The History of Art History of the High Middle Ages is a compulsory subject in the second year of the Art History Degree and is taken in the first four-month period. It is part of the History of Ancient and Medieval Art module and is complemented by the compulsory subjects History of Art of the Late Middle Ages and History of Medieval Art in Spain, which are taught in the second four-month period of the same course.

This course studies the History of Art of the High Middle Ages, analyzing the main architectural, sculptural and pictorial examples, as well as the decorative arts during the early medieval centuries. In this way, the student will learn about and reflect on the most outstanding works of the High Middle Ages.

Given that a large part of the artistic heritage is composed of works from the Middle Ages, this subject is basic for various professional activities, both in museums and in public institutions related to cultural management.

COMPETENCIES OF THE DEGREE:



G001 Be able to analyze and interpret the artistic processes over the centuries, valuing the succession of styles, the role of artists and the theory of the arts.

G002 Be able to classify and comment integrally (style and iconography) the different works of architecture, sculpture, painting, cinema, music and other arts in their historical and artistic moment with the specific languages of each artistic discipline.

G004 Be able to analyze and interpret historical processes through the work of art as a relevant document of social and cultural history, together with other textual and material testimonies.

G006 Be able to develop an oral and written expression adjusted to a university degree and to the discipline of art history.

G007 Be able to relate and apply the specific knowledge of the degree to other areas and related disciplines.



MODULE COMPETENCIES



CM01 Be able to identify and analyze the artistic processes of Prehistoric, Ancient and Medieval Art.

CM02 Be able to integrate and contextualize in the historical moment the artistic manifestations of Prehistoric, Ancient and Medieval Art.

CM03 Be able to interpret formally and iconographically the most relevant artistic works of Prehistoric, Ancient and Medieval Art.

CM04 Be able to handle and relate the basic written sources for the knowledge of Prehistoric, Ancient and Medieval Art.

CM05 Acquisition and adequate use of the specific artistic vocabulary of Prehistoric, Ancient and Medieval Art.



COMPETENCIES OF THE SUBJECT.



-CA1. Be able to identify and analyze the artistic processes related to the Art of the High Middle Ages (G001,CM01).

-CA2. Be able to integrate and contextualize in its historical and artistic moment the artistic manifestations of the High Middle Ages, taking into account related areas and disciplines (G002, G007, CM2).

-CA3. Be able to interpret formally and iconographically at a basic level the most relevant artistic works of the art of the High Middle Ages, orienting them towards their consideration as History of the historical-artistic heritage and their cultural dissemination. (G002, G003, CM03, CM06).

-CA4. Be able to handle, critically analyze and relate the fundamental written sources for the knowledge of the Art of the High Middle Ages (G004, G005, CM04).

-CA5. Be able to express oneself correctly, both in writing and orally, and to use the appropriate specific artistic vocabulary when analyzing the art of the High Middle Ages (G006, CM05).



LEARNING OUTCOMES



- Analyze with fluency the criteria for the interpretation and analysis of the artistic processes of the Art of the High Middle Ages.

- Understand the formal and iconographic interpretation of the most relevant artistic works of the art of the High Middle Ages.

- Develops the ability to handle and relate the fundamental written sources for the knowledge of the art of the High Middle Ages.

- Acquires and uses appropriately the specific artistic vocabulary of the Art of the High Middle Ages.

Introduction to the concept of Medieval Art, chronological and spatial delimitation in Western and Eastern Europe.

Paleochristian Art or Early Christian Art. The most significant manifestations of the first Christian art are presented.

Byzantine Art. The most significant manifestations of Byzantine art are presented.

The art of the Europe of the Invasions The most significant manifestations of the art of the Europe of the Invasions are presented. Ostrogothic, Longobard and Merovingian art is analyzed from a formal and iconographic point of view.

Pre-Romanesque art The most significant manifestations of Pre-Romanesque art are presented. Carolingian and Ottonian art is analyzed from a formal and iconographic point of view.

Islamic Art The most significant manifestations of Islamic art are presented. Its evolution, singularity and artistic development are analyzed from a formal and iconographic point of view.

