in the light of the evolution of the arts, design, and society, in the last two centuries;

4.1 HISTORY OF ART
4.1.1 The Art of the Ancient World
4.1.2 The international Gothic style
4.1.3 The Italian and Northern Renaissance
4.1.4 Romanticism and Realism
4.1.5 The Age of Impressionism
4.1.6 From Fauvism to Dadaist non-sense
4.1.7 Conceptual Art
4.1.8 Happening and Performance
4.1.9 The relation Art, Science and Technology
4.1.10 Interaction in virtual space
4.1.11 Post Human, Post-structuralism, Postmodernism, and Altermodernism

4.2 DESIGN HISTORY
4.2.1 Arts, Crafts and Mechanization
4.2.1.1 Aesthetic movements and design reform
4.2.1.2 The role and influence of Morris and Ruskin
4.2.1.3 Mechanization and industry
4.2.2 Industry after World War I
4.2.2.1 The School of Ulm and the Bauhaus
4.2.2.2 Art, design and industry
4.2.3 Modernism
4.2.3.1 International Modernism
4.2.3.2 Mass culture and consumption
4.2.4 Progress and democratization
4.2.4.1 New materials and products
4.2.4.2 Politics and postmodernism
4.2.4.3 Design, culture and globalization

• - The syllabus domain - 70.0%
• - Ability to express ideas - 30.0%

• - Individual and/or Group Work - 30.0%
• - Frequency - 50.0%
• - Attendance and Participation - 20.0%

NAO

Argan, G. (1992). Arte Moderna. Companhia das Letras.
Bernard, M. (1998). Art, design and visual culture. McMilan Press Ltd.
Bourriaud, N. (2001). Esthétique relationnelle.Presses du Réel.
Goldberg, R. (2012). A Arte da performance – do Futurismo ao Presente. Lisboa: Orfeu Negro. Harris, P.; Ambrose, G. (2011). Design Thinking. Bookman
Janson, H. (1998). História da Arte,F.C. Gulbenkian FC.
Larsen, L. (et al.) (1999). A arte na viragem do milénio.Taschen.
Lieser, W. (2010). Arte Digital.h.f.ullman.
Manzini, E. (2015). Design, When Everybody Designs – An Introduction To Design For Social Innovation.MA: MIT PRESS LTD.
Norman, D. (2005) Emotional Design.Basic Books.
Pradel, J-L. (2002). A arte contemporânea. Edições 70.