povijest umjetnosti, prijevod

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University of Zagreb

FACULTY OF PHILOSOPHY

Department of Art History

ART HISTORY STUDY PROGRAMME

Zagreb, March 2005

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Contents

1. INTRODUCTION............................................................................................................... 3

1.1. History of the Department......................................................................................... 3

1.2. New study programme............................................................................................... 5

1.3. The openness of the study towards the mobility of students and staff .................. 6

2. GENERAL INFORMATION ............................................................................................ 8

3. PROGRAMMES ................................................................................................................. 9

3.1. Undergraduate programme – main characteristics................................................ 9

3.1.1. Double major undergraduate programme (A1+A2) and (A+B)....................... 10

3.2. List of Compulsory Courses/Subjects of the Undergraduate Study

Programme................................................................................................................ 11

3.3. Graduate programme of Art History – main characteristics: ............................. 37

3.3.1. Research programme......................................................................................... 39

3.3.1.1. Double major study programme (A+B) – research programme ............. 40

3.3.1.2. Double major study programme (A+B) – research programme –

Conservation of Cultural Heritage module.............................................. 41

3.3.2. Description of graduate study programme........................................................42

3.3.2.1. Module "Art of Antiquity and the Middle Ages"..................................... 42

3.3.2.2. Module "Renaissance and Baroque Art".................................................. 49

3.3.2.3. Module "Modern and Contemporary Art" ............................................... 57

3.3.2.4. Module "Conservation of Cultural Heritage"........................................... 62

3.3.3. Teachers’ programme........................................................................................ 79

3.3.4. Elective courses................................................................................................. 91

3.4. List of courses and/or modules the students can choose from other study

programmes ............................................................................................................ 127

3.5. List of courses and/or modules which can be performed in a foreign

language (state language)....................................................................................... 127

3.6. Criteria and conditions for transfer of ECTS credits…..................................... 127

3.7. Finishing the study programme. ........................................................................... 127

3. 8. Conditions under which the students … may continue their studies. .............. 127

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1. INTRODUCTION

1.1. History of the Department

Izidor Kršnjavi's introductory lecture at the Chair for Art History and Archaeology in

1878 marked the beginning of teaching of art history at the University of Zagreb. Thus we can

rightfully say that the study of art history at the University of Zagreb is the oldest professional

study, but also the basis for the development of Art history itself, in Croatia. The study was

established as part of a wider cultural initiative of Josip Juraj Strossmayer and Franjo Rački.

The study basically follows along the lines of the development of this profession as a

scientific discipline, but from the beginning it was marked by actions of distinguished

lecturers, from the pioneers of Art history which had, together with the archaeologists at the

end of the 19th and the beginning of the 20th century, provided the foundations for higher

education of art historians (I. Kršnjavi, J. Brunšmid), to the ones who had, under the dominant

influence of the Vienna School of Art History, significantly modernized the scientific

methodology and methodology of teaching (A. Schneider, V. Hoffiler, P. Knoll) in the period

between the two World Wars. Among them the most prominent is Artur Schneider, who gave

a special mark to the whole period by establishing the independent Seminar of Art History in

1928 and widening the teaching focus to include up-to-then the "borderline" periods (Middle

Ages, Mannerism, Baroque) and national monuments. From its beginnings, the study was

directly connected with museum practice and preservation of monuments and cultural heritage

in general, at the beginning in the continental, and then in the coastal part of Croatia.

After World War II – in accordance with the development of Art history as a

discipline – major changes occur within the programme of the study at the University of

Zagreb. A new generation of art history professors from Zagreb (G. Gamulin and M. Prelog)

establish new chairs, thus enabling methodologically stricter and more encompassing

approaches to art-history researches and subjects. They are most visible in the treatment of the

national artistic heritage. Grgo Gamulin took part in establishing the Society of Historians and

the scientific magazine Peristil, one of the most important professional and scientific

platforms. Together with their assistants (R. Putar, V. Horvat-Pintarić, R. Ivančević), Gamulin

and Prelog dedicatedly took part in the life of the profession outside the Department, shaping

in their public appearances and art criticism the dynamic scene of Croatian contemporary art

and its reception in the 1960s and 1970s. The openness to new ideas, new methodologies and

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new media reflected on the profession, as well as on the programme of the study of Art

history. Thus, for instance, in 1960, on the initiative of Gamulin and Prelog, the establishment

of the Institute for Art History and Archaeology was initiated, which opened a new chapter in

the scientific research of the Croatian cultural heritage, and the efforts of Vera Horvat-Pintarić

during the reorganization of the study in mid-1970s resulted in the creation, along with the

traditional chairs – for Antiquity, Middle Ages, and the Modern Age – of a new chair, chair

for visual communications and design.

The activity in the last decade of the 20th century is marked by several events

important for the future of the studies at the Department and for the development of the

profession. From within the Department and with its support, on the initiative of Miljenko

Jurković, the university research centre, The International Centre for Late Antiquity and Early

Middle Ages, was founded in the first half of the 1990s. With the support and cooperation of

other institutions, The Croatian Art Historians Association and The Institute for Art History,

from the first half of the 1990s the Department organizes Cvito Fisković's Days, the only

professional and scientific conference of such type in Croatia. In accordance with the needs

for improving the programme, the Department of Art History introduces in the late 1990s

elective courses as the beginning of a wider specialization of future scientists, teachers and

conservation specialists. With a modernized programme currently consisting of an equal

number of mandatory and elective courses, the Department is ready for the higher education

reform according to the principles of the Bologna process. In the last decade, the Department

organized the Post-Graduate Study of Art History, which has been attended by three

generations and a total of about 200 post-graduate students from entire Croatia, joined by

participants from other countries, which not only justified its establishment, but also

confirmed the central role of the Zagreb Department of Art History in the scientific and

educational circles. With twenty lecturers, out of which ten are doctors of science, eight are

assistants and two are part-time lecturers, the Department today, almost 130 years from its

establishment, represents a central institution, both in personnel and logistics, for the

education of future professionals, scientists and teachers of the ever larger field of Art history.

A rich tradition, numerous generations of students educated and developed at the Zagreb

Department of Art History and an enviable scientific and educational reputation of its

lecturers, along with a repeatedly pronounced readiness for continuous improvement and

upgrading of the study, are undoubtedly presenting a clear image of its current abilities and

possibilities. Following the joint standards of integration processes of higher education in

Europe, our study will continue to systematically honour its traditions – the development of

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approaches in accordance with the modern scientific methods and a knowledge of the national

characteristics of the heritage – the specifics of the identity which it plans to install in the

future generations and its future professional life, which – as well as the life of the

Department itself – is in need of lifelong education.

1.2. New study programme

Although the educational process is being continually improved and modernized, the

development of and changes in the profession, as well as the need for a unique reform of

Croatian higher education according to the ECTS system, resulted in considerable changes in

the current programme of the study of art history. The basic principles which were followed

during the creation of the new programme of the studies are:

1.) a wholesome and comprehensive professional skills of each candidate;

2.) the competence of a candidate who finished the study should respond to the needs

of different scientific/research institutions, conservation institutes and educational

institutions, as well as to the needs of diverse public, and particularly cultural

activities in Croatia; and

3.) the educational process must be well grounded in the past and contemporary

scientific research; it should involve other Croatian and foreign educational

institutions, as well as some practical experience in Croatian institutes for

conservation of cultural monuments, museums and galleries.

Compared to the present two-subject study, which lasts for four years, the new study includes

the following innovations:

The study of art history shall last for five years, which include three years of

undergraduate studies and two years of graduate studies. The undergraduate level is organized

as a two-subject study, and the graduate level as both one-subject two-subject study,

depending on the specialization.

The undergraduate level includes obligatory and elective courses that provide the

candidates with elementary knowledge of the profession, which makes the core of the future

studies. The elective courses deal mostly with Croatian artistic heritage. The core of the

programme follows the chronological approach to history and problems connected with

architecture, sculpture and painting; in other words, the stylistic, typological, and cultural-

historical phenomena are studied in chronological sequence from Antiquity to the Present.

Furthermore, the core of the programme for the first and sixth semester also includes an

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introduction into the methods and historiography of art history as well as some specific

problems of conservation of cultural heritage.

The graduate level of art history can be studied as two-subject or one-subject study,

depending on the specialization. Specializations in Art of Antiquity and the Middle Ages and

Art from Renaissance to the Present can be studied as one-subject or two-subject

programmes. The specialization in Conservation of Cultural Heritage can be studied as a two-

subject programme and Specialization in Teaching as a one-subject programme only.

Depending on the chosen specialization, the graduate student is given the opportunity to

broaden his knowledge of some general topics of the profession and also attain a deeper

insight into some specific periods or problems of conservation of historical monuments. The

Specialization in teaching prepares the student for teaching in secondary schools.

The listed points seem sufficient for a considerable modification of the current study

and the introduction of a new, more specialized programme, modelled in accordance with the

actual needs and capacities of Croatian society at present, but taking into consideration the

advancing process of integration.

1.3. The openness of the study towards the mobility of students and staff

The programme of the study of art history at the Faculty of Philosophy in Zagreb was

developed according to the practices of leading European Universities, but, due to the specific

nature of the subject, which mostly deals with the research and preservation of national

artistic heritage, it is completely compatible with the programmes of art history studies at

other national Universities in Rijeka and Zadar, and with more or less reformed programmes

of the studies in the neighbouring European countries, to which Croatia belonged both

historically and culturally from the earliest period, whose experience and practice influenced

the beginnings and establishment of art history in Croatia. To this cultural circle belongs the

University in Ljubljana (Oddelek za umetnostno zgodovino Filozfofska fakulteta),

Raziskovalni centar za mediteranske študije in Kopar, The Department of History of Art in

Graz (Karl-Francensz-Universität) and in Padua (Dipartimento di Storia delle arti visive e

della musica, Università degli studi di Padova), as well as the Specialization in Conservation

at the University of Udine (Corso di Laurea Conservazione dei beni culturali, Università

degli studi di Udine).

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Thus the Department of Art History at the University of Zagreb is open for mobility

and collaboration of students and staff, primarily on the regional, but also on all other levels,

as provided for by the process of implementation of the ECTS system in Croatia.

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2. GENERAL INFORMATION

2. 1. The name of the study: Art History

2. 2. The holder of the study: Faculty of Philosophy, University of Zagreb, Department of Art

History

2. 3. Duration of the study: The study lasts for five years (ten semesters), out of which the

undergraduate study for three years (six semesters), and the graduate study for two years

(four semesters)

2. 4. Prerequisites for enrolment in the undergraduate programme of art history: graduation

from high school and passing the entrance exam at the Faculty of Philosophy in Zagreb.

Prerequisites for enrolment in the graduate programme of art history: finished three-year

undergraduate study in Croatia or abroad.

2. 5. After having finished the undergraduate programme of art history (Baccalaureat degree),

the candidate is qualified for work on less-demanding professional positions in culture-

related institutions, tourism and media. The candidate who has finished the undergraduate

programme of art history possesses the basic professional knowledge required for the

continuation of the study of art history or a related humanistic discipline at the Faculty of

Philosophy or other Universities in Croatia and abroad.

2. 6. Having finished the graduate programme of art history the candidate obtains the title

ofM.A. (Master's degree) in Art History, or M.A. in teaching of Art History. After the

studies, the candidate (M.A.) is qualified to work independently on his own scientific

research or teach in high schools. He can also work in scientific-research institutes,

museums and galleries, conservation institutes of the Ministry of Culture, or in

journalism, different bodies of Government dealing with the management of cultural and

artistic heritage, and all other public or private institutions in need of an expert of such

profile.

2. 7.

2. 8. Having finished the five-year programme of art history the candidate obtains the title of

M.A. in Art History or M.A. in teaching of Art History.

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3. PROGRAMMES

3.1. Undergraduate programme – main characteristics

• The basic structure of the study is a double major study (A1+A2), which within the ECTS system means 83 ECTS credits – Art History, 85 ECTS credits second study programme, and 12 ECTS credits for elective courses of other departments of the Faculty/University (the study of Art History has 2 ECTS credits less because one course – Protection of Monuments – has three instead of five credits, unlike all other courses).

• Two or three elective courses (up to the total of 12 ECTS credits) ensure selectivity outside the study programmes, i.e. on the level of the Faculty/University (it includes, for instance, foreign language, courses of teaching competence, and/or other). Since the elective courses of the Faculty/University may vary in ECTS credits and timetable, the student can freely combine and take them within all six semesters of the undergraduate study programme (in the tabular overview of the Faculty of Philosophy – in the first and second semesters five credits each, and in the sixth semester two credits).

• The study structure in the symmetric model (A1+A2) consists of 13 compulsory and 4 elective professional courses, plus 2-3 elective courses of other departments of the Faculty/University (63+20+12 = 95 ECTS credits + 85 credits s of the second study programme = 180 ECTS credits).

• Addition or deduction of 2 professional elective courses creates the asymmetrical model of a major-minor programme (A+B) which includes a minimum of 73 ECTS credits for professional courses for the Art History programme as B programme (second study programme has a minimum of 75 ECTS credits).

• Single major programme is created by taking on additional elective courses of the Department and other departments of the Faculty/University.

• All except for one course end with an examination and grade ("Theory and History of Art History" consists of two courses whose total gives the final grade for the subject).

• The average total number of classes per week is 10 hours, except in the 1st semester, in which it is 11 hours, but the total number of hours may vary dependent on the courses of the second study programme and elective courses of other departments of the Faculty/University.