1. LECTURE-THEORETICAL SESSIONS



The professor will expose the fundamental theoretical contents of the subject as well as the methodological guidelines necessary for the development of face-to-face and non-face practices and the personal work of the students both individually and in group work. The materials uploaded by the teacher to the e-gela platform are essential.



2. COMPULSORY PRACTICAL SESSIONS ACCORDING TO CURRENT REGULATIONS

PRACTICAL SESSIONS IN THE CLASSROOM:



Students with the help of the teacher will analyze and comment on works of art, documentary sources, bibliography or audiovisual material of interest for the subject.

PRACTICAL SESSIONS OUTSIDE THE CLASSROOM

Visits or practical sessions may be carried out in centers or museums that house early medieval artistic works.



3. TUTORIALS:



Monitoring of the teaching-learning process, at the request of the students and established by the teacher. It is recommended that students make use of this teaching activity, both individually and in groups.





4. NON FACE-TO-FACE ACTIVITIES



Personal work of the students. Preparation by the students of the proposed tasks designed to achieve the expected competences: individual task (reading summaries) and group task (Islamic art work). Preparation by the students of the objective written test or exam.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Written test to be taken (%): 50
  • OTHER ACTIVITIES (%): 50

Objective written test or exam (50%) and homework or proposed work (50%).



EVALUATION CRITERIA:



OBJECTIVE WRITTEN TEST: SUBJECT COMPETENCIES: CA1, CA3, CA5.



- Correct identification of the most outstanding works of art and artistic phenomena of the period established in the field of art of the High Middle Ages.

- Correct attribution of authorship to the most important works of art and architecture of the period.

- Correct assignment of a specific chronology to the most outstanding works of art and artists of the period studied.

- Appropriate statement of the characteristics of the plastic and stylistic languages of the art of the period.

- Correct application of the stylistic and formal characteristics of the period studied to the works of art proposed for analysis.

- Proper incorporation of bibliographical references and documentary sources worked throughout the course.

- Correctness in the analysis of the relationships of the arts of the High Middle Ages with other geographical areas, from the point of view of the quality of the judgments made, proposed examples and appropriate bibliography.

- Correct written expression from the formal point of view as well as in the use of the specific terminology worked throughout the course.

- Appropriate construction of the written discourse: coherence and adequacy of the internal development to the content, clarity and order in the expression, orderly development of ideas.

50% of the final grade.



CLASSROOM PRACTICES or PROPOSED TASKS AND SPECIFIC TESTS (COURSE COMPETENCIES CA3, CA4, CA5)



- Ability to organize and systematize the contents of the work.

- Ability to understand and synthesize the readings.

- Correct use of specific artistic terminology both orally and in writing.

- Ability to integrate and contextualize the artistic works and their sources within the period of study.

- Correct identification, analysis and formal and iconographic interpretation of the works of art proposed for commentary.

50% of the final grade.

NOTE: In order to pass the course, both parts must be passed independently: the objective written test and the practical part or proposed tasks.



Students will have the right to be evaluated through the final evaluation system, regardless of whether or not they have participated in the continuous evaluation system. To do so, students must submit in writing to the teacher responsible for the subject the waiver of continuous assessment, for which they will have a period of 9 weeks, counting from the beginning of the four-month period.



More information about the evaluation can be found at: https://www.ehu.eus/es/web/estudiosdegrado-gradukoikasketak/ebaluaziorako-arautegia

The evaluation of the subjects in the extraordinary examinatio period will be carried out exclusively through the final evaluation system in which the students will be able to obtain 100% of the grade. The final evaluation test of the extraordinary examinatio period will consist of the following activities: objective written test that includes a commentary on works of art, in addition to other evaluation activities related to the practices carried out in the subject. However, the positive results obtained by the students during the course may be retained.



More information about the evaluation can be found at: https://www.ehu.eus/es/web/estudiosdegrado-gradukoikasketak/ebaluaziorako-arautegia

- Materials uploaded to the egela platform prepared by the teacher for each of the subjects of the course.
- Notes of the subject and general bibliography (manuals).
- Specific complementary bibliography offered by the professor of each of the thematic blocks of the subject.

Basic bibliography

Dictionaries of artistic terms and iconographic dictionaries.



