Objectives and competences
The student is supposed to be capable:
- to know and understand the basic painting skills to achieve the object plasticity and space of painting treatment of the human head, portrait and self-portrait motifs;
- to know and understand the three phases of the artistic treatment of the human face: (1) external appearance, (2) internal spatial structure and (3) psychological-cognitive immaterial presence of the person;
- to know and understand the linear, combined and colour tonal (luminous) painterly interpretation of visible reality;
- to know and understand the structure of light and chromatic colour interpretation;
- to know and understand the sign character and symbolic dimensions of colour;
- to know and understand the creative approach to the seen and to transform it into personal artistic vision;
- to know and understand the nature of the art form as the definitive art composition.
Content (Syllabus outline)
- Painting materialization and the motif of human head, portrait and self-portrait;
- complex treatment of the portrait motif: (1) external appearance, (2) internal spatial structure and (3) psychological-cognitive immaterial presence of the person;
-shape, colour and space in painting composition;
- local colour tone of the object, colour modeling and colour modulation;
- illusionist procedures in painting;
- "colour" as the central content of the artist's interest;
- colour relations and its meaning;
- colour as realisation of painting space;
- the material, sensory, emotional and cognitive aspects of colour;
- painting technological procedures (colour underpainting and laying of coloured layers);
- painting technological processes and methods of using oil paints;
- masters of painting portrait compositions (Leonardo, Raphael, El Greco, Rubens, Rembrandt, van Gogh, Cézanne, Freud);
-renaissance, modernist and postmodern approach to the portrait motif;
- visual language as the visual sign
system;
- conceptualizing personal approaches to performing self-portrait painting compositions;
- sensitivity and power of personal interpretation;
- the transformation of the artistic motif into painting matter.
Learning and teaching methods
Individual work with the student.
Work in small groups.
Use of explanation, conversation, discussion.
Demonstration of practical painting skills.
Viewing and analysis of the artistic
achievements of the masters classical
and contemporary painting.
Practical work in the form of exercises.
Intended learning outcomes - knowledge and understanding
- The student will practically define the plasticity of objects and the painting space of the portrait motif by painting means;
- the student will practically define classical (renaissance, baroque), modernist and postmodern self-portraits paintings;
- the student will practically define the self-portrait motif in a line-construction, lightnes and colour hue dimension;
- the student will acquire the skill of using various painting techniques of applying paints when using oil paints;
- the student will acquire the ability to use different forms and methods of work in creating a painting composition;
- the student will practically define the principle of colour underpaintings and color layering in achieving a colour dimension of a painting composition;
- the student will define the conceptual starting points of his creative artistic expression;
- the student will define and explain the relation between the observed nature – the artist – the artistic realization;
- the student will connect the theoretical and artistic empirical experience;
- the student will explain the art-analytical approach in understanding the artwork;
- the student will explain the process of projective visualization and the purpose of productive thinking;
- the student will practically define the transformation of the artistic motif into painting matter.
Intended learning outcomes - transferable/key skills and other attributes
- Proficiency in using different painting techniques;
- Manual skills of using various painting tools;
- Use of various working forms and methods;
- Ability to apply the skills to similar processes and other technical fields.
Readings
- MOTIV ČLOVEŠKE GLAVE, PORTRETA IN AVTOPORTRETA V LIKOVNI UMETNOSTI (različni avtorji) / MOTIF OF HUMAN HEAD, PORTRAIT AND SELF-PORTRAIT IN FINE ARTS (various authors)
- (AVTO)PORTRETNE SLIKARSKE UPODOBITVE V RENESANSI (različne monografije) / PORTRAIT PAINTINGS IN THE RENAISSANCE (various monographs)
- MODERNISTIČNE IN POSTMODERNE SLIKARSKE (AVTO)PORTRETNE UPODOBITVE (različne monografije) / MODERNIST AND POSTMODERN PAINTING PORTRAITS (various monographs)
- ITTEN, Johannes: The Art of Color: The Subjective Experience and Objective Rationale of Color. New York: John Wiley and Sons Ltd (tudi prevod: Umetnost barve: študijska izdaja. Jesenice: R. Reichmann, 1999)
- BUTINA, Milan: Slikarsko mišljenje. Od vizualnega k likovnemu. Ljubljana: Cankarjeva založba, 1984
- BAMMES Gottfried: The Artist’ s Guide to Human Anatomy. Chartwell Books. Inc, 1994
- SCHNEIDER, Norbert: The Art of the Portrait – Masterpieces of European Portrait-Painting 1420–1670. Benerdikt Taschen, Köln, 1994
- KRAIGHER-HOZO, Metka: Metode slikanja i materiali, KULT B Izdavačko-knjižarsko društvo Mutevelić, Sarajevo, 2007
- DÖRNER, Max: The materials of the artist and their use in painting : with notes on the techniques of the old masters, Hartcourt Brace & Co, San Diego, 1984
- različne monografije likovnih ustvarjalcev / monographs of various artists
- originalna likovna dela v muzejih in aktualnih likovnih razstavah / original artworks in different museums and current art exhibitions
Dodatno literaturo bo nosilec določal sprotno v vsakoletnem učnem programu. Additional literature will be determined by the course coordinator in the annual course syllabus.
