Course Description
Course Theory
In theory raised questions about the nature and definition of art, history of ideas that led to different imaging systems, the meanings of work, perceptions of recruitment and interpretation, methods of approach to art. It examines issues such as: first approach (perceptions of the ancient Egyptians and Greeks for art), Plato and the Arts (“imitation,” “nice,” the moral foundation of the arts), the Poetics of Aristotle, Classic / Classicism (time endorsement of the concepts that shape the meaning of the Classic from the 5th century BC until the 20th century), From Antiquity to the Middle Ages (from a “naturalistic” art in an art “symbolic”), Plotinus (origins of medieval aesthetics), Iconoclasm (crystallization doctrines that shape the Byzantine style through theological debates), From Antiquity to the Middle Ages (from a “symbolic” art in an art ‘naturalistic’), Renaissance (Alberti, Da Vinci, Durer , Vasari: formulation of the fundamental principles of Renaissance art), Baroque and Classicism (in excess of pluralism and rationalism of the Baroque Classicism), Johann Winckelmann (neoclassical style revival of ancient artistic ideals), Romanticism: the first “modern” movement The “art for art” and aesthetics social responsibility 19th century (two contradictory trends towards artistic creation), Modernism (Modern aspects of: creating a new aesthetic in the search of form features ‘other’ cultures). From representation to abstraction: the first manifestations of non-figurative art in modern art (1910-1930), Past and modern interpretive approaches (phenomenological aesthetic, psychoanalytic approach, sociological approach, formalistic approach, structuralism, Deconstruction-postconstruction, iconology, etc.) Postmodern aesthetics.
Course Practicals
In the laboratory part, students are required to prepare and present a written paper on a sculpture or painting of their choice, a systematic literature search. The work follows the methodology of Erwin Panofsky (major theorist of art of the 20th century) and includes four sections: a) identification of the work, b) pre-pictorial analysis (description), c) pictographic analysis (identification of the subject, identification of types decoding of symbols) and d) pictorial analysis (the study of style, incorporation in trends, currents, movements, etc.). The pictorial analysis correlates the artwork with the context of each historical period, which are determined by broader national, economic, religious and ideological causes. The Panofsky interpretive method is based on the belief that the choices of the artist, regarding the forms and themes, is a function of his actual time of living. To reveal the pictorial contents of an oeuvre, the historically defined symbols should be decoded.
The Scope of the Course and Objectives
The Scope of the Course
It is the emergence of different ways to approach a work of art through the time course of the history of ideas that led to different imaging systems, and through the study of perceptions of recruitment and interpretation of art. Furthermore, it is the preparation and presentation, a systematic literature search, a written assignment, which follows the methodology of Erwin Panofsky and concerns a sculpture or painting the selection of students.
Course objectives
It is to equip students with the necessary knowledge and skills.
STUDENT ASSESSMENT
Language of evaluation: Greek
Students’ evaluation (100%): Written final exam
-With short answer questions
-With open – ended questions
-With case study questions
-Written essay
-Public presentation
SUGGESTED BIBLIOGRAPHY
Greek
-Beardsley, M. C. (1989). Ιστορία των αισθητικών θεωριών. Αθήνα: Νεφέλη. [Original edition: Aesthetics from Classical Greece to the Present: A Short History. Alabama: University of Alabama Press, 1975]
-Belting, H., Dilly, H., Kemp, W., Sauerlander, W. & Warnker, M. (επιμ.). (1995). Εισαγωγή στην Ιστορία της Τέχνης. Θεσσαλονίκη: Βάνιας. [Original edition: Kunstgeschichte: eine Einführung, Berlin: Reimer, 1993, 4. Aufl.]
-Croce, B. (1976). Κείμενα Αισθητικής Ιστοριογραφίας. Δοκίμια. Αθήνα: Δωδώνη. [Essays on Aesthetics, Historiography, Athens: Dodoni]
-Πανόφσκι, Έ. (1991). Μελέτες εικονολογίας. Αθήνα: Νεφέλη. [Original edition: Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York: Oxford University Press, 1939]
-Παππάς, Γ. (επιλογή, μετάφραση). (1993). Κείμενα για την Τέχνη. Αθήνα: Νεφέλη. [Pappas, G. (selection, translation). Texts on Art. Athens: Nefeli]
-Wittgenstein, L. (2002). Περί τέχνης και αισθητικής. Λευκωσία: Ανδρέου. [On art and aesthetics. Selections from the Corpus and the Notes of Wittgenstein’s students and friends. Preface, Introduction, Comments and selection by K. M. Koveos, Nicosia: Andreou]
-Wölfflin, H. (1992). Βασικές έννοιες της Ιστορίας της Τέχνης. Θεσσαλονίκη: Παρατηρητής. [Original edition: Kunstgeschichtliche Grundbegriffe: Das Problem der Stilentwicklung in der neueren Kunst. München: Bruckmann, 1915 (9. Aufl. 1948)]
Foreign
-Harrison, C., Wood, P. & Gaiger, J. (eds.) (2000). Art in Theory 1648-1815: An Anthology of Changing Ideas. Oxford, UK: Blackwell Publishing.
-Harrison, C., Wood, P. & Gaiger, J. (eds.) (1998). Art in Theory, 1815-1900: An Anthology of Changing Ideas. Oxford, UK: Blackwell Publishing.
-Harrison, C., & Wood, P. (eds.) (2003). Art in Theory 1900-2000: An Anthology of Changing Ideas. Oxford, UK: Blackwell Publishing.
-Chalumeau J. L. (2009). Les théories de l’art. Philosophie, critique et histoire de l’art de Platon à nos jours. Paris: Vuibert.
-Freeland, C. (2003). Art Theory: A Very Short Introduction. New York: Oxford University Press.
-Grabar, A. (1992). Les origines de l’esthétique médiévale, Paris: Macula.