This core subject, to be taken by all students of the degree in Conservation and Restoration, lays the foundations on the techno-legal framework in which the Conservation of Historical and Artistic Heritage is framed.

This subject deals with the contents of the current legislation that protects Cultural Heritage.

An assessment of the criteria for intervention is also carried out.

This subject has an integral link with all the subjects of the last two years of the degree in Conservation and Restoration, which are the most specific to this area of knowledge, so that the application of the Theory of Conservation and the Criteria of intervention must be present in the rest of the theoretical-practical subjects.

OBJECTIVES

This subject has an integral link with all the subjects of the last two years of the degree in Conservation and Restoration, which are the most specific to this area of knowledge, so that the application of Conservation Theory and the Criteria for intervention must be present in the rest of the theoretical and practical subjects.



SPECIFIC COMPETENCES:



No. 1E Training to apply the measures of protection and promotion that the Law establishes in defence of Artistic Historical Heritage.(G003).



No. 2E Distinguish and disseminate the purist criteria of intervention in the treatments of Prevention, Conservation and Restoration of Cultural Heritage classified as Historic Artistic Monument, differentiating them from the work not relevant (G007).



No. 3E Distinguish the concepts: Prevention, Conservation and Restoration, its meaning in terms of heritage protection and the diversity of types of works in which the conservator-restorer intervenes (C3CC01).



Nº 4E Distinguish and disseminate the intervention criteria applied in Contemporary Art and the reasons on which they are based (G007).





TRANSVERSAL COMPETENCES



No. 1T That students know how to apply their knowledge to their work or vocation in a professional manner and possess the competences that are usually demonstrated by means of the elaboration and defence of arguments and the resolution of problems within their area of study (CB2).



No. 2T Students have the ability to gather and interpret relevant data in order to make judgements that include reflection in this area of knowledge (CB3).



No. 3T Students are able to transmit information, ideas, problems and solutions to both specialised and non-specialised audiences (CB4).





COURSE COMPETENCES



No. 1C Understand the basic principles of the activity of Conservation and Restoration of Cultural Heritage with respect to the work and the characteristics of the materials to be used (C3CC01).



LEARNING OUTCOMES



No. 1R Understand and apply the theoretical content of the Theory of Conservation and Intervention Criteria within the techno-legal framework in which the Conservation of Heritage is framed. Historical and Artistic Heritage.



No. 2R Manage a specific lexicon.



No. 5R Work autonomously and in teams to develop initiative and decision-making skills, both individually and in teams.

TOPIC I. Concepts and theoretical basis of the preservation, conservation and restoration of cultural assets and works of art.

The differences between the basic concepts of the subject will be established.



TOPIC II. Historical development of conservation-restoration

2.1. From Classical Antiquity to the 20th century

2.2. From the 20th century to the present

The changes and evolution of the discipline of conservation-restoration will be studied from a historical level, analyzing in parallel the evolution of the intervention criteria.



TOPIC III. The diversity of objects and works of art that are preserved, cared for and restored.

What is meant by cultural property and its classification will be studied, with a view to its conservation.



TOPIC IV. Methodology of the study and documentation of Cultural Assets.

4.1. Technical sheets

4.2. Conservation status reports

4.3. Additional information

The resources and tools used to catalog, record, document, study and identify the B.C. will be studied, with a view to their conservation.



TOPIC V. Norms and laws for the protection of Cultural Assets.

The norms and laws that exist at the regional, state and international levels will be known and studied.



TOPIC VI. Intervention criteria

6.1. Purist, flexible criteria.

6.2. Intervention criteria in Contemporary Art.



The criteria applied throughout history and those followed today will be delved into, through the review of real cases. The criteria that are taken into account in Contemporary Art will be analyzed in comparison with those traditionally used.

The teaching-learning processes in this subject are structured into theoretical lessons taught by teachers and practical tasks and activities to be carried out by the student in which the theoretical content is reinforced and expanded.

The objectives and skills of the subject are acquired through a teaching methodology that combines theory and practice as an inseparable whole and that demands individualized monitoring of the students' personal work, based on the teaching modalities of seminars and workshops.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Written test to be taken (%): 10
  • Realization of Practical Work (exercises, cases or problems) (%): 15
  • Individual works (%): 30
  • Team projects (problem solving, project design)) (%): 20
  • Exhibition of works, readings ... (%): 25

ORDINARY CALL: GUIDELINES AND WAIVER:

In continuous evaluation within the established dates. To pass the subject it will be necessary to submit and approve all the work:



1.-Individual and group work 90%

2- Written exam 10%



Final evaluation system for students who do not follow a continuous evaluation:

1.- Written exam 50%

2.- Individual works 50%



Resignation from the Call

Resignation from the call will result in the qualification as not presented or not presented. To resign from the call, students will have to present the resignation in writing to the teacher responsible for the subject one month before the official exam date for the subject. .



Renunciation of the evaluation system

Students will have the right to be evaluated using the final evaluation system. To do so, you must submit your resignation to the continuous evaluation system in writing and you will have a period of 9 weeks for quarterly subjects and 18 weeks for annual subjects to do so, counting from the beginning of the semester or course respectively.

ORDINARY CALL: GUIDELINES AND WAIVER:

In continuous evaluation within the established dates. To pass the subject it will be necessary to submit and approve all the work:



1.-Individual and group work 90%

2- Written exam 10%



Final evaluation system for students who do not follow a continuous evaluation:

1.- Written exam 50%

2.- Individual works 50%



Resignation from the Call

Resignation from the call will result in the qualification as not presented or not presented. To resign from the call, students will have to present the resignation in writing to the teacher responsible for the subject one month before the official exam date for the subject. .