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3.1.1. Double major undergraduate programme (A1+A2) and (A+B)

Major Title of the course L S PC ECTS Title of the course L S PC ECTS

1st semester 2nd semester A1 1. Introduction to Visual Arts 2 1 1 6 1. Art of Antiquity 2 1 1 5 A1 2. Elements of Architecture 1 2 1 4 2. Art of Late Ant. and E.M.A. 2 1 1 5 A1 3. Introduction to Iconology 2 1 0 5 3. Elective course 1 1 0 5

FoPh 4. Elective course (FoPh) 5 4. Elective course (FoPh) 5 A2 5. B major 5. B major

A2 6. B major 10

6. B major 10

Total 30 Total 30 III. semester IV. semester

A1 1. Romanesque Art 2 1 1 5 1. Renaissance and Baroque

Visual Arts 2 1 1 5

A1 2. Gothic Art 2 1 1 5

2. Renaissance and Baroque Architecture

2 1 1 5

A1 3. Elective course 1 1 0 5 3. Elective course 1 1 0 5 A2 4. Elective course A2 4. B major A2 5. B major 5. B major A2 6. B major

15 6. B major

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Total 30 Total 30 V. semester VI. semester

1. Art of the 19th Century 2 1 1 5 1. Theory and History of Art

History 4 0 0 5

A1 2. Art after the Year 1900 2 1 1 5 2. Protection of Monuments 2 0 0 3

A2/A1 3. Elective course A2 - - - 5 3. Elect. course A1+FoPh (+2) - - - 5+2 A2 4. B major 4. B major A2 5. B major 5. B major A2 6. B major

15 6. B major

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Total 30 Total 30

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3.2. List of Compulsory Courses/Subjects of the Undergraduate Study Programme Prof. Frano Dulibić, Ph.D. (Assistant) Title of the course:

INTRODUCTION TO VISUAL ARTS

ECTS credits:

6

Language:

Croatian

Duration:

1 semester (1st semester)

Status:

Compulsory

Form of realization:

2 hours of lecture and 1 hour of seminar per week (part of the seminar is field study), and 1 hour of field study

Conditions of admission:

-

Examination:

Written and oral exams

Syllabus:

Interpretation of the basic knowledge necessary to characterize, analyse and interpret a work of art. Explanation of different models of approach to a work of art, in relation to the use, techniques of expression and meanings which characterize the work. Explanation of characteristics of specific art forms. Encouraging the development of specialized perception: perception of different planar or spatial and chromatic details of the picture, drawing, poster, or in the shapping of objects of different kinds of decorative arts, and plastic-spatial perception in specific characteristics of sculpture. The subject matter is taught on characteristic examples of works of art from the history of the Western civilization from Antiquity to the 21st century, including significant examples from Croatian art history. Course objectives:

Development of visual perception in the approach to a work of art. Acquisition of basic knowledge and methods for the description, analysis and interpretation of different works of art – paintings, sculptures, decorative arts, and modern media from all periods. Acquisition of basic professional terminology. Compulsory reading:

1. Belting, Dilly, Kemp, Sauerländer, Warnke (eds.) (2005) Uvod u povijest umjetnosti, Zagreb: Fraktura (in preparation)

2. H. W. Janson, A. F. Janson (2003) Povijest umjetnosti, Varaždin: Stanek. (introductory chapter)

3. Heinrich Wölfflin (1998) Temeljni pojmovi povijesti umjetnosti, Zagreb: Institut za povijest umjetnosti; Kontura.

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Additional reading: 1. Umjetnost (1967) (lexicon, edited by Jadranka Damjanov), Zagreb: Panorama. 2. Edward Lucie-Smith (1984) Dictionary of Art Terms, London: Thames & Hudson Ltd. 3. Vera Horvat Pintarić (2001) Svjedok u slici, Zagreb: Matica Hrvatska. 4. Rudolf Arnhajm (1987) Umetnost i vizualno opažanje (new edition) Beograd:

Univerzitet umetnosti u Beogradu. 5. Heinrich Wölfflin, (1995) Tumačenje umjetničkih djela, in: Ideal, forma, simbol,

Zagreb: Institut za povijest umjetnosti. pp. 79-103. 6. Maricia Pointon (1997) History of Art: A Student's Handbook, London; New York:

Routledge. 7. Sylvan Barnet (1993) A Short Guide to Writing About Art, New York: Harper Collins

College Publishers. 8. E. H. Gombrich (1984) Umjetnost i iluzija, Beograd: Nolit.

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Prof. Nada Grujić, Ph.D. (Tenure); Jasenka Gudelj, M.A. (Teaching Assistant) Title of the course:

ELEMENTS OF ARCHITECTURE

ECTS credits:

4

Language:

Croatian

Duration:

15 weeks (1st semester)

Status:

Compulsory


1 hour of lecture, 2 hours of seminar, and 1 hour of practical classes (field study) per week


-

Examination:

Written exam in the 15th week

Syllabus:

The constructive elements of architecture, shaping elements of specific stylistic periods, and typology of individual architectural forms are discussed in specific thematic units. Objective(s):

Acquisition of basic terms and names related to the constructive elements and typology of architecture (from Antiquity to the 19th century). Knowledge of reading architectural presentations and their descriptions. Compulsory reading:

1. Werner Müller, Gunther Vogel (1999) Atlas arhitekture 1, 2, Zagreb: Golden Marketing; Institut građevinarstva.

Additional reading:

1. John Summerson (1998) Klasični jezik arhitekture, Zagreb: Golden Marketing; Institut građevinarstva.

2. Leksikon ikonografije, liturgike i simbolike zapadnog kršćanstva, ed. A. Badurina (4th edition 2000), Zagreb. (selected items)

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Dino Milinovi ć, M.A. (Teaching Assistant) Title of the course:

INTRODUCTION TO ICONOLOGY

ECTS credits:

4

Language:

Croatian

Duration:

1 semester (1st semester)

Status:

Compulsory


2 hours of lecture and 1 hour of seminar per week


-

Exam:

Written exam at the end of the 1st semester; seminar paper during the semester

Syllabus:

Introduction to iconology shall give to a student insight into one of the most widespread methods of interpretation in art history. Developed out of the basic questions arising while we observe the figural art of historical periods – "who is who?" and "what is what?" – iconology perceives a picture as a significant element of communication, from sign to idea, from the sub-conscious and magical to well-considered and canonized. Besides the insight into the history of the method, the course shall remind the student that a work of art (be it a painting or a sculpture) should be "read" in different ways, having in mind the clear or hidden symbolic character of a large part of artistic creation in the past. Special emphasis is put on the birth of Christian art in the period of late Antiquity and recognition of basic themes and iconographic types that will mark European art. Objective(s):

The objective of "Introduction to iconology" is to prepare a student to perceive a work of art as a "communication channel" between the artist and the observer, i.e. between an individual and the society as a whole. Through theoretical and practical work, the student acquires knowledge of the multiple layers of a work of art and symbolic meanings which express the prevailing subjects and ideas of a certain period. The student develops a "humanistic" approach to a painting, i.e. awareness that the language of painting has its specific laws, but that art history is unbreakably linked to other humanistic sciences. Compulsory reading:

1. W. S. Heckscher Geneza ikonologije, in: Aby Warburg (1996) Ritual zmije, Zagreb: Institut za povijest umjetnosti.

2. R. Ivančević, Uvod u ikonologiju, in: Leksikon ikonografije, liturgike i simbolike zapadnog kršćanstva (4th edition 2000), Zagreb.

3. E. Panofsky (1955) Meaning in the Visual Arts, New York, 1955. (essay: Povijest umjetnosti kao humanistička disciplina, Croatian translation in Život umjetnosti, No. 13, 1971)

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4. R. v. Straten (2003) Uvod u ikonografiju, Zagreb: Institut za povijest umjetnosti. 5. A. Warburg, Talijanska umjetnost i internacionalna astrologija u palači Schifanoja u

Ferrari , in: M. Pelc, ed. (1995) Ideal, Forma, Simbol, Zagreb: Institut za povijest umjetnosti.

Additional reading:

1. E. Panofsky (1939) Studies in Iconology, New York. (Introductory essay) 2. R. Wittkower, Tumačenje optičkih znakova, in: Život umjetnosti, No. 48-49, 1991. 3. A. Grabar (1967) The Beginnings of Christian Art (The Arts of Mankind), London. 4. J. Elsner (1995) From Mythology to Scripture: Exegesis and Christian Identity, in: Art

and the Roman Viewer, Cambridge University Press. 5. H. Belting (1990) Bild und Kult. Eine Geschichte des Bildes vor dem Zeitalter der

Kunst, Munchen.

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Dino Milinovi ć, M.A. (Teaching Assistant) Title of the course:

ART OF ANTIQUITY

ECTS credits:

5

Language:

Croatian

Duration:

1 semester (2nd semester)

Status:

Compulsory


2 hours of lecture, 1 hour of seminar, and 1 hour of practical classes per week


Completed 1st semester

Exam:

Written exam at the end of the semester and a seminar paper

Syllabus:

The student is introduced to the art of Greece and Rome from the Archaic period (6th century BC) to the late Roman Empire (4th century). The emphasis is on the key periods and figural art: the Classic period of Greek art, with special emphasis on Athens in the age of Pericles, the sculptors of the 4th century BC, Hellenistic sculpture, Roman portrait and historical relief, town planning of the Roman Empire, and the changes which lead us into the period of late Antiquity. Works of art are observed in relation to the context of their creation, which includes basic knowledge of history, religion and mythology of Antiquity, and the Antique idea of beauty. The historical view is supplemented as much as possible with Antique written sources on art, as well as with an insight into the interpretation of art of Antiquity through history until the present. Objectives:

To introduce the student to the basics of art of Antiquity and qualify him to view the importance of art and culture of Antiquity for the formation of European culture in general. To give the student a basic insight into the development of forms of art in the period between the 4th century BC and the 4th century, and to explain the basic terms, such as "Classic art", "Classicism", "Hellenism", etc. To develop the student's ability to observe and analyse a work of art in a specified social and historical context, especially with the knowledge of mythology, religious customs, and the political and philosophical ideas of Antiquity. Compulsory reading:

1. H. W. Janson (2003) Povijest umjetnosti (supplemented edition), Varaždin: Stanek. 2. N. Cambi (2002) Antika, Zagreb. 3. N. Cambi (2000) Imago animi. Antički portret na tlu Hrvatske, Split. 4. J. Boardman (1985) Greek Sculpture, London. 5. D. Strong (1988) Roman Art, New Haven; London. Additional reading:

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1. R.R.R. Smith (1991) Hellenistic Sculpture, World of Art, London. 2. R. Bianchi-Bandinelli (1970) Rome, the Centre of Power, London. 3. J.B. Ward-Perkins (1994) Pelican History of Art: Roman Imperial Architecture, New

Haven; London: Yale University Press.

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prof. Miljenko Jurkovi ć, Ph.D. (Tenure); Nikolina Marakovi ć, B.A. Title of the course:

ART OF LATE ANTIQUITY AND EARLY MIDDLE AGES

ECTS credits:

5

Language:

Croatian

Duration:

1 semester (2nd semester)

Status:

Compulsory


2 hours of lecture and 1 hour of seminar per week + 1 hour of field study per semester


Completed course in Introduction to Art History (1st semester)

Exam:

2 written exams and an oral exam

Syllabus:

Architecture and visual arts (painting, sculpture, decorative arts) of late Antiquity and the Early Middle Ages (4th to 11th century) in the historical context. An overview of the most significant monuments, stylistic development, comment of Croatian cultural heritage. Objective(s):

- Introduction of the student to the basic problems of art from the beginning of the 4th century to the beginning of the 11th century

- Understanding of the basic problems of art of Late Antiquity and the Early Middle Ages in the historical context, with emphasis on new research and changes in the perception of style; differentiating between the art-history, stylistic, and historical categories and terms

Compulsory reading:

1. R. Krautheimer (1986) The Pelican History of Art: Early Christian and Byzantine Architecture, Harmondsworth. (pp. 23-106, 135-156, 167-187, 201-237)

2. J. Beckwith (1978) The Pelican History of Art: Early Christian and Byzantine Art, Harmondsworth. (Chapters 1 – 8)

3. N. Cambi (2002) Antika, Zagreb. (Chapter: Kasnoantička i starokršćanska civilizacija; pp. 205-311)

4. J. Beckwith (1974) Early Medieval Art, London: Thames and Hudson. 5. M. Jurković (1992) Od Nina do Knina, Exhibition catalogue, Zagreb. Additional reading:

1. R. Krautheimer (1986) The Pelican History of Art: Early Christian and Byzantine Architecture, Harmondsworth.

2. P. Verzone (1973) Od Teodorika do Karla Velikog, Novi Sad. 3. K. J. Conant (1979) The Pelican History of Art: Carolingian and Romanesque

Architecture, Harmondsworth. (parts I, II)

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4. C. R. Dodwell (1971) The Pelican History of Art: Painting in Europe 800-1200. (parts I, II, III, IV, VI, VII up to p. 127)

5. P. Lasco, The Pelican History of Art: Ars Sacra 800-1200. (parts I, II) 6. A. Erlande-Brandenburg (1997) Katedrala, Zagreb. (Chapters II and III, pp. 33-82) 7. Hrvati i Karolinzi (2000) Exhibition catalogue, Split.

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Prof. Igor Fisković, Ph.D. (Tenure) Title of the course:

ROMANESQUE ART

ECTS credits:

5

Language:

Croatian

Duration:

1 semester (3rd semester)

Status:

Compulsory


2 hours of lecture, 1 hour of seminar, and 1 hour of field study per week


Completed 2nd semester

Exam:

Written exams after the 7th and 14th weeks of classes

Syllabus:

The course deals with the basic assumptions and the course of the development of style in Western Europre from the 11th to the 13th centry, especially in monumental architecture. Through an overview of artistically most significant regions with an explanation of conditions and impeti for the defining of developmental stages the traditions are followed, as well as new horizons on the road towards the syntheses of the developed Middle Ages. In the variety of directions and reaches, the historical and spatial conditionality of the Romanesque expression is explained, the cohesion factors of defining the main type classes are discovered, and in this frame the place of Croatian artistic heritage from the same period is determined. Objective(s):

Acquisition of the basic developmental stages of Romanesque style in architecture of Western Europe and Croatia. Knowledge of the most significant monuments of the period, and spatial and historical conditions of the creation and development of the stylistic features in different areas of the West as a cultural and artistic whole at the beginning of the developed Middle Ages. Independent identification of characteristics and interpretation of elements of the "dictionary" of style and the most significant artistic manifestations in Romanesque architecture with the use of basic methodology and terminology of art history. Unhindered observation and understanding of the continuity of stylistic development in the stages of the developed Middle Ages. Compulsory reading:

1. Romanesque – Architecture, Sculpture, Painting (1999), Cologne: Koenemann. 2. K. J. Conant (1989) Carolingian and Romanaesque Architecture, Penguin Books. 3. G. Kunstler (1968) Romanesque Art in Europe – Architecture & Sculpture, Norton

Library (any edition). Additional reading:

21

1. H. Focillon (1976) Život oblika, Zagreb. 2. J. Belamarić (1996) Romanika in: Enciklopedija hrvatske umjetnosti 2. Zagreb. 3. I. Fisković (1986) Romaničko slikarstvo u Hrvatskoj, Zagreb. 4. J. Belamarić (1996) Romaničko kiparstvo. Tisuću godina hrvatskog kiparstva, Zagreb. 5. A. Badurina (1993) Iluminirani rukopisi u Hrvatskoj, Zagreb. 6. Lj. Karaman (1960) Andrija Buvina, Zagreb. 7. C. Fisković (1963) Radovan, Zagreb.