FATAS, G/ BORRAS, G.: Diccionario de términos de arte y elementos de arqueología y numismática. Alianza, Madrid, 1988.

LAJO, R.: Léxico de Arte. Akal, Madrid, 1997.

BUTIN, H.: Diccionario de conceptos de arte. Abada editoria, Madrid, 2009.

Diccionarios iconográficos.

CARMONA, J.: Iconografía cristiana. Guía básica para estudiantes. Istmo, Madrid, 1998.

Enciclopedias de Historia del Arte.

Colección. LOS DICCIONARIOS DE ARTE. Episodios y personajes del Antiguo Testamento. Ed. Electa.2006



Manuals



VVAA.: Historia del Arte Espasa. Editorial Espasa-Calpe. Madrid, 2004.

RAMIREZ, J.A (Dir.).: Historia del Arte. La Edad Media. Tomo 2. Editorial Alianza, Madrid, 1996.

BANGO, I./ ABAD,C: Arte Medieval I. Historia 16. Colección Conocer el Arte. Madrid, 1996.

BANGO, I./BORRÁS, G.: Arte Bizantino y Arte del Islam. Historia 16. Colección Conocer el Arte. Madrid, 1996.

BANGO TORVISO, I. El prerrománico en Europa. En: Hª 16. Serie: Historia del Arte. Madrid, 1990.

CORTÉS ARRESE, M. El arte bizantino. Historia 16. Madrid, 1999.

In-depth bibliography

BECKWITH, J. El arte de la Alta Edad Media. Madrid, 1995.
Arte Paleocristiano y Bizantino. Madrid, 1997.
CONANT, K.J.: Arquitectura carolingia y románica 800-1200. Cátedra, Madrid, 1982.
CORTÉS ARRESE,M. Bizancio: el triunfo de las imágenes sagradas. Madrid, 2010
DODWELL, C.R.: Artes pictóricas en occidente 800-1200. Cátedra, Madrid, 1995.
DURLIAT, M. Introducción al arte medieval en Occidente. Madrid, 1979.
EVANS,H.C./ WIXOM,W.D. (eds.) The glory of Byzantium: art and culture of the Middle Byzantine era: A.D. 843- 1261. Nueva York, 1997.
GRABAR, A. Las vías de la creación en la iconografía cristiana. Madrid, 1985.
La Edad de Oro de Justiniano. Madrid, 1966.
El primer arte cristiano. Madrid, 1967
GRABAR, O.: La formación del arte islámico. Cátedra, Madrid, 1979.
HUBERT,J. Y OTROS. La Europa de las Invasiones. Madrid, 1968
KRAUTHEIMER, R. Arquitectura paleocristiana y bizantina. Cátedra, Madrid, 1984
LASKO, P. Arte Sacro: 800-1200.Cátedra, Madrid,1999.
MACKAY, A./ DITCHBURN, D. Atlas de la Europa Medieval. Madrid, 1999.
MICHELL, G. La arquitectura del mundo islámico. Su historia y significado
social. Alianza, Madrid, 1985.
MITRE, E. Una primera Europa. Romanos, cristianos y germanos (400-1000). Ed. Encuentro. Madrid, 2009.
ROBERO,U./ RIVIÉRE,Y. (eds.) Roma e i barbari: la nascita di un nouvo mondo. Catálogo de Exposición. Milán, 2008.
VVAA.: El arte paleocristiano. Visión y espacio de los orígenes a Bizancio. Lunwerg, Madrid, 1998.
VVAA.: Bizancio: el esplendor del arte monumental. Lunwerg, Madrid, 1999.
VVAA.: El Islam: arte y arquitectura. Kóneman,Köln, 2001
YARZA LUACES, J. y otros. Arte Medieval I: Alta Edad Media y Bizancio. En: Fuentes y Documentos para la Historia del Arte. Barcelona, 1982.

Journals

Descubrir el Arte
El mundo medieval
Cahiers de Saint Michel de Cuixá
Gesta
Dumbarton Oaks Papers

Web addresses

www.Artehistoria.com
www.imperiobizantino.com
www.arteguias.com
www.historia-del-arte.net
www.artcyclopedia.com