Photography and Realism in the 1930´s
Code
722061069
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
História da Arte
Credits
10
Weekly hours
3 letivas + 1 tutorial
Teaching language
Portuguese
Objectives
1) To understand the relation between painting and photography in the work of early 20th century avant-gardes, considering the themes presented in classes and the discussion of selected texts from the bibliography.
2) To point out the role of collage and montage techniques in Dadaism and Constructivism, defining their inherent concepts.
3) To identify the implications of the alliance between photography, typographic arts and the design of exhibitions.
4) To acquire a broad knowledge about the relationship between photography and propaganda in the 1930s.
Prerequisites
None.
Subject matter
1) The real and its images between painting and photography. 20th century early avant-gardes and the issue of realitys representation. The processes of collage and montage in Dada and Constructivism. The incorporation of photography in painting and drawing. The new technique of photomontage and the power of combined images. Surrealists interest in 1930s photomontage.
2) Photography as an epic of the new times. Illustrated press and the impact of photographic reports. From object-image to testimonial-image. Photography, typographic arts and the design of exhibitions. El Lissitzky´s role in the establishment of a visual discourse for the masses. The Pavilion of the Soviet Union in the International Press Exhibition \"Pressa\" of Cologne (1928) and the Pavilion of Deutscher Werkbund at the \"Exhibition of Decorative Arts\" in Paris (1930).
3) Reality and appearances. The persuasive powers of the photo image. Photography and propaganda. Herbert Bayer and the Nazi exhibitions in Berlin (1933-37). The \"Mostra della Rivoluzione Fascista\" in Rome (1932) and the \"Exhibition of the 10th Year of the National Revolution\" in Lisbon (1936).
Bibliography
ADES, Dawn, Photomontage, Thames and Hudson, Londres, Paris,1993
ANNÉES 30 EN EUROPE: le temps menaçant 1929-1939, catálogo da exposição, Paris, Musée dArt Moderne de la ville de Paris, Flamarion, 1997
DADA, catálogo da exposição, New York, MOMA, 2006
El LISSITZKY. PARA ALÉM DA ABSTRACÇÃO, catálogo da exposição, Porto, Museu de Serralves, 2000
KRAUSS, Rosalind, Le photographique. Pour une théorie des écarts, Macula, Paris,1990
Teaching method
Theoretical-practical weekly classes. Teaching is complemented by the analysis of artworks presented in classes and by weekly discussions of selected texts from the bibliography.
Evaluation method
Presentation and discussion of texts during classes.
Presentation of 1 final research work (15 pages).