22

Prof. Predrag Markovi ć, Ph.D. (Assistant) Title of the course:

GOTHIC ART

ECTS credits:

5

Language:

Croatian

Duration:

1 semester (3rd semester)

Status:

Compulsory




Completed 2nd semester

Exam:

For the subject – final written and oral exam For the course – written exam (exams after the 8th and the 15th week)

Syllabus:

A review course that introduces the student to the most significant characteristics, monuments, and artists of the Gothic style in Europe: 1) Early and high Gothic style in France (1140-1250) – forming of style in architecture and sculpture; 2) Spread of Gothic art in Europe (1250-1350) – architecture in England, Germany, and Italy; 3) Late Gothic period and international style (1350-1450) – a) architecture of the late Gothic period (definition of national styles), b) sculpture in Italy from G. Pisano to L. Ghiberti, c) painting in Italy from Cimabue to G. da Fabriano / Pisanello. Objective(s):

knowledge: Acquisition of the basic developmental stages of Gothic style in architecture, sculpture, and painting in Europe. Knowledge of the most significant monuments and artists of the Gothic period and stylistic characteristics of specific European regions/states, with emphasis on the age of early Humanism in Italy (1300-1450). skills: Recognition and interpretation of the most significant artistic manifestations in architecture and figural arts of the Gothic period (basic attribution and dating of the works) with the use of basic methodology and terminology of art history. competences: Unhindered observation and understanding of subject matter of the following stylistic period. Compulsory reading:

1. H. W. Janson –Anthony F. Janson (2003) Gotička umjetnost, in: Povijest umjetnosti, Varaždin: Stanek. pp.320-381

2. Robert Branner (1992), Gothic Architecture, New York: George Braziller. 3. A. E. Brandeburg (1989) Gothic art, New York: Harry N. Abrams. Or : Andrew

Martindale (1988) Gothic Art, London: Thames and Hudson.

23

Additional reading: 1. Lionello Venturi (1957) Od Giottta do Chagalla [original title: Come si guarda un

quadro], Zagreb. (Introduction and Chapters 1 and 2) 2. Otto von Simson (2003) Porijeko gotičke arhitekture i srednjovjekovna

koncepcija reda, in: Katedrala: Mjera i svjetlost (ed. Milan Pelc), Zagreb: Institut za povijest umjetnosti.

3. Jacques le Goff (1998) Srednjovijekovna civilizacija zapadne Europe, Zagreb: Golden marketing.

4. The Art of Gothic (2004) Koeln: Koenemann. (Chapters on painting and sculpture)

5. Storia dell'Arte Italiana 2 (1990), Milano: Electa/Bruno Mondadori. (pp. 10 –116; Chapter 9 – Il Trecento. L'arte e la realta visibile, Chapter 10 – Il gotico Internazionale)

24

Prof. Sanja Cvetnić, Ph.D. (Assistant) Title of the course:

RENAISSANCE AND BAROQUE VISUAL ARTS

ECTS credits:

5

Language:

Croatian

Duration:

1 semester (4th semester)

Status:

Compulsory




Completed 3rd semester

Exam:

Written exam (2 exams and 2 seminar papers); the final grade is composed of: 10% attendance; 10% seminar – analysis of a work of art; 20% seminar at field study; 30% written exam: Renaissance and Mannerism; 30 % written exam: Baroque

Syllabus:

The course provides an overview of stylistic changes, artistic manifestations, and protagonists among the artists and orderers in the period between the 15th and 18th century in world (European) and Croatian art. Objective(s):

knowledge: relevant facts about the protagonists (artists, tractate writers, and orderers) and the periodization of painting, sculpture, graphics, and artes minores in the period between the 15th and 18th century in world and Croatian heritage. skills: stylistic analysis of a work of art, writing of seminar papers using the basic scientific apparatus. compentence: recognition of stylistic formations, interpretation of selected works and manifestations. Compulsory reading:

1. AAVV, Hrvatska renesansa (2004) Zagreb: Galerija Klovićevi dvori. (edited by Miljenko Jurković and Alain Erlande-Brandenburg). pp. 134-220 and catalogue items

2. AAVV, Hrvatska i Europa III. Barok i prosvjetiteljstvo (2003). Zagreb: Hrvatska akademija znanosti i umjetnosti; Školska knjiga. (edited by Ivan Supičić and Ivan Golub). pp. 618-702

3. H. W. Janson, Anthony F. Janson (2003 [1962]) Povijest umjetnosti (supplemented edition), Varaždin: Stanek. pp. 403-649

4. Lionello Venturi (1957) Od Giotta do Chagala, Zagreb: Mladost. [translation of: Come si guarda un quadro, 1st edition 1947]

5. Work material available to every student (presentations, i.e. scanned reproductions with keys and footnotes).

25

Additional reading:

1. Heinrich Wölfflin (1969) Klasična umjetnost. Zagreb: Matica hrvatska. [translation of: Die klasische Kunst: eine Einfuehrung in die italienische Renaissance, 1st edition 1899.]

2. AAVV , Manirizam (2000). Zagreb: Institut za povijest umjetnosti. (edited by Milan Pelc).

3. AAVV, Zlatno doba Dubrovnika XV. i XVI. stoljeće (1987) Exhibition catalogue, Zagreb: Muzejski prostor. (edited by Vladimir Marković).

4. Anđela Horvat, Radmila Matejčić, Kruno Prijatelj (1982) Barok u Hrvatskoj, Zagreb: Liber.

5. Monographs of artists and collection catalogues from the series Classici dell'arte (Rizzoli), and Muzeji svijeta (Mladost).

26

Prof. Nada Grujić, Ph.D. (Tenure); Dubravka Botica, M.A. (Teaching Assistant) Title of the course:

RENAISSANCE AND BAROQUE ARCHITECTURE

ECTS credits:

5

Language:

Croatian

Duration:


Status:

Compulsory


2 hours of lecture and 1 hours of seminar per week, 1 hour of field study


Completed 3rd semester

Exam:

Written exam (exams in the 8th and 15th week); the final grade is composed of: 10% attendance; 10% seminar – analysis of architecture; 20% seminar at field study; 30% written exam: Renaissance architecture; 30 % written exam: Baroque architecture.

Syllabus:

The course provides an overview of European and Croatian architecture from the 15th to 18th century. The subject matter of European architecture is presented with special emphasis on the manifestations that are relevant to Croatian architecture of Renaissance and Baroque. Objective(s):

knowledge: Understanding the chronological, stylistic and typological aspects of Renaissance and Baroque architecture in Croatia and Europe. skills: written and oral analysis of architecture. competence: ability to recognize and interpret stylistic forms of Renaissance and Baroque in architecture. Compulsory reading:

1. Frédérique & Yves Pauwels-Lemerle (1998) L'Architecture à la Renaissance. Paris: Flammarion.

2. AAVV , Hrvatska renesansa (2004) Zagreb: Klovićevi dvori. Edited by Miljenko Jurković, Alain Erlande-Brandenburg. (chapters on architecture)

3. Baroque (1997), ed. R.Tolman, Köln: Könemann. (chapters on architecture) 4. Horvat, Anđela- Matejčić, Radmila-Prijatelj, Kruno (1982) Barok u Hrvatskoj, Zagreb:

Sveučilišna naklada Liber. (chapters on architecture) 5. H. W. Janson, Anthony F. Janson (2003 [1962]) Povijest umjetnosti (supplemented

edition) Varaždin: Stanek. pp. 403-649, chapters on architecture Additional reading:

1. AAVV, Zlatno doba Dubrovnika XV. i XVI. stoljeće (1987) Exhibition catalogue.

27

Zagreb: Muzejski prostor. (edited by Vladimir Marković) 2. R. Ivančević, A.Horvat, N.Šumi (1985) Renesansa u Hrvatskoj i Sloveniji, Beograd. pp.

23-61 3. A.Horvat (1975) Između gotike i baroka, Zagreb. 4. L.H. Heydenreich (1996) Architecture in Italy 1400-1500, New Haven: Yale University

Press. 5. W. Lotz (1995) Architecture in Italy 1500-1600, New Haven: Yale University Press. 6. Norberg-Schulz, Christian (1979) Baroque Architecture, New York: Electa/Rizzoli. 7. Norberg-Schulz, Christian (1980) Late Baroque and Rococo Architecture, New York:

Electa/Rizzoli. 8. Wittkower, Rudolf, The Pelican History of Art: Art and Architecture in Italy 1600-1750,

Yale University Press. (chapters on architecture) 9. Kultura pavlina u Hrvatskoj 1244-1786 (1989), Zagreb: MUO. pp. 111-125 10. Isusovačka baština u Hrvata (1992), Zagreb: MCG. pp. 41-74 11. Sveti trag, 900 godina umjetnosti Zagrebačke nadbiskupije 1094.-1994. (1994), Zagreb:

Muzej Mimara. pp. 233-370

28

Prof. Zvonko Maković, Ph.D. (Associated); Krunoslav Kamenov, M.A. (Teaching Assistant); Dragan Damjanović, B.A. (Teaching Assistant) Title of the course:

ART OF THE 19TH CENTURY

ECTS credits:

5

Language:

Croatian

Duration:


Status:

Compulsory


2 hours of lecture, 1 hour of seminar, and 1 hour of practical classes (field study) per week


Completed 4th semester

Exam:

Written exam (exams in the 8th week and at the end of the semester), seminar paper during the semester

Syllabus:

The concept of the lectures is 2-hour content units. Seminars are a separate unit whose content will follow the lectures. The seminars shall include as much individual work as possible. Besides the classical seminar papers with presentation to the class, which every student shall have to write and present, with the objective of excercising written and oral presentation, the seminars shall include analyses of works, with the objective of practicing this basic skill of art historians, as well as practical work, such as: analyses of specific works in the field, be they specific buildings, paintings, or sculptures, in the form of shorter papers, and student guidance through current exhibitions. Objective(s):

The objective of the course "Art of the 19th Century" is acquisition of a systematic knowledge of the history of 19th century art in Croatia and the world through lectures, writing and presentation of seminar papers, and field study. The course shall attempt to develop the students' skills of written and oral presentation. Compulsory reading:

1. Janson, H. W. (2003) Povijest umjetnosti, Varaždin: Stanek. (chapters related to the 19th century)

2. From the Classicist to the Impressionists. Art and Architescture in the 19th Century (1966), selected and edited by Elizabeth Gilmore Holt. New Heaven and London: Yale University Press.

3. Larousse Encyclopedia of Modern Art from 1800 to Present day (1965), London: Hamlyn.

4. Pevsner, N. (1975) Pioneers of Modern Design, From William Morris to Walter Gropius, London. (Croatian translantion: Grafički zavod Hrvatske, Zagreb, 1990.)

5. Bidermajer u Hrvatskoj (1997) Exhibition catalogue, Zagreb: Muzej za umjetnost i obrt.

29

(sections related to painting, sculpture, and architecture) 6. Historicizam u Hrvatskoj (2000) Exhibiton catalogue, Zagreb, Muzej za umjetnost i obrt.

(sections related to painting, sculpture, and architecture) 7. Secesija u Hrvatskoj (2004) Exhibiton catalogue, Zagreb: Muzej za umjetnost i obrt.

(sections related to painting, sculpture, and architecture) Additional reading:

1. Nineteenth Century Art. A Critical History (New edition 2002), Eisenman, P. (ed.), London: Thames & Hudson. (selected chapters)

2. Benevolo, L. (1971) Modern architecture, Cambridge: MIT Press. 3. Gamulin, G. (1997) Hrvatsko slikarstvo XIX. stoljeća, Zagreb: Naprijed. 4. Gamulin, G. (2001) Hrvatsko kiparstvo XIX. I XX. stoljeća, Zagreb: Naprijed. 5. Gagro, B. (1982) Putevi modernosti u hrvatskom slikarstvu, in: Počeci jugoslovenskog

modernog slikarstva, Exhibition catalogue, Beograd: Muzej savremene umetnosti. 6. Grčević, N. (1981) Fotografija devetnaestog stoljeća u Hrvatskoj, Zagreb: DPUH.

30

Prof. Zvonko Maković, Ph.D. (Associated) Title of the course:

ART AFTER THE YEAR 1900

ECTS credits:

5

Language:

Croatian

Duration:


Status:

Compulsory


2 hours of lecture, 1 hour of seminar, and 1 hour of practical classes (field study) per week



Exam:

Written exam (exams in the 8th week and at the end of the semester), seminar paper during the semester

Syllabus:

The concept of the lectures is 2-hour content units. The content of the seminars will follow the lectures and they will encourage individual work. Emphasis will be put on perfecting written and oral presentation. There will be regular analyses of specific works of art, but also reading of theoretical and critical texts relevant for the subject matter of the course. The practical classes shall take place in museums, galleries, or artists' ateliers as often as possible. Objective(s):

The objective of the course is to get acquainted with the new and latest artistic production and observe it in the context of society, politics, and economic order. The course shall also attempt to break the convential attitudes about the "incoherence" and "estrangement" of modern and contemporary art. Special emphasis will be on reading and following not only the works of visual arts, but also literature, film, theatre… and establishing relations between them. Students will also be expected to maximally develop their skills of argumented presentation. Compulsory reading:

1. H. W. Janson, Anthony F. Janson (2003 [1962]) Povijest umjetnosti (supplemented edition), Varaždin: Stanek. pp. 403-649 (chapters related to the 20th century)

2. Ruhberg – Schneckenburger – Fricke – Honnef (2002) Umjetnost 20. stoljeća, Taschen. Or : Croatian edition by the publisher VBZ, Zagreb, (will be published in the spring of 2005).

3. Gamulin, G. Hrvatsko slikarstvo XX. stoljeća. Volume I. Zagreb: Naprijed. 4. Gamulin, G. (2001) Hrvatsko kiparstvo XIX. i XX. stoljeća, Zagreb: Naprijed. 5. Rus, Z. - Denegri, J. (1980) Apstraktna umjetnost u Hrvatskoj I-II, Split.

31

Additional reading: 1. Horvat-Pintarić, V. (2001) Svjedok u slici, Zagreb: Matica hrvatska. 2. Reberski, I. (1997) Realizmi dvadesetih godina, Zagreb: IPU-Ar Tresor Studio. 3. Denegri, J. (2000) Umjetnost konstruktivnog pristupa – EXAT 51 – Nove tendencije,

Zagreb: Horetzky. 4. Nova umjetnička praksa Exhibition catalogue, Zagreb: Galerija suvremene umjetnosti. 5. Yves Michaud (2004) Umjetnost u plinovitu stanju, Zagreb: Naklada Ljevak.

32

Prof. Milan Pelc, Ph.D. (Assistant) Title of the course:

Title of the subject: THEORY AND HISTORY OF ART HISTORY Title of the course: HISTORY AND METHODS OF ART HISTORY

ECTS credits:

2

Language:

Croatian

Duration:


Status:

Compulsory


2 hours of lecture per week



Exam:

Oral

Syllabus:

The course is based on Wölfflin's theory on the concurrence of art history and history of artistic creation. Within this theory, the history of art history encompasses historiographic and theoretical ideas on visual arts and architecture from Antiquity to the second half of the 20th century. Writing about art is interpreted in a culturological context of a specific historical period. The subject matter is divided in chronological and problem sections. Within this the most important interpretation methods of the 19th and the first half of the 20th century are explained. Objective(s):

The course introduces the students to the most important characteristics of art-history historiography, its connection with artistic creation, and its position within the culturological context of a specific historical period. At the same time, the students are introduced to the methods of scientific analysis and interpretation of art-history subject matter, which they will partially apply in their own work as art historians. Compulsory reading:

1. Udo Kultermann (2002) Povijest povijesti umjetnosti, Zagreb. 2. Jan Bialostocki (1986) Povijest umjetnosti i humanističke znanosti, Zagreb. 3. The Art of Art History. A critical anthology (1998) Edited by Donald Preziosi.

Oxford;New York. (selected chapters) 4. Art History and its Methods. A critical anthology (1995 [1999]) Selection and

commentary by Eric Fernie, London. (selected chapters) Additional reading:

1. Erwin Panofsky (1968) Idea. A Concept in Art Theory, Columbia. (original in German: Idea. Ein Beitrag zur Begriffsgeschichte der älteren Kunsttheorie, 1st edition 1924)

33

2. Erwin Panofsky, Ikonografija i ikonologija: uvod u proučavanje renesansne umjetnosti, in: Život umjetnosti 17/1972, pp. 67-79.

3. Walter Benjamin, Umjetničko djelo u doba svoje tehničke reproduktivnosti, in: Život umjetnosti, 6/1968, pp. 67-80.

4. Bečka škola povijesti umjetnosti (1999), edited by Snješka Knežević. Zagreb. 5. Ideal. Forma. Simbol. Povijesnoumjetničke teorije Winckelmanna, Wölfflina i Warburga

(1995), edited by Milan Pelc, Zagreb. 6. W. S. Heckscher Geneza ikonologije, in: Aby Warburg (1996) Ritual zmije, Zagreb. 7. W. Worringer Apstrakcija i uživljavanje, in: Duh apstrakcije (1999) (edited by Marcel

Bačić), Zagreb. 8. V. Kandinski O duhovnom u umjetnosti, in: Duh apstrakcije (1999) (edited by Marcel

Bačić), Zagreb. 9. Michael Podro (1982) The Critical Historians of Art. New Haven and London. 10. Germain Bazin (1986) Histoire de l'histoire de l'art de Vasari à nos jours, Paris. 11. Julius Schlosser (1924) Die Kunstliteratur. Ein Handbuch zur Quellenkunde der

neueren Kunstgeschichte, Vienna (any edition); Italian edition: La Letteratura artistica, Firenca 1956 (2nd edition)

12. Hermann Bauer (1976) Kunsthistorik. Eine kritische Einführung in das Studium der Kunstgeschichte, München (any edition).

13. Histoire de l'histoire de l'art. Tome I. de l'Antiquitè au XVIIIe siècle (1995) Paris. 14. Albert Dressler (1968) Die Geschichte der Kunstkritik, München. 15. Arnold Hauser (1977 [1959]) Filozofija povijesti umjetnosti, Zagreb.

34

Prof. Jasna Galjer, Ph.D. (Associated) Title of the course:

Title of the subject: THEORY AND HISTORY OF ART HISTORY Title of the course: CONTEMPORARY THEORY AND CRITICISM OF VISUAL ARTS

ECTS credits:

2

Language:

Croatian

Duration:


Status:

Compulsory





Exam:

Written exam (exams in the 8th week and at the end of the semester)

Syllabus:

The themes of the course are concepts, methods, and functions of theory and criticism of contemporary visual arts as a system of interdependent metalanguage practices. The focus is on their communication aspects in the context of contemporary cultural theory, i.e. the application of basic theoretical and methodological approaches in contemporary art history. The content of the course was conceived around the developmental courses of theoretical and critical discourse in the 20th century, in order to view their role and significance in relation to the current artistic production and define the fields of theory of art, theory of the artist, and theory in art. The thematic units of the course include evenly presented both the textual tradition and the visual aspect, and are analysed on selected examples. The basic terms and aspects of problem relations are explained, like Modernism and Post-Modernism, and heterogeneity and pluralism of theoretical tendentions, which occur by the application of structuralist and post-structuralist theories of politics, culture, and media. Objective(s):

Acquisition of knowledge about the primary models of the modern and current theory and criticism of visual arts; competence to apply general knowledge of subject matter of specific historical periods on the level of synthesis of inter-relations of history and theory of art, visual arts criticism and visual culture; acquisition of basic knowledge of the institutionalized forms of art history (academies, museums, galleries, exhibitions, art market, magazines), as well as alternative models of curatorship, marketing, and cultural policy. Compulsory reading:

1. Art in Theory 1900-2000. An Anthology of Changing Ideas (2003) edited by Harrison, Ch., Wood, P., Blackwell Publishing. (selected chapters)

35

Additional reading: 1. Theory in Contemporary Art since 1985 (2004), edited by Kocur, Z., Leung, S.,

Blackwell Publishing. 2. Critical Terms for Art History (2003), edited by Nelson, R. S., Shiff, R., Chicago: The

University of Chicago Press.

36

Prof. Ivo Maroević, Ph.D. (Tenure); Prof. Zlatko Juri ć, Ph.D. (Assistant) Title of the course:

CONSERVATION

ECTS credits:

3

Language:

Croatian

Duration:


Status:

Compulsory





Exam:

Written

Syllabus:

1) Basic terms – the purpose of conservation; 2-7) History of conservation in Europe I – VIII; 8-9) History of conservation in Croatia I-II; 10) The values of cultural heritage; 11-12) Types of monuments I-II; 13) Causes of damage; 14) Types of interventions; 15) Research and documentation Objective(s):

Introduction to the phenomenon of cultural heritage, and development of methods and forms of conservation. Knowledge acquisition on conservation principles. Compulsory reading:

1. Feilden, Bernard M. (1981) Uvod u konzerviranje kulturnog nasljeđa, Zagreb: Društvo konzervatora Hrvatske.

2. Marasović, Tomislav (1983) Zaštita graditeljskog nasljeđa – Povijesni pregled s izborom tekstova i dokumenata, Zagreb: Društvo konzervatora Hrvatske.

3. Maroević, Ivo (1986) Sadašnjost baštine, Zagreb: Društvo povjesničara umjetnosti Hrvatske. (selected chapters)

37

3.3. Graduate programme of Art History – main characteristics:

• The study programme is divided into two programmes (research and teachers'), and the research programme can be a major-minor programme (A+B) and a double major programme (AA), while the teachers' programme in the form of (3+2) and 300 ECTS credits can be studied only as a single major "research-teachers'" programme.

• The double major teachers' programme is only possible above 120 ECTS credits. Research programme

• Credits: in the graduate study programme, the student of the A study programme should, together with the diploma paper, accumulate 90 ECTS credits (45 professional courses + 15 Faculty courses + 30 diploma), whereas in the B study programme the student accumulates a minimum of 30 ECTS credits – which enables the student to finish the second study programme (B programme) as an A programme in an additional year of the study (60 ECTS credits).

• Modules: partial specialization is carried out by the selection of one of four offered modules.

• Three modules were conceived by periods (1. Art of Antiquity and the Middle Ages, 2. Renaissance and Baroque Art, 3. Modern and Contemporary Art), while the fourth is the Conservation of cultural heritage module

• The basic structure of the three chronological modules: consists of 3 courses (1 -compulsory course of the module, 2 - elective course of the module and 3 – elective course of the Department/Faculty), and the student chooses one of the courses of the Faculty/University individually or as arranged with his mentor; the remaining 2 courses are of the second study programme (B study programme)

• The compulsory course of the module is conceived to give the student a wider insight into the basic methodological questions of the selected period

• Conservation of cultural heritage module: having in mind the specific quality of the Conservation module, which has more compulsory courses (8 compulsory courses in 4 semesters, 6 elective courses of the Department [DoAh], and one elective course of the Faculty/University) in the last, 10th semester the diploma paper carries 20 ECTS credits (40+25+5+20 = 90 ECTS points)

• Single major study programme (A++): created by a proportionate expansion of courses of Art History on the B major by adding up to 4 courses of Art History and 2 courses of the Faculty

Teachers’ programme

• Single major study programme: the structure of the programme consists of 30 ECTS credits from professional courses + 60 ECTS credits from courses of teaching competence + 15 ECTS credits from elective courses of the Department/Faculty/University + 15 ECTS credits from the diploma paper = 120 ECTS credits

• The single major study provides full working hours for a small number of teachers of Art History, and thus the only possible solution is the offer of a double major teachers’ programme (while having in mind that 120 ECTS credits is not enough for gaining professional and teaching competences and writing a diploma paper, the double major study programme must necessarily be prolonged, with a smaller number of courses of

38

teaching and/or professional competence, for the as yet undefined senior undergraduate year or the also undefined 11th semester)

• Double major study programme – keeping a minimum of 25 ECTS credits from professional courses for each of the programmes, and dependent on the number of points of Common teaching competence (CTC) and those of the second study programme (A2), the teachers’ programme might be finished with 135 to maximum of 150 ECTS credits

Title of the course – study programme ECTS

Common teaching competence (CTC) 25-30 Professional courses - A1 (Art History) 25 Teaching Methods - A1 15 Teaching Methods - A1 – practice 10 Professional courses - A2 25-30 Teaching (+ practice) - A2 15-25 Diploma paper - A1 or A2 15

Total 135 -150

Research-teachers’ programme in a single major study programme

Single major teachers’ programme enables the student to obtain professional and teaching competence by writing a full-scope diploma paper (30 ECTS credits), but in this case the student does not have the possibility of choice of courses of the Faculty/University in the sum of 15 ECTS credits (credits structure of this study: 30 ECTS credits of professional courses + 30 credits diploma paper + 60 ECTS credits of teaching competence)

39

3.3.1. Research programme

• Modules: partial specialization is carried out by the selection of one of four offered modules

• Credits: in the graduate study programme, the student of A study programme should, together with the diploma paper, accumulate 90 ECTS credits (45 professional courses + 15 Faculty courses + 30 diploma paper), whereas in the B study programme the student accumulates a minimum of 30 ECTS credits – which enables the student to finish the second study programme (B programme) as an A programme in an additional year of the study (60 ECTS credits)

• Three modules were conceived by periods (1. Art of Antiquity and the Middle Ages, 2. Renaissance and Baroque Art, 3. Modern and Contemporary Art), while the fourth is the Conservation module

• The basic structure of the three chronological modules: consists of 3 courses (1 -compulsory course of the module, 2 - elective course of the module and 3 – elective course of the Department/Faculty), and the student chooses one of the courses of the Faculty/University individually or as arranged with his mentor; the remaining 2 courses are of the second study programme (B study programme)

• The compulsory course of the module is conceived to give the student a wider insight into the basic methodological questions of the selected period, and thus all compulsory modules are conceived in the following thematic units: Problems of Style, Research Activities and Methods, Interpretation of Works

• Conservation of cultural heritage module: having in mind the specific quality of the Conservation module, which has more compulsory courses (8 compulsory courses in 4 semesters, 6 elective courses of the Department [DoAh], and one elective course of the Faculty/University) in the last, 10th semester, the diploma paper carries 20 ECTS credits (40+25+5+20 = 90 ECTS credits)

• Single major study programme (A++): created by a proportionate expansion of courses of Art History on the B major by adding up to 4 courses of Art History and 2 courses of the Faculty (thus it does not have a separate tabular presentation).

40

3.3.1.1. Double major study programme (A+B) – research programme

major Title of the course L S PC ECTS Title of the course L S PC ECTS

VII. semester VIII. semester

A1 1. Compulsory course – Problems of Style

1

1

1

5 1. Compulsory course – Research Activities and

Methods

1

1

1

5

A1 2. Elective course of the module

1 1 1 5 2. Elective course of the module

1 1 1 5

A1 3. Elective course of the module (DoAH)

1 1 1 5 3. Elective course of the module (DoAH)

1 1 1 5

FoPh 4. Elective course (FoPh) 5 4. Elective course (FoPh) 5 A2 5. B major 5. B major A2 6. B major

10 6. B major

10

Total 30 Total 30 IX. semester X. semester

A1 1. Compulsory course – Interpretation of Works

1

1

1

5

A1 2. Elective course of the module

1 1 1 5

A1 3. Elective course of the module (DoAH/FoPh)

- - - 5

FoPh 4. Elective course (FoPh) 5 A2 5. B major

A2 6. B major

10

Total 30

1. Diploma paper

30

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3.3.1.2. Double major study programme (A+B) – research programme –Conservation of Cultural Heritage module

major Title of the course L S PC ECTS Title of the course L S PC ECTS

VII. semester VIII. semester

A1

1. History and Theory of the Conservation of Cultural Heritage in Europe 15- 19th century

1 1 1 5

1. History and Theory of the Conservation of Cultural Heritage in Europe - 19th and 20th centuries

1 1 1 5

A1 2. Conservation of Immovable Heritage I

2 1 1 5 2. Conservation of Movable Heritage I

2 1 1 5

A1 3. Elective course of the module – DoAH

1 1 1 5 3. Elective course of the module – DoAH

1 1 1 5

A1 4. Elective course of the module – DoAH

1 1 0 5 4. Elective course of the module – DoAH

1 1 0 5

A2 5. B major 5. B major A2 6. B major

10 6. B major

10

Total 30 Total 30 IX. semester X. semester

A1

1. History and Theory of the Conservation of Cultural Heritage in Croatia - 19th century

1 1 1

5

1. History and Theory of the Conservation of Cultural Heritage in Croatia - 20th century

2 1 1 5

A1 2. Conservation of Movable Heritage II

2 1 1 5 2. Conservation of

Immovable Heritage II 2 1 1 5

FF 3. Elective course - FoPh 5 A2 4. - 6. B major 15 3. Diploma paper 20

Total 30 Total 30

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3.3.2. Description of graduate study programme 3.3.2.1. Module "Art of Antiquity and the Middle Ages"

By studying the graduate module Art of Antiquity and the Middle Ages, the student is prepared for scientific research of themes from art of Antiquity and the Middle Ages. The condition for admission to the graduate study is completed 3-year undergraduate programme of art history. The double major programme is composed of compulsory courses which deal with the general questions related to the problems and style development, and one of the elective courses. In the single major study programme, the student selects two more elective courses through which he acquires additional knowledge and competences for further individual work on selected themes. For the single major programme students of this module, Latin is also compulsory. The emphasis is on introduction of students to new research, especially those connected with the Croatian artistic heritage, and the critical approach to some conventional theories and opinions. The student is taught a comparative approach to domestic material, i.e. viewing the subjects of Croatian art history in a European context, and by selection of courses from other Departments of the Faculty of Philosophy, the student is encouraged towards the necessary interdisciplinary approach to research.

