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Experimental sciences 91005 - Academic Course 2017-18 ABSTRACT GRAPHIC EXPRESSION (FROM COLOUR): THE PLEASURE OF PAINTING II TEACHER Carlos Luis Marcos Alba................................................ [email protected]
OBJECTIVES 1. The primary objective of this subject is learning to enjoy the pleasure of painting. In order to achieve that aim, it will be necessary to learn -in an entertaining way- the history of free interpretation and pictorial abstraction so that the acquired knowledge can be applied by means of aqueous graphic painting and pastel techniques. The aim therefore consists in becoming familiar with the practice of painting on an abstract key (evocation of reality as it is and not as it appears before our eyes or pure abstraction) but with the invaluable support of the resources learnt from the twentieth-century avant-garde painting masters. The subject has an essentially practical nature using as its pretext the most characteristic painting movements of the late 19th century and the 20th century linked to the origins of abstraction starting from colour (impressionism, pointillism post-impressionism, fauvism, expressionism, lyrical abstraction -Kandinsky-, abstract expressionism, informalism) which students will have to resolve in the exercises done in class. 2. It is not necessary to have previous knowledge but having a certain graphic skill may prove useful. A curricular continuity is proposed during the first semester with the subject "Abstract Graphic Expression (from shape): the pleasure of painting I" which follows an analogous approach but applied to abstraction themes starting from shape.
METHODOLOGY The theoretical-practical methodology consists in a presentation of the topics supported on a theoretical discourse illustrated with examples from the history of drawing and painting at the beginning of classroom sessions. After becoming familiar with the nature of the topic to be treated and with the way in which others have solved it, students will have to make paintings from what has been explained with models prepared for that purpose in the classroom or outdoors (at the campus or in some Alicante town location in a field practice activity specifically planned within the course chronogram). The exercises will finish with a group correction in each session so as to learn both from other classmates' successes and from their errors. This mechanics will be repeated throughout the course changing the referents from painting avant-gardes. We also offer as a complementary activity to pay a visit with the teacher to a painting exhibition in some local museum (Mubag, MUA, MACA, Lonja, Sala de la Ereta) which may be related to the course contents. Complementary exercises similar to those made in class and on a voluntary basis will be offered to the students interested so that they can reinforce what they have learnt and practice in order to make progress more rapidly. These exercises will also be corrected at the beginning of each class. At the end of the course, students will have acquired knowledge about figurative representation, they will be familiarised with examples from the painting of the various periods that deal with the topics treated and will have a better understanding of the evolution of graphic language in the history of painting. But, above all, they will have discovered the pleasure of painting because they will know what to paint, the problems posed by the different motifs and how to initiate themselves into the problem of abstraction starting from shape.
SYSTEM OF ASSESSMENT In accordance with the regulations of the Permanent University of the University of Alicante, a pass can only be obtained with a minimum of 80% class attendance and if the students show that they have followed the subject making good use of the knowledge acquired. Since it is a workshop class, the drawing exercises made in class will be assessed -despite the use of painting history and theory as a pretext. Three aspects will be assessed, all of them integral elements of a continuous evaluation: Exercises 70% (drawings made in the classroom and the final drawing that will be made on the last day of class which will serve to show the level reached at the end of the subject). Progress 20% (it measures the progression observed in students' works during the course). Attitude 10% (it values the effort, dedication, interest, level of participation and interaction of the student with the other group members) Apart from the class drawings, the complementary exercises of a voluntary nature which are suggested to students for being done outside class hours may increase the final average mark over 10 by up to 1.5 points. The final mark for the course will be the one obtained from adding the course average mark and the extra score obtained with the voluntary exercises if the latter have been done; otherwise, the final mark will be the course average mark.
SUBJECT SYLLABUS The colour revolution. Colours, contrasts and harmonies. BLOCKS 1. COLOUR AND LIGHT 1. Introduction. From photography to chromatic impressions. 2. Pre-impressionism in Turner's work 3. Impressionism 4. Pointillism 5. Post-impressionism 2. THE BLURRING OF SHAPE BY COLOUR 1. Introduction. New harmonies and colour codes. 2. Fauvism 3. Expressionism 4. Kandinsky and lyrical abstraction: the zero degree of graphic expression 3. PURE ABSTRACTION 1. Introduction. The crisis of geometrical shape and the expression of gesture 2. Painting as non-representation: movement traces on a stand 3. Abstract expressionism 4. Informalism
BIBLIOGRAPHY BASIC Albers, Josef., La interacción del color. Ed. Alianza, Madrid, 1979. Argan, Giulio C., El arte moderno, Akal, Madrid, 1991. Brusantin, Mario. La historia de los colores. Ed. Paidós, 1987. de Grandis, Luigina. Teoría y uso del color. Edwards, Betty. El Color: Un método para dominar el arte de combinar los colores. Ediciones Urano, 2006 Gage, John, Colour in art. Ed. Thames and Hudson world of art, 2006. Kandinsky, Wassily. De lo espiritual en el arte. Moreno Rivero, Teresa, El Color: Historia, teoría y aplicaciones, Ed. Ariel, 1996. GENERAL Arnheim, Rudolf. El pensamiento visual. Paidos Iberica, 1986. Brusantin, Manlio. Historia de las imágenes. Anjana ediciones, Madrid, 1992. Da Vinci, Leonardo. Tratado de pintura. Akal, Madrid, 1993. Cuevas Riaño, Mª Mar, et. alt. Introducción al color. Ed. Akal, Madrid, 2005. Kandinsky, Wassily. De lo espiritual en el arte. Wescher, H. Historia del Collage. Del cubismo a la actualidad. G. Gili, Barcelona, 1976. Wick, Rainer. Pedagogía en la Bauhaus, Ed. Alianza, Madrid, 1986. Wong, Wucius. Principios del Diseño en Color, Gustavo Gili, 1999.
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