Renunciation of the evaluation system

Students will have the right to be evaluated using the final evaluation system. To do so, you must submit your resignation to the continuous evaluation system in writing and you will have a period of 9 weeks for quarterly subjects and 18 weeks for annual subjects to do so, counting from the beginning of the semester or course respectively.

In the subject, the egela digital platform will be used to deliver exercises and check grades.
Laptop.
Photographic camera.
Materials for practice.

Basic bibliography

Brandi Cesare, Teoría de la restauración Ed. Alianza Forma Madrid 1992

Brandi Cesare, La restauración teoría aplicación práctica Servicio Editorial Politécnica de Valencia

Decreto 798/1971 de 3 de abril

Ley orgánica 3/1979 de 18 de diciembre

Real Decreto 3069/1980 de 26 de Diciembre

In-depth bibliography

A.A.V.V. Manual del artista, equipo, materiales y técnicas. Blume, Barcelona, 1982.
El gran libro del Color. Blume, Barcelona 1982.
La práctica de la pintura. G.Gili. Barcelona, 1978.
ALBERS, J. La interacción del color. Alianza ed., Madrid, 1979.
ARGAN, J.C. El arte moderno. Akal, Madrid, 1991.
BERGER, R. El conocimiento de la pintura, 3 vols. Noguer, Barcelona, 1979.
BERMEJO PIZARRO, S.G. Código Forma/Color. Oriens, Madrid, 1980.
BERRY, S. y MARTIN, J. Diseño y color. Blume, Barcelona, 1994.
BRUSATIN,M. Historia de los colores. Paidós estética. Barcelona 1987.
GARAU, A. Las armonías del color. Paidós, Barcelona, 1982.
ITTEN, J. Couleur. Dessain et Tolra. París, 1971.
KOBAYASHI, S. Color. Image Scale. Kodansha, 1991.
LUSCHER,M. Test de los colores. Paidós. Buenos Aires 1974,( reed. Barcelona 1986.)
MARX, ELLEN. Les contrastes de la couleur. Dessain et Tolra, París, 1972.
PAWLIK, J. Teoría del Color. Paidós, (Colección Estética, nº 23) Barcelona, 1996.
PEDROLA, A. Materiales, procedimientos y técnicas pictóricas. Ariel, Barcelona, 1998.
RANDILLAC, B. Ver y comprender la pintura. Ed. Del Prado, Madrid 1992.
SANZ, J.C. El lenguaje del color. Blume, Barcelona, 1985.
El libro del Color. Alianza (bolsillo), Madrid, 1993.
SUREDA, J La trama de lo moderno. Akal/Arte y estética. Madrid, 1987.
VALERY,H. El Gran libro del Color. Blume, Barcelona, 1982.
VILLAFAÑE, J. Principios de Teoría General de la Imagen. Pirámide, Madrid, 1996.

Journals

AATA online-Abstracts of Intenational Conservation Literature http://aata.getty.edu/Browse
Akobe
Arché
Archaeometry
Arbor
CeRoArt: Conservation, Exposition, Restauration d´Objects d´Art (http://ceroart.revues.org/)
Conserva- Conservación, restauración y patrimonio http://www.cncr.cl/611/w3-propertyvalue-37500.html
Conservation Science in Cultural Heritage (http://conservation-science.cib.unibo.it/),
Conservation Perspectives, The GCI Newsletter (The Getty Conservation Institute)
E-conservation
E-rph- Revista digital-Revista electrónica de patrimonio histórico-
Ge-Conservacion
International Journal of Conservation Science (http://www.ijcs.uaic.ro/current.html)
International Journal of Architectural Heritage
ICOM digital
Journal of the AIC (JAIC online)
Journal of Cultural Heritage- A Multidisciplinary Journal of Science and Technology for Conservation and Awareness.
Kermes
News in Conservation
Museum International
Patina
Patrimonio- Revista de patrimonio y turismo cultural
PH- PH Boletín del IAPH (Revista Instituto Andaluz de Patrimonio Histórico)
Studies in Conservation
Restauro-Revista Internacional del Patrimonio Histórico
Restaurator-International journal for the Preservation of Library and Archival Material
Revista de Museología
R&R
Uztaro
Catálogos (Jornadas de Conservación Preventiva) MNCARS
The Journal of Conservation & Museum Studies (digital)
Technical Bulletin (The National Gallery)

Web addresses

http://www.desarrolloweb.com/articulos/1445.php
www.rygo.com.ar/ consejos.php
www.lilliputmodel.com/ articulos_referencia.htm
www.ipsi.fraunhofer.de/Kueppersfarbe/es/theorie40.html
http://es.wikipedia.org/wiki/Color
http://roble.cnice.mecd.es/~jarran2/cabriweb/polireg3.htm
http://www.lilliputmodel.com/articulos/cebrian/teoria_color1.htm
http://es.wikipedia.org/wiki/Teor%C3%ADa_del_color
http://www.correodelmaestro.com/anteriores/2002/noviembre/1anteaula78.htm
http://www.cientec.or.cr/ciencias/pigmentos.html
http://www.educaplus.org/luz/color.html
http://www.ipsi.fraunhofer.de/Kueppersfarbe/es/theorie40.html
www.fotonostra.com/grafico/tecnicascompos.htm
http://web.madritel.es/personales3/compo/compo.htm
www.almendron.com/arte/pintura/claves_pintura/cp_08/cp_081/pintura_081.htm
http://www.youtube.com/watch?v=wmhQDvbg-Vo&eurl=
http://www.personal.us.es/jcordero/PERCEPCION/index.htm
http://www.youtube.com/watch?v=ceaScLP8s3M
http://blog.educastur.es/luciaag/