The student shall apply all acquired knowledge in the creation of the diploma paper, in which he shall show the abilities of individual collection, interpretation and analysis of subject matter.

The students will be able to continue the study on the Ph.D. studies. This study shall also be open for students which had studied to be teachers, but they will have to compensate for some differences from the graduate scientific programme.

All the courses are open for students of other Departments which are interested in art of Antiquity and the Middle ages, but for some of them the condition of admission is a previously completed course. Module coordinator Prof. Igor Fisković, Ph.D. (Tenure)

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Prof. Miljenko Jurkovi ć, Ph.D. (Tenure), Nikolina Marakovi ć, B.A. Title of the module: ART OF ANTIQUITY AND THE MIDDLE AGES

Title of the course: ART OF EARLY MIDDLE AGES IN ISTRIA ECTS credits: 5 Language: Croatian Duration: 1 semester (7th semester) Status: Compulsory for the module Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study Conditions of admission: Completed 6th semester Examination: seminar paper, written exam

Syllabus: Architecture and visual arts of the early Middle Ages in Istria – a general overview of early medieval history and artistic heritage of Istria, presentation of recent research in Novigrad, Bale, Guran near Vodnjan, with emphasis on the methodology of research and new knowledge of the period of the early Middle Ages in that area. Course objectives:

Introduce the student to the early medieval monuments in Istria. Introduce the student to the recent archaeological research and changes in the

methodology of research in the last ten years. Understanding of the basic problems of the development of style and acquiring new

terminology. Understanding of the early medieval heritage of Istria in the European context. Autonomous creation of seminar papers on proposed themes.

Compulsory reading:

Hrvati i Karolinzi (2000), Exhibition catalogue, Split. (chapters on early Middle Ages art

in Istria) M. Jurković (1996) Novigrad (cultural-historical guide), Split. M. Jurković-I. Matejčić (2002) Lapidarij u Balama (cultural-historical guide), Split-Bale. I. Matejčić (1997) Dvije crkve (Dvije srednjovjekovne crkve, istraživanje i obnova),

Rovinj.

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Hortus artium medievalium: No. 1, 1995: M. Jurković, "Il ciborio di Novigrad" No. 2, 1996, No. 3, 1997, No. 4, 1998, No. 5, 1999, No. 6, 2000:

J.-P. Caillet-M. Jurković-P. Chevalier-I. Matejčić – previous reports on archaeological excavation at the locality of Sv. Marija Velika near Bale

No. 8, 2002: T. Milošević, "The Iron Cross from Dvigrad" M. Jurković, "Maitre des chapiteaux de Bale"

No. 9, 2003, No. 10, 2004: J. Terrier-M. Jurković-Matejčić - previous reports on archaeological excavation at the localities of the three-naved basilica and church of St. Šimun in Guran near Vodnjan

Additional reading: related to the themes of individual seminar papers

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Prof. Igor Fisković, Ph.D. (Tenure) Title of the module: ART OF ANTIQUITY AND THE MIDDLE AGES Title of the course: SCULPTURE IN CROATIA FROM THE 11TH TO THE 16TH

CENTURY ECTS credits: 5 Language: Croatian Duration: 1 semester (8th semester) Status: Compulsory Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study Conditions of admission: Completed 7th semester Examination: written and oral exam, seminar paper

Syllabus: An overview of sculptural heritage in chronological order and through the development of style during six centuries in all parts of Croatia. Explanation of occurrence of distinctive creators (sculptors) and following of the reception of foreign influences and dispersion of figural and iconographic models in the formation of regional characteristics and synthetic definitions of the dictionary of sculpture in the leading cultural centres. Course objectives: Explanation of the processes of formation, transfer, and reception of early Romanesque, Romanesque, and Gothic style through the sculptural heritage of the Middle Ages in Croatia, viewed as a part of an international and regional manifestation. Explanation of the historical and social circumstances of its conditionalities. Opening of the possibility, through the subject of the sculpture, as well as its formal characteristics, of different interpretations of previous explanations of the phenomenon of “delayed” style, anachronical or “avant-garde” manifestations, and thus enable the student to view more critically the roles and significance of individual works, their distinguished creators, and societies in which they worked.

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Compulsory reading: J. Belamarić, Romaničko kiparstvo, in: TISUĆU GODINA HRVATSKOG KIPARSTVA (1997)

Zagreb. pp. 41-75 Fisković, Gotičko kiparstvo, in: TISUĆU GODINA HRVATSKOG KIPARSTVA (1997) Zagreb.

pp. 95-138 Fisković, Renesansno kiparstvo, in: TISUĆU GODINA HRVATSKOG KIPARSTVA (1997)

Zagreb. Ivan Duknović i njegovo doba (1996) in: Proceedings of the symposium – Trogir 1992.

(edited by I. Fisković), Trogir. Additional reading: as required for seminar papers

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Prof. Predrag Markovi ć, Ph.D. (Assistant)

Title of the module: ART OF ANTIQUITY AND THE MIDDLE AGES Title of the course: ARCHITECTURE IN ADRIATIC DALMATIA FROM THE

13TH TO THE 15TH CENTURY ECTS credits: 5 Language: Croatian Duration: 1 semester (8th semester) Status: Compulsory Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study Conditions of admission: Completed 7th semester Examination: written and oral exam, seminar paper

Syllabus: The course shall point out and explain the basic forms and developmental courses of the Gothic style on the most significant examples of sacral architecture on the eastern Adriatic coast, not neglecting the changes in the public and residential architecture of the time. The focus is on the recognition of specific forms of the Gothic style regarding its spatial-typological, constructive, and morphological characteristics. The subject matter is viewed in three developmental phases (1. the beginnings and monuments of the transitional period, 1250-1350; 2. the period of affirmation, 1350-1450; and 3. the late Gothic style and "Mixed style", 1450-1500), and according to types of monuments (preaching architecture, architecture of large three-naved basilicas, architecture of parish churches and chapels, residential and public architecture). The problems of reception of style and its spread are shown on works of unequal style, taking into account the variety of projects (residential, public, and sacral architecture) and the orderers. Course objectives: Knowledge of the most significant monuments and creators of Gothic architecture on the eastern Adriatic coast. Definition of poorly researched or insufficiently known segments of the said architecture. Understanding of the process of transfer, creation and acquisition of individual stylistic elements in relation to the historical-political, traditional, and other conditions of its creation (the question of centre and periphery, the relation of typological, constructive, and decorative elements in the formation of style). The development of methodological apparatus, as well as a critical attitude towards previously acquired attitudes and knowledge on individual monuments, artists-builders, and the problems of the so-called “provincial art”.

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Compulsory reading:

Karaman, Lj. (1952) Pregled umjetnosti u Dalmaciji, Zagreb. Karaman, Lj. (1933) Umjetnost u Dalmaciji, XV i XVI vijek, Zagreb. Badurina, A. (1990) Uloga franjevačkih samostana u urbanizaciji dubrovačkog područja, Zagreb. Frey, D. - Mole,V. (1913) Der Dom von Sebenico und sein Baumeister Giorgio Orsini, in:

Jahrbuch des Kunsthistorisches Institutes der K. K. Zentralkommission für Denkmalpflege VII. pp. 1-169 (duplicated translation – published by Institut za povijest umjetnosti)

Folnesics, H. (1914)Studien zur Entwicklungsgeschichte der Architektur und Plastik des XV. Jahrhunderts in Dalmatien, in: Jahrbuch des Kunsthistorisches Institutes der K. K. Zentralkommission für Denkmalpflege VIII. pp. 27-196 (selected chapters – translated)

Additional reading: 1. Fisković, C. (1985) Romaničko-gotički slog samostana Male braće, in: Zbornik

samostana Male braće, Zagreb-Dubrovnik. 2. Klaić, N. - Petricioli, I. (1976) Prošlost Zadra, volume 2, Zadar. (chapters 6, 13) 3. Hilje, E. (1996) Combinations of Romanesque and gothic forms in the architecture of

Zadar, in: Hortus Artium Medievalium 2, Zagreb ; Motovun. pp. 65-76 4. Fisković, I. (1989) Dečani i arhitektura istočnojadranske obale u XIV st., in:"Dečani i

bizantijska umetnost sredine XIV veka”, Naučni skupovi SANU XLIX / 13, Beograd. pp. 23- 33

5. Fisković, I. (1984) Kasnosrednjovjekovne crkvice otoka Korčule, in: Starohrvatska prosvjeta, 14/III, Zagreb. pp. 231 - 258

6. Fisković C. (1939) Korčulanska katedrala, Zagreb. 7. Goran Nikšić (1998) Marko Andrijić i Korčulanska katedrala, in: Godišnjak grada

Korčule 3, Korčula. pp. 75-90 8. Fisković, C. - Prijatelj, K. (1975) Dominikanski samostan u Dubrovniku, Dubrovnik. 9. Šanjek, F. (1988) Crkva i kršćanstvo u Hrvata, Zagreb. pp. 366 -416

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3.3.2.2. Module "Renaissance and Baroque Art"

Professional-research themes that include the periods of Renaissance, Mannerism, and Baroque encompass a great temporal, but an even greater methodological span. The development of clear stylistic formations, the fame of their protagonists, the relation towards tradition, the problems of schools, workshops, and followers, tractates, influences of the orderers, open channels of visual communications, archive sources, iconography, the relation of the centres and periphery – all this is intertwined in the research of works of art. Thus the objective of the study programme is to prepare the student for work on the themes from architecture, painting, sculpture, artes minores, and visual communications in the period between 1400 and 1800. The condition of admission to the module “Renaissance and Baroque Art” is a completed three-year undergraduate study programme of Art History. In the single major study programme, the student takes two additional elective courses, through which he acquires additional knowledge and competences for further individual work on selected themes. Through the compulsory courses, the students acquires knowledge of the specific problems of style in a great span, but with common characteristics (formation, reception and retardation of style), and then the characteristics of individual periods which also cover great time spans (relation towards Antiquity, the idea of classic arts, mannerisms). The problems are discussed on works of art, but also with an analysis of texts of relevance for art history, so that the student is acquainted with the history of his profession. Archived sources will also be analysed, with the objective of learning the research procedure. The student will apply the acquired experience and knowledge in his own research for the diploma paper. Thus the selection of the subject will be directed towards a narrower, unresearched area, but also towards the authenticity of the scientific procedure. The diploma paper thus directs the student towards further scientific and research processing of materials and ideas. Module coordinator: Prof. Sanja Cvetnić, Ph.D. (Associated)

50

Prof. Sanja Cvetnić, Ph.D. (Associated)

Title of the module: RENAISSANCE AND BAROQUE ART Title of the course: PROBLEMS OF STYLE IN RENAISSANCE, MANNERISM,

AND BAROQUE

ECTS credits: 7

Language: Croatian

Duration : 1 semester (7th semester)

Status: Compulsory

Form(s) of realization: 2 hours of lecture, 2 hours of seminar, and 1 hour of field study

per week

Conditions of admission: Completed 6th semester

Examination: two written exams and two seminar papers; the final grade consists of: 10% attendance; 15% seminar paper on a problem of style (as agreed with the teacher); 15 % seminar paper and presentation at field study or in the office; 30% half-term exam; 30 % final exam.

Syllabus: Stylistic changes from the international Gothic style to the late Baroque Mannerism in formation on examples from the world and in reception on examples of Croatian artistic heritage. Course objectives: Knowledge: Chronological overview of stylistic changes from “pure” manifestations of style to stylistic hybrids within individual schools, especially in the works of Croatian artistic heritage. Skills: Recognition of the “dictionary” of a specific stylistic formation. Competence: Stylistic identification and dating of a work of art.

51

Compulsory reading: AAVV, Storia dell’arte italiana (1991), Nuova Edizione II, III, IV (edited by Carlo Bertelli,

Giuliano Briganti, Antonio Giuliano), Milano: Electa Bruno Mondadori. James S. Ackerman (1995 [1985]) The Villa, Form and Ideology of Country Houses,

Princeton, N.J.: Princeton University Press. Giulio C. Argan (1978 [1969]) The Renaissance city, New York: G. Braziller. Thomas DaCosta Kaufmann (1995) Court, Cloister, and City: The Art and Culture of

Central Europe, 1450–1800. Chicago: university of Chicago Press. Sydney Joseph Freedberg (1983) Circa 1600: A Revolution of Style in Italian Painting,

Cambridge, Massachusetts ; London, England: Harvard University Press. Rudolf Wittkower (1999 [1955]) Art and Architecture in Italy, 1600-1750, (new edition,

edited by Joseph Connors and Jennifer Montagu), New Haven: Yale University Press, Additional reading: Note: the student must choose 3 items from this list for the seminar paper. Hans Hoffmann (1938) Hochrenaissance, Manierismus, Frühbarock. Die italienische

Kunst des 16. Jahrhunderts, Zürich: Verlag A.g. Gebr. Leemann & co. Anđela Horvat (1975) Između gotike i baroka: umjetnost kontinentalnog dijela Hrvatske od

oko 1500. do oko 1700, Zagreb: Društvo povjesničara umjetnosti Hrvatske. Vladimir Marković (1985) Zidno slikarstvo 17. i 18. stoljeća u Dalmaciji, Zagreb: Društvo

povjesničara umjetnosti Hrvatske. Vladimir Marković (2004) Crkve 17. i 18. stoljeća u Istri – tipologija i stil, Zagreb: Institut za

povijest umjetnosti. Jennifer Montagu (1989) Roman Baroque Sculpture: The Industry of Art, New Haven: Yale

University Press. Roberta J. M. Olson (1992) Italian Renaissance Sculpture, London: Thames and Hudson. Ingrid Sjöström (c1978) Quadratura: studies in Italian ceiling painting, Stockholm:

[University of Stockholm] distributed by Almqvist & Wiksell International. Kruno Prijatelj (1983) Dalmatinsko slikarstvo XV. i XVI. stoljeća, Zagreb: Grafički zavod

Hrvatske [etc.]. (book from the Monumenta Artis Croatiae series) Radoslav Tomić (1995) Barokni oltari i skulptura u Dalmaciji, Zagreb: Matica hrvatska. Radoslav Tomić (2002) Splitska slikarska baština, Zagreb: Matica hrvatska. Rudolf Wittkower (1998 [1949]) Architectural principles in the age of humanism (5th

edition), Chichester: Academy Editions. (chapters I–III) or ibid. (1994 [1964]) Principi architettonici nell'età dell'umanesimo, Torino: Einaudi.

Rudolf Wittkower (2000 [1955]) Bernini. The Sculptor of Roman Baroque. London: Phaidon.

Proceedings and catalogues: AA.VV. Zlatno doba Dubrovnika XV. i XVI. stoljeće (1987) Exhibition catalogue (edited by

Vladimir Marković), Zagreb: Muzejski prostor. AA.VV. Ivan Duknović i njegovo doba (1996) (edited by Igor Fisković), Trogir ; Zagreb:

Muzej grada Trogira ; Odsjek za povijest umjetnosti Filozofskog fakuteta Sveučilišta u Zagrebu.

AA.VV. Juraj Matejev Dalmatinac, in: Radovi instituta za povijest umjetnosti 3-6 (1979-1982), Zagreb: Institut za povijest umjetnosti,

52

AA.VV. Kultura pavilna u Hrvatskoj 1244.-1786 (1989) (edited by: Đurđica Cvitanović, Vladimir Maleković, Jadranka Petričević), Zagreb: Globus, Muzej za umjetnost i obrt.

AA.VV. Isusovačka baština u Hrvata (1992) (edited by Biserka Rauter Plančić), Zagreb: Muzejsko galerijski centar ; Muzejski prostor.

AA.VV. Sveti trag. Devetsto godina umjetnosti Zagrebačke nadbiskupije 1094.–1994. (1994) (edited by Željka Čorak, Tugomir Lukšić, etc), Zagreb: MGC-Muzej Mimara.

AA.VV. Mir i dobro. Umjetničko i kulturno naslijeđe hrvatske franjevačke provincije sv. Ćirila i Metoda o proslavi stote obljetnice utemeljenja (2000) (edited by Marija Mirković, Franjo Emanuel Hoško), Zagreb: Galerija Klovićevi dvori.

53

Prof. Sanja Cvetnić, Ph.D. (Assistant) Title of the module: RENAISSANCE AND BAROQUE ART Title of the course: 17TH AND 18TH-CENTURY ART IN ZAGREB ECTS credits: 7 Language: Croatian Duration: 1 semester (8th semester) Status: Compulsory Form(s) of realization: 2 hours of lecture, 2 hours of seminar, and 1 hour of field study

Conditions of admission: Completed 7th semester Examination: written exam and seminar papers, the final grade consists of:

10% attendance; 30% seminar paper – analysis and presentation; 30% seminar paper at field study; 30% written exam.

Syllabus: The course provides and overview of artists and works from the 17th and 18th centuries in Zagreb, and the problem of reception of style in the domestic surroundings. After providing the historical context of Zagreb of that period, the students are given insight into the stylistic problems from different forms of Mannerism (retardant mannerism, central European mannerism, Baroque mannerism), acceptance of Baroque, and late manifestations in the Baroque period (Tenebrism in paining, late Baroque mannerism, late Baroque classicism). The students are introduced to the significance of archive work for dating as a confirmation of attribution and determination of the orderer. The classes also take place in the field, in museums, galleries, and churches, where the works are located, and the students prepare and present seminar papers according to a previously agreed schedule, and they are introduced to the archives. Course objectives: Knowledge: Knowledge of architectural and artistic heritage of the 17th and 18th centuries in Zagreb. Skills: Presentation of observations in written form. Competences: Recognition of stylistic differences.

54

Compulsory reading: A. Horvat, R. Matejčić, K. Prijatelj (1982) Barok u Hrvatskoj, Zagreb: Liber. Mirjana Repanić-Braun (2004) Barokno slikarstvo u Hrvatskoj franjevačkoj provinciji sv. Ćirila i Metoda, Zagreb: Institut za povijest umjetnosti.

Exhibition catalogues: AAVV Kultura pavlina u Hrvatskoj 1244.-1786. (1989) (edited by Đurđica Cvitanović,

Vladimir Maleković, Jadranka Petričević), Zagreb: Globus ; Muzej za umjetnost i obrt. AAVV Isusovačka baština u Hrvata (1992) (edited by Biserka Rauter Plančić), Zagreb:

Muzejsko galerijski centar, Muzejski prostor. AAVV Sveti trag. Devetsto godina umjetnosti zagrebačke nadbiskupije 1094.–1994. (1994)

(edited by Željka Čorak, Tugomir Lukšić, etc), Zagreb : MGC-Muzej Mimara. AAVV Mir i dobro. umjetničko i kulturno naslijeđe Hrvatske franjevačke provincije sv. Ćirila i Metoda o proslavi stote obljetnice utemeljenja (2000) (edited by Marija Mirković, Franjo Emanuel Hoško), Zagreb: Galerija Klovićevi dvori.

Additional reading: According to the themes of seminar papers.

55

Prof. Nada Gruji ć, Ph.D. (Tenure)

Title of the module: RENAISSANCE AND BAROQUE ART Title of the course: THEORY OF ART FROM THE 15TH TO THE 18TH

CENTURY ECTS credits: 7 Language: Croatian

Duration : 1 semester (9th semester) Status: Compulsory Form(s) of realization: 2 hours of lecture, 2 hours of seminar, and 1 hour of practical

classes Conditions of admission: Completed 8th semester Examination: two written exams and seminar papers, the final grade consists of: 10%

attendance; 15% seminar paper on one historical theoretical problem (as agreed with the teacher); 15% seminar paper with presentation; 30% half-term written exam; 30% written exam at the end of the semester.

Syllabus:

Introduction to theories of art and understanding of theoretical texts (tractates, dialogues, historiographies of individual schools) and their influence on the formation of works of art, artistic tastes, the canon, style, and repertoire. Course objectives: Knowledge: Knowledge of the protagonists of theoretical thought. Understanding of the role of texts, their art-history significance, and the role in the formation of tastes of the orderers and the public, the critical destiny of artists and their works, and the canon. Skills: Analysis of texts from this period. Comparison of works of art and texts. Competence: Understanding of models of ideas from the 15th to the 18th century.

Compulsory reading:

1. Anthony Blunt (1994 [1940]) Artistic Theory in Italy, 1450-1600, Oxford, New York: Oxford University Press; or: Kunsttheorie in Italien (1984), München.

2. A Documentary History of Art. Volume I: The Middle Ages and the Renaissance (1981 [1947]) (edited by Elisabeth Gilmore Holt), Princeton, New Jersey: Princeton University Press.

3. A Documentary History of Art. Volume II: Michelangelo and the Mannerists. The Baroque and the Eighteenth Century (1982 [1947]) (edited by Elisabeth Gilmore Holt), Princeton, New Jersey: Princeton University Press.

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4. Hanno-Walter Kruft (1985) Geschichte der Architekturtheorie von der Antike bis zur Gegenwart, München: C.H. Beck'sche Verlasbuchhanlung, or: Stora delle toerie architettoniche – Da Vitruvio al Settecento (1988) Roma, Bari: Editori Laterza.

Additional reading:

1. Luciano Anceschi (1984) L'idea del barocco. Studi su un problema estetico, Bologna: Nuova Alfa Editoriale.

2. Gaetana Cantone (1978) La città di marmo – Da Alberti a Serlio la storia tra progettazione e restauro, Roma: Officina Edizioni.

3. Thomas E. Crow (1985) Painters and Public Life in Eighteenth-Century Paris, New Haven, London: Yale University Press.

4. Françoise Fichet (1979) La théorie architecturale à l'âge classique – Essai d'anthologie critique, Bruxelles: Pierre Mardaga édteur.

5. Georg Germann (1987) Einführung in die Geschichte der Architekturtheorie, Darmstadt: Wissenschafliche Buchgesellschaft, or: Vitruve et le vitruvianisme – Introduction à la théorie architecturale (1991), Lausanne: Presses polytechniques et universitaires romandes.

6. Francis Haskell (1980) Patrons and Painters: A Study between Italian Art and Society in the Age of the Baroque, New Haven: Yale.

7. Academies, Museums and Canons of Art (1999) (edited by Gill Perry and Colin Cunningham), New Haven, London: Yale University Press.

8. Erwin Panofsky (2002) Idea, Zagreb: Golden Marketing. [original in German: Idea. Ein Beitrag zur Begriffsgeschichte der älteren Kunsttheorie, 1924]

1. Nikolaus Pevsner (1973 [1940]) Academies of Art, Past and Present, New York: Da Capo Press.

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3.3.2.3. Module "Modern and Contemporary Art"

This module prepares the students for scientific research of themes of architecture, painting, sculpture, new media, and visual communications in the period from the beginning of the 19th century onwards. The condition of admission to the module “Modern and Contemporary Art” is a completed three-year undergraduate programme in Art History. Through the compulsory courses, the students acquires knowledge of the specific problems of style in a great span, but with common characteristics (formation, reception and retardation of style), while the elective courses shall cover the characteristics of numerous styles which occurred during the said centuries (Classicism, Historicism, avant-garde movements in the first half of the 20th century, Enforel, Fluxus, etc.). The problems are discussed on works of art, but also with an analysis of texts of relevance for art history, so that the student is acquainted with the history of his profession. Archived sources will also be analysed, with the objective of learning the research procedure. The explanation of more recent manifestations in art shall be attempted in the context of historical genesis and specificity in relation to tradition (for instance, the term genre in a contemporary installation…). The offered courses shall emphasize Croatian art history, due to its minor representation in the first part of the programme, and having in mind that the subject of the diploma paper should be from Croatian heritage. The student will apply the acquired experience and knowledge in his own research for the diploma paper. Thus the selection of the subject will be directed towards a narrower, unresearched area, but also towards the authenticity of the scientific procedure. The diploma paper thus directs the student towards further scientific and research processing of materials and ideas. Module coordinator: Prof. Zvonko Maković, Ph.D.

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Prof. Zvonko Maković, Ph.D. (Associated) Title of the module: MODERN AND CONTEMPORARY ART Title of the course: IMPRESSIONISM AND POST-IMPRESSIONISM ECTS credits: 5 Language: Croatian Duration: 1 semester (7th semester) Status: Compulsory Form(s) of realization: 1 hours of lecture, 1 hour of seminar, and 1 hour of practical

classes per week

Conditions of admission: Completed 6th semester Examination: 2 written exams and seminar paper Syllabus:

The lectures will consist of content units in 2-hour blocks. Seminars are a separate unit, whose content will follow the lectures, and the students are obliged to regularly read compulsory architecture, sometimes a single shorter text, and, through interpretation of the read material, they should acquire the skill of clear expression and argumentation. A thorough knowledge of individual opuses and the possibility of dating, attributing and recognition of innovative values of interpreted works will also be required. Course objectives: The students of the course “Impressionism and Post-Impressionism” shall acquire knowledge of one of the most intriguing periods of modern art history through its protagonists, works, and historical context. They will be introduced to the innovative values which Impressionism and Post-Impressionism and their key representatives brought to art history. They will also discover the meaning of some key terms, such as Realism, in the context of Impressionism and art of the end of the 19th century. Another objective is to recognize the reasons which some of the critics of modern art discovered in this segment of art, like the roots of the crisis, stagnation and de-humanization, and which will lead to tragic consequences. Through formal analysis of works, the students will be compelled to develop skills of oral and written expression. The final result of the course should be that students are competent to deal with the problems of Impressionism and Post-Impressionism. Compulsory reading: Crow, Thomas – Lukacher, Brian – Nochlin, Linda – Phillips, David L. – Pohl, Frances K.

(2002) Nineteenth Century Art. A Critical History (New edition), London: Thames&Hudson Ltd.

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Herbert, Robert L (1988) Impressionism. Art, Leisure, and Parisian Society, New Haven ; London: Yale University Press.

Postimpresionizam. Izvori moderne umjetnosti (1979), Zagreb: Mladost. (original: Il Postimpressionismo. Le origini dell'arte moderna, Milano: Feltrinelli Fabbri Editori)

Additional reading: Shiff, Richard (1984) Cézanne and the End of Impressionism, Chicago ; London: The

University of Chicago Press. Schapiro, Meyer (1996) Modern Art. 19th and 20th Centuries, New York: George Braziller. Butler, Christopher (1994) Early Modernism, Oxford: Clarendon Press. Frascina, Francis (1993) Modernity and Modernism: French Painting in the Nineteenth

Century, New Haven, Conn.

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Prof. Zvonko Maković, Ph.D. (Associated) Title of the module: MODERN AND CONTEMPORARY ART Title of the course: AVANT-GARDE MOVEMENTS AND POSTMODERNISM ECTS credits: 5 Language: Croatian Duration : 1 semester (8th semester) Status: Compulsory Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes per week Conditions of admission: Completed 7th semester Examination: 2 written exams and a seminar paper Syllabus:

The students will be required to systematically acquire knowledge of the subject matter of different overviews of modern art, read and comment shorter texts or book fragments, and to discuss the acquired knowledge in the seminars. In the seminars, and especially in practical classes, individual observations will be encouraged, and the skills of expression and argumentation will be developed. Course objectives: Knowledge: In the course “Avant-Garde Movements and Postmodernism”, the students shall acquire knowledge of one of the most frequent terms (avant-garde) in modern art. They will be introduced to the protagonists, works, inter-relations, social and historical context, and then the time and reasons when the idea of avant-garde loses its initial value. Along with this, the student will discover the meanings, protagonists and works of the other half of the terminological pair (postmodernism). After the course the student should develop the skill of analysis of works of art from the 20th century, in which the formal description is often not enough, and in order to understand the work it is necessary to know the cultural, political, social, and economic moment in which the work was created. The course should give the students competence to deal with the problems of art history of the 20th century. Compulsory reading: Calinescu, Matei Lica moderniteta. Avangarda, dekadencija, kič, Zagreb: Stvarnost. Micheli, Mario de (1990) Umjetničke avangarde XX. stoljeća, Zagreb. Flaker, Aleksandar (1988) Nomadi ljepote, Zagreb: Grafički zavod Hrvatske. Schmidt, Burghart (1988) Postmoderna – strategije zaborava, Zagreb: Školska knjiga.

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Additional reading: 1. Krauss, Rosalind E. (1999) The Originality of the Avant-Garde and Other Modernist

Myths, Cambridge [etc.]: The MIT Press. 2. Passuth, Krisztina (1988) Les Avant-gardes de l'Europe Centrale 1907-1927, Paris:

Flammarion. 3. Belting, Hans (2003) Art History after Modernism, Chicago ; London: The University of

Chicago Press. (original: Das Ende der Kunstgeschichte. Eine Revision nach zehn Jahren, München: C.H. Beck'sche Verlagsbuchhandlung.)

4. Butler, Christopher (1994) Early Modernism, Oxford: Clarendon Press. 5. Lyotard, Jean-François (1979) La condition postmoderne, Paris: Les Editions de Minuit.

(or in Serbian translation: Žan-Fransoa Liotar (1988) Postmoderno stanje, Novi Sad: Bratstvo-jedinstvo)

6. Huyssen, Andreas (1986) After the Great Divide. Modernism, Mass Culture, Postmodernism, Bloomington ; Indianapolis: Indiana University Press.

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3.3.2.4. Module "Conservation of Cultural Heritage" The graduate study programme of Art History –Conservation of Cultural Heritage module is organized as a double major study programme. The courses of the module are taught in Croatian. The conditions of admission to this module are the completed undergraduate study programme of Art History and active knowledge of at least one foreign language. The programme lasts for four semesters or two years (4th and 5th year of the study). According to the study programme, the course consists of compulsory and elective courses. The student chooses the elective course from the Department of Art History after consultation with the teachers of the Conservation of Cultural Heritage module. All courses last for one semester. The classes are realized in the form of lectures, seminars, and field study (practical classes). The form of realization is to be decided individually for each course. The Conservation of Cultural Heritage module will enable the students for scientific, research, and professional occupation with conservation of cultural heritage. In the historical overviews of conservation of cultural heritage in Europe and Croatia, the emphasis is on a comparative and intercultural approach to the phenomenon of cultural heritage. The overview of European developments will also include the spread of influences to Croatia. Special emphasis will be on the comparison of Croatian developments with the contemporary European context. During the courses "Conservation of Immovable Heritage" and "Conservation of Movable Heritage", the students will be gradually introduced to the current theories and scientific procedures of the conservation process. During the seminars, the students will be introduced to the scientific methods that are used by interdisciplinary teams in the process of conservation of cultural heritage. Additional attention will be given to the organization and activities of an interdisciplinary team. At the beginning of the 9th semester, the students should define the subjects of their master's thesis, and at the same time they will be choose their mentors. Systematic work with the mentor during the 9th and 10th semesters is one of the most important assumptions of the success of the Conservation of Cultural Heritage module. In the 9th semester, the students enrol into the Master's workshop I, and in the 10th semester into the Master's workshop II. The emphasis of the first workshop is on the development of skills and competences in relation with the formulation of the subject of their master's thesis, forming the research process, identification of original subject matter and contemporary research, and drafting a synopsis. In the 10th semester, the emphasis is on the application of methods and techniques of conservation of cultural heritage, theoretical conceptualization and interpretation, textual composition, and work on the language and style. Finishing the graduate study, the student is awarded the title of Master of Arts in Art History –Conservation of Cultural Heritage module. After finishing the Conservation of Cultural Heritage module at the Department of Art History, the students can be employed in state and city cultural heritage conservation institutes, scientific institutes, and economy.

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Prof. Ivo Maroević, Ph.D. (Tenure), Prof. Zlatko Juri ć, Ph.D. (Assistant), Franko Ćorić, B.A. (Teaching Assistant Title of the module: CONSERVATION OF CULTURAL HER ITAGE Title of the course: CONSERVATION OF IMMOVABLE HERITAGE I ECTS credits: 5 Language: Croatian Duration : 1 semester (7th semester) Status: Compulsory Form(s) of realization: 2 hours of lecture, 1 hour of seminar, and 1 hour of practical

classes per week Conditions of admission: Completed 6th semester Examination: written exam Syllabus:

Basic terminology; purpose of protection; the values of imovable cultural heritage; legal protection; international conventions, the Conservation of Cultural Heritage Act, the Construction Act, the Physical and Urban Planning Act. Organization of monument conservation agencies and commissions. Economic aspects of conservation. Conservation research of immovable heritage: art-historical, town-planning, and architectural research. Documentation: current state, historical development, probing, termographic tests, geomechanical tests. Chemical and physical tests, photographic, photogrametric and other documentation. Technical documentation for construction permit and construction work. Registration of an immovable cultural asset and issuing of intervention permit. Ethical standards. Types of immovable cultural heritage. Causes of damage to immovable cultural heritage. Types of intervention: preventive conservation, maintenance, consolidation, restoration, anastylosis, reconstruction, facsimile reconstruction (reproduction). Principles and methods of presentation: last "living" layer, last preserved integral phase, the most valuable preserved layer, stratification as value. Methods of interpolation in historical settings, entities, and individual buildings (facsimile, adaptation, emphasis, contrast).

Course objectives: Understanding and application of the basic theories, professional rules and procedures of protection of cultural heritage. Introduction to the variety of immobile cultural heritage, its characteristics and possible damage, as well as types of interventions. Acquisition of the basic professional terminology. Seminar papers.

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Compulsory reading: (selected chapters) Addis, Bill (1990) The Interaction of Structure and Services, London: The Building Centre

Trust. pp. 1-16 Antolović, Jadran (1998) Ekonomsko vrednovanje graditeljske baštine; Zagreb: Mikrorad.

pp. 1-140 Beckmann, Poul (2003) Structural Aspects of Building Conservation, Oxford: Elsevier. pp.

1-368 Cantacuzino, Sherban (1989) Re/architecture Old Buildings / New uses, New York:

Abbeville Press. pp. 1-224 Dal Bianco, Maria Pia (1995) Palazzo Bricherasio – Restoration and Rehabilitation of a

Palazzo in Turin, Milano: Edizioni Lybra Immagine. pp. 1-158. De La Torre, Martha (2000) Values and Heritage Conservation, Los Angeles: Getty

Conservation Institute. pp. 1-100 De La Torre, Martha (2002) Assesing the Values of Cultural Heritage, Los Angeles: Getty

Conservation Institute. pp. 1-102 Culture and Nature – International Legislative Texts Referring to the Safeguard of

Natural and Cultural Heritage (2003) (edited by Feliu, Carmen Anon), Firenze: Casa Editrice Leo S. Olschki. pp. 1-409

Fischer, Alfred (1994) New Life in Old Buildings – Umnutzung alter Gebaeude und Anlagen – Riuso Esempi di Nuova Vita per Vecchi Edifici , Milano: BE-MA editrice. pp. 1-162

Kurrent, Friedrich (1978) New Building in Old Settings, Munich: Bayerische Architektenkammer and Die Neue Sammlung. pp. 1-50

Maroević, Ivo (1986) Sadašnjost baštine, Zagreb: DPUSRH. pp. 1-389 Mason, Randy & De La Torre, Marta (1999) Economics and Heritage Conservation; Los

Angeles: Getty Conservation Institute. pp. 1-67 Mastropietro, Mario (1996) Restoration and Beyond – Architecture from conservation to

conversion – Projects and works by Andrea Bruno (1960-1995), Milano: Edizioni Lybra Immagine. pp. 1-251

Petzet, Michael (1999) Principles of Monument Conservation, in: ICOMOS – Journals of the German National Committee XXX, Muenchen. pp. 1-97

Shopsin, William C. (1989) Restoring Old Buildings for Contemporary Uses – An American Sourcebook for Architects and Preservationists, New York: Whitney Library of Design. pp. 1-207

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Prof. Ivo Maroević, ph.D. (Tenure), Marko Špiki ć, M.A. (Teaching Assistant), Franko Ćorić, B.A. (Teaching Assistant) Title of the module: CONSERVATION OF CULTURAL HER ITAGE Title of the course: CONSERVATION OF MOVABLE HERITAGE I ECTS credits: 5 Language: Croatian Duration : 1 semester (7th semester) Status: Compulsory Form(s) of realization: 2 hours of lecture, 1 hour of seminar, and 1 hour of practical


Basic terms; purpose of conservation; values of movable cultural heritage; legal protection: international conventions, Conservation of Cultural Assets Act, Museums, Libraries, and Archives Act. Conservation research of mobile heritage: historical-artistic, architectural, ethnological, historical and, and technological research. Documentation: current state, function, interventions. Documentation of various researches: probing, termographic, non-destructive. Chemical and physical research, photographic and other documentation. Registration of a mobile cultural asset and issuing of intervention permit. The basic conservation-restoration terminology. Ethical standards. Types of movable cultural heritage. Causes of damage to movable cultural heritage. Types of intervention: preventive conservation, maintenance, consolidation, restoration, reconstruction, facsimile renovation (reproduction). Principles and methods of presentation: for public, museum, sacral, and other use. Foundations of historical painting technology according to types of materials and techniques. Organization and activities of conservation-restoration workshops and institutes.

Course objectives: Understanding and application of the basic theories, professional rules and procedures in the protection of movable cultural heritage. Introduction to the variety of movable cultural heritage, its characteristics and possible damage, as well as types of intervention. Acquisition of professional terminology. Seminar papers.

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Compulsory literature: (selected chapters) 1. Antolović, Jadran (1998) Ekonomsko vrednovanje graditeljske baštine, Zagreb:

Mikrorad. pp. 1-140 2. Ashley-Smith, Jonathan (1999) Risk Assessment for Object Conservation, Oxford:

Elsevier. pp. 1-358 3. Bachmann, K. (1992) Conservation Concerns, London: Routledge. 4. De La Torre, Martha (2000) Values and Heritage Conservation, Los Angeles: Getty

Conservation Institute. pp. 1-100 5. De La Torre, Martha (2002) Assessing the Values of Cultural Heritage, Los Angeles:

Getty Conservation Institute. pp. 1-102 6. Culture and Nature – International Legislative Texts Referring to the Safeguard of

Natural and Cultural Heritage (2003) (edited by Feliu, Carmen Anon), Firenze: Casa Editrice Leo S. Olschki. pp. 1-409

7. Johnston-Feller, R. (2001) Color Science in the Examination of Museum Objects-Nondestructive Procedures, Los Angeles: Getty Conservation Institute. pp. 1-134

8. Care of Collections (1994) (edited by Knell, S.), London: Routledge. 9. Laslo, Želimir (2001) Priručnik za preventivnu zaštitu slika, Zagreb: MDC. 10. Maroević, Ivo (1986) Sadašnjost baštine, Zagreb: DPUSRH. pp. 1-389 11. Reedy, Terry J. & Chandra (1988) Statistical Analysis in Art Conservation Research,

Los Angeles: Getty Conservation Institute. pp. 1-115 12. Thompson, G. (1978) Museum Environment, volume I, London: Butterworths. pp. 1-270 13. Manual of Curatorship (1984) (edited by Thompson, J.M.A.), London: Butterworths. pp.

192-307 14. A Code of Ethics for Conservations, „Museum News“, 1980, vol. 3-4. pp. 28-34 15. Osnove zaštite i izlaganja muzejskih zbirki (1993), Zagreb: Muzejski dokumentacioni

centar.

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Prof. Ivo Maroević, Ph.D. (Tenure), Prof. Zlatko Juri ć, Ph.D. (Assistant), Franko Ćorić, B.A. (Teaching Assistant) Title of the module: CONSERVATION OF CULTURAL HERI TAGE Title of the course: CONSERVATION OF IMMOVABLE HERITAGE II ECTS credits: 5 Language: Croatian Duration : 1 semester (8th semester) Status: Compulsory Form(s) of realization: 2 hours of lecture, 1 hour of seminar, and 1 hour of practical


Conservation of individual buildings. Foundations and conservation of historical building structure: foundations; structural walls; horizontal floor and vault constructions; roof constructions. Foundations and conservation of architectural constructions of historical buildings: final layers of the front (material and final dressing); inner walls, ceilings, and vaults (material, dressing, wall paintings, mosaics, and stucco); windows (metal reinforcements, woodwork/wrought iron, glass); doors (metal reinforcements, woodwork/wrought iron); floorboards; roof tiles; installations (heating, vertical and horizontal sewage). Humidity of walls and its influence on maintenance. Influence of purpose on the organization of space. Preservation of historical landscape, urban and rural entities and ambients, parks. Conservation and presentation of individual buildings within an entity, the relation of general and specific. Urban planning within historical entities. The relation of building and lot, transport communication, ambient, and historical entity. Integration of individual buildings, settlements, and cultivated landscape. Sociological aspects of protection of historical entities.

Course objectives: Introduction to the material and formal characteristics of individual historical buildings. Determination of relation between the material structure and significance. Introduction to the characteristics of spatial entities and recognition of value of integration of individual values into the value of the entity. Acquisition of basic professional terminology and basics of physical planning. Seminar papers.

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Compulsory reading: (selected chapters) 1. Crnković, Branko; Šarić, Ljubomir (2003) Građenje prirodnim kamenom, Zagreb:

Institut građevinarstva Hrvatske. 2. Dimes, F.G. (1998) Conservation of Building and Decorative Stone, Oxford: Elsevier ;

Butterworth-Heinemann. pp. 1-468 3. Durbin, Lesley (2005) Architectural Tiles: Conservation and Restoration, Oxford:

Butterworth-Heinemann. pp. 1-240 4. Fawcett, Jane (2001) Historic Floors, Oxford: Butterworth-Heinemann. pp. 1-272 5. Feilden, Bernard M. (1994) Conservation of Historic Buildings, Oxford: Butterworth-

Heinemann. pp. 1-345 6. Fitchen, John (1999) Building Construction before Mechanization, Cambridge,

Massachusetts: The MIT Press. pp. 1-326 7. Larsen, Knut (2000) Conservation of Historic Timber Structures, Oxford: Butterworth-

Heinemann. pp. 1-140 8. Malinar, Hrvoje (2003) Vlaga u povijesnim građevinama – sistematika-dijagnostika-

sanacija, Zagreb: Ministarstvo kulture-Uprava za zaštitu kulturne baštine. pp. 1-83 9. Potočnjak, Milan (1932) Osnovi tehničke obradbe kamena sa primjenom na građevne

objekte i oblici umjetnosti, Zagreb: Narodne novine. pp. 1-19+31 10. Price, C.A. (1996) Stone Conservation, Los Angeles: Getty Conservation Institute. pp. 1-

86 11. Selwitz, Charles (1992) Epoxy Resins in Stone Conservation, Los Angeles: Getty

Conservation Institute. pp. 1-121 12. Hall, Peter (1998) Cities in Civilization – Culture, Innovation, and Urban Order,

London: Weidenfeld & Nicolson. pp. 1-1169 13. Kostof, Spiro (1999) The City Assembled – The Elements of Urban Form Through

History, London: Thames and Hudson. pp. 1-320 14. Kostof, Spiro (2001) The City Shaped – Urban Patterns and Meanings Through

History, London: Thames and Hudson. pp. 1-352 15. Loew, Sebastian (2000) Modern Architecture in Historic Cities – Policy planning and

building in contemporary France, London ; New York: Routledge. pp. 1-264 16. Marinović-Uzelac, Ante (1978) Socijalni prostor grada, Zagreb: SNL. pp. 1-241 17. Rossi, Aldo (1997) The Architecture of the City, Cambridge ; London: The MIT Press.

pp. 1-202 18. Rowe, Colin & Koetter, Fred (1988) Grad kolaž, Beograd: Građevinska knjiga. pp. 1-156 19. Stuebben, Josef (1890) Der Staedtebau - Habdbuch der Architektur, Darmstadt: Verlag

von Arnold Bergstraesser. pp. 1-561 20. Tolles, Leroy E. (2000) Seismic Stabilization of Historic Adobe Structures, Los

Angeles: Getty Conservation Institute. pp. 1-174 21. Wehdorn, Manfred (1979) Die Bautechnik der Wiener Ringstrasse, Wiesbaden: Franz

Steiner Verlag gmbh. pp. 1-448

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Prof. Ivo Maroević, Ph.D. (Tenure), Marko Špiki ć, M.A. (Teaching Assistant), Franko Ćorić, B.A. (Teaching Assistant) Title of the module: CONSERVATION OF CULTURAL HER ITAGE Title of the course: CONSERVATION OF MOVABLE HERITAGE II ECTS credits: 5 Language: Croatian Duration : 1 semester (8th semester) Status: Compulsory Form(s) of realization: 2 hours of lecture, 1 hour of seminar, and 1 hour of practical


Research and conservation of paintings on canvas, wood, and other materials. Conservation of graphics and works of art on paper. Preventive and active conservation of paintings for various purposes: public, sacral, museum, etc. Special forms of documenting of conservation works on paintings. Research and protection of wall paintings. Selection of presentation method regarding the state and scope of restoration. Research and conservation of sculptures regarding the types of material and dressing; metal, stone, ceramic, glass, textile, and paper objects, furniture, and other objects. Permanent and preventive protection of mobile cultural heritage in museums, galleries, private collections and public spaces. Conservation of sculptures in open spaces. Special ways of documentation of conservation works on three-dimensional objects. Selection of conservation method regarding the state and scope of restoration. Sociological aspects of the conservation of movable cultural heritage. Course objectives: Introduction to the material and formal characteristics of painting and ways of their conservation. Introduction to the characteristics of three-dimensional objects and recognition of their value individually and integrated into the interior or exterior. Determination of relation between the material structure and meaning. Acquisition of basic professional terminology. Seminar papers.

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Compulsory reading: (selected chapters) 1. Brkić, Nemanja (1973) Tehnologija slikarstva, vajarstva i ikonografija, Beograd:

Umetnička akademija. pp. 1-382 2. Cass, Glen R. (1989) Protection of Works of Art from Atmospheric Ozone, Los Angeles:

Getty Conservation Institute. pp. 1-103 3. The Conservation of Wall Paintings (1991) (edited by Cather, Sharon), London:

Corthauld Institute of Art – Getty Conservation Institute. pp. 1-181 4. Feller, Robert L. (1994) Accelerated Aging – Photocemical and Thermal Aspects, Los

Angeles: Getty Conservation Institute. pp. 1-292 5. Gonzalez Lopez, Maria Jose & Descamps, Francois (2002) Workshop on Methodology

for the Conservation of Polychromed Wooden Altarpieces, Los Angeles: Getty Conservation Institute. pp. 1-17

6. Maekawa, Shin (1998) Oxygen-Free Museum Cases, Los Angeles: Getty Conservation Institute. pp. 1-81

7. Nazaroff, William W. (1993) Airborne Particles in Museums, Los Angeles: Getty Conservation Institute. pp. 1-145

8. Nicolaus, Knut (1999) The Restoration of Paintings, Koeln: Koenemann. 9. RUST, Michael K. & Kennedy, Janice M. (1993) The Feasibility of Using Modified

Atmospheres to Control Insect Pests in Museums, Los Angeles: Getty Conservation Institute. pp. 1-131

10. Selwitz, Charles & Maekawa, Shin (1998) Inert Gases in the Control of Museum Insect Pests, Los Angeles: Getty Conservation Institute. pp. 1-122

11. Summerecker, Sigo (1973) Podloge šafelajne slike, Beograd: Umetnička akademija. 12. Vokić, Denis Utjecaj uvjeta čuvanja na stanje umjetnina: važnost temperature i

relativne vlage zraka, in: „Restauratorski bulletin“; 1/1993. pp. 6-20

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Prof. Ivo Maroević, Ph.D. (Tenure), Marko Špiki ć, M.A. (Teaching Assistant) Title of the module: CONSERVATION OF CULTURAL HER ITAGE Title of the course: HISTORY AND THEORY OF THE CONSERVATION OF

CULTURAL HERITAGE IN EUROPE – 15-19TH CENTURIES

ECTS credits: 5 Language: Croatian Duration : 1 semester (9th semester) Status: Compulsory Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical


Development of the idea of art conservation in Europe from the 15th to the end of the 18th century. Overview of the development of the idea of historical monument, with an insight into original texts. The problems of reception, research, classification, and communication of antiquities, texts by humanists, artists, antiquarians, topographers, and art historians; conservation principles of the period. The beginnings of the classical archaeology and collections (excavations in Rome in the 15th and 16th centuries, the discovery of Herculaneum and Pompeii in the 18th century). An overview of destruction and collection of antiques, the problem of the relation of old and new in sculpture (hypothetical reconstructions by Laocoont, Winckelmann’s theories) and in architecture (constructions in Renaissance Rome from pope Julius II to pope Sixtus V). Course objectives: Understanding of the development of the concept of cultural heritage in the early modern age with the help of the main theoretical principles of the time, to the phenomenon of a newly established sensibility for the Middle Ages. Introduction to the care for antiquities, from objects (medals, writings, fragments) to buildings and archaeological sites. Acquisition of the basic scientific terminology. Seminar papers. Compulsory reading: (selected chapters) 1. Barkan, Leonard (1999) Unearthing the Past: Archaeology and Aesthetics in the

Making of Renaissance Culture, New Haven ; London: Yale University Press. pp. 1-63, 119-269

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2. Burke, Peter Images as Evidence in Seventeenth-Century Europe, in: Journal of the History of Ideas, 64/2. pp. 273-296

3. Choay, Francoise (2001) The Invention of the Historic Monument, Cambridge: Cambridge University Press.

4. Jokilehto, Jukka (1999) A History of Architectural Conservation, Oxford: Butterworth-Heinemann. pp. 21-71

5. Lanciani, Rodolfo Storia degli scavi di Roma e notizie intorno le collezioni romane di antichite, Roma: Quasar.

6. Marasović, Tomislav Zaštita graditeljskog nasljeđa. Povijesni pregled s izborom dokumenata, Zagreb ; Split: Društvo konzervatora Hrvatske.

7. Momigliano, Arnoldo Ancient History and the Antiquarian, in: Journal of the Warburg and Courtauld Institutes, 13/1-2. pp. 285-315

8. Parslow, Christopher Charles (1998) Rediscovering Antiquity: Karl Weber and the Excavation of Herculaneum, Pompeii and Stabiae, Cambridge: Cambridge UP.

9. Weiss, Roberto (1988) The Renaissance Discovery of Classical Antiquity (2nd edition), Oxford: Blackwell.

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Prof. Ivo Maroević, Ph.D. (Tenure), Prof. Zlatko Juri ć, Ph.D. (Assistant) Title of the module: CONSERVATION OF CULTURAL HER ITAGE Title of the course: HISTORY AND THEORY OF THE CONSERVATION OF

CULTURAL HERITAGE IN CROATIA IN THE 19TH CENTURY

ECTS credits: 5 Language: Croatian Duration : 1 semester (9th semester) Status: Compulsory Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical ¸ classes per week Conditions of admission: Completed 8th semester Examination: written exam Syllabus: Research and conservation of monuments in Croatia up to the first half of the 19th century (J. Spon & G. Wheeler, D. Farlati, J. B. Fischer von Erlach, R. Adam, A. Fortis, J. Bajamonti, L.F. Cassas, F. and C. Lanza, F. Carrara, V. Andrić). Founding and activities of the Royal Central Commission in Croatia (I. Kukuljević-Sakcinski, K. Weiss, F. Bulić, A. Riegl, M. Dvorak). History of conservation in Croatia in the second half of the 19th century (A. Hauser, F. Bulić, J.J. Strossmayer, F. v. Schmidt, I. Kršnjavi, H. Bolle, I.K. Tkalčić, J. Brunšmid). Croatian Conservation in the European context. Examples of significant interventions: Split, Zagreb, Trogir, Zadar, Šibenik, Dubrovnik. Course objectives: Understanding of the basic conservation theories and methods applied in Croatia during the 19th century. Comparison with the European context. Acquisition of the basic scientific terminology. Seminar papers. Compulsory reading: (selected chapters) 1. Bajamonti, J. (1975) Zapisi o gradu Splitu, Split: Nakladni zavod Marko Marulić. pp. 1-

381 2. Bulić, Frane & Karaman, Ljubo (1927) Palača cara Dioklecijana u Splitu, Zagreb. pp. 1-

284

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3. Collins, Peter (1998) Changing Ideals in Modern Architecture 1750 – 1950, Montreal [etc.]: McGill – Queen’s University Press. pp. 1-309

4. Denslagen, Wim (1994) Architectural Restoration in Western Europe: Controversy and Continuity, Amsterdam: Architectura & Natura Press. pp. 1-319

5. Fortis, A. (1984) Put po Dalmaciji, Zagreb: Globus. pp. 1-303 6. Horvat, Lina Anđela (1944) Konzervatorski rad kod Hrvata; Zagreb: Hrvatski državni

konzervatorski zavod. pp. 1-73 7. Horvat, Lina Anđela (1944) Prilozi poviestnom razvoju čuvanja umjetničkih i kulturno-

poviestnih spomenika u Hrvatskoj, Zagreb: self-published. pp. 1-32 8. Kečkemet, Duško (1978) Louis Francois Cassas i njegove slike Istre i Dalmacije 1782,

in: Rad JAZU, knjiga 379, Zagreb. pp. 7-200 9. Kečkemet, Duško (1993) Vicko Andrić - arhitekt i konzervator 1793 - 1866, Split:

Književni krug. pp. 1-235 10. Kečkemet, D. (2003) Robert Adam – Dioklecijanova palača i klasicizam, Zagreb:

Nakladni zavod Matice Hrvatske. 11. Ladd, Brian (1990) Urban Planning and Civic Order in Germany, 1860-1914,

Cambridge, Massachusetts ; London, England: Harvard University Press. pp. 1-326 12. Le Roy, Julien-Davin (2004) The Ruins of the Most Beautiful Monuments of Greece,

Los Angeles: Getty Research Institute. pp. 1-550 13. Lewis, Michael J. (1993) The Politics of the German Gothic Revival – August

Reichensperger, New York ; Cambridge: The Architectural History Foundation ; The MIT Press. pp. 1-305

14. Marasović, T. & Cambi, N. (1994) Kronologija proučavanja, očuvanja i uređenja Dioklecijanove palače, in: Dioklecijanova palača – exhibition catalogue, Lions Club Split. pp. 29-61

15. Maruševski, Olga (1986) Iso Kršnjavi kao graditelj , Zagreb: Dpusrh. pp. 1-262 16. McCormick, T. J. (1990) Charles Louis Clerisseau and the Genesis of Neo-Classicism,

New York ; Massachusetts: The Architectural History Foundation ; The MIT Press. pp. 1-284

17. Moravanszky, Akos (1998) COMPETING VISIONS – Aesthetic Invention and Social Imagination in Central European Architecture 1867 – 1918, Cambridge, Massachusetts ; London, England: The MIT Press. pp. 1-508

18. Muljačić, Ž. (1996) Putovanja Alberta Fortisa po Hrvatskoj i Sloveniji, Split: Književni krug. pp. 1-181

19. Pederin, I. (1989) Njemački putopisi po Dalmaciji, Split: Logos. pp. 1-329 20. Piplović, S. (2002) Alois Hauser u Dalmaciji; Split: Društvo prijatelja kulturne baštine

Split. pp. 1-251 21. Piranesi, Giovanni Battista (2002) Observations on the Letter of Monsieur Mariette, Los

Angeles: Getty Research Institute. pp. 1-177

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Prof. Ivo Maroević, Ph.D. (Tenure), Marko Špiki ć, M.A. (Teaching Assistant) Title of the module: CONSERVATION OF CULTURAL HER ITAGE Title of the course: HISTORY AND THEORY OF THE CONSERVATION OF

CULTURAL HERITAGE IN EUROPE - 19TH AND 20TH CENTURIES



History of conservation and restoration from the beginning of the 19th century onwards. The period of Classicism, Romanticism, biological and active conservation principles. An overview of interventions on selected architectural monuments, along with the study of texts by contemporary theoreticians: Quatremere de Quincy, V. Hugo, E.-E. Viollet-le-Duc, J.-B. Lassus, J. Ruskin, W. Morris, A. Riegl, M. Dvorak, G. Dehio, C. Boito, G. Giovannoni, C. Brandi. Stylistic restoration; idea of conservation; “philological”, “historical”, and “scientific” restoration; extension of conservation towards historical ambients and entities. The experiences of conservation after World War II: international legal documents, international organizations, the World Heritage List, contemporary concepts of historical monuments. The ideas of authenticity, universality, and integrity of monuments. Course objectives: Introduction to the types of treatment of cultural heritage in the last two centuries. Connection of historical sequence and problems of protection of cultural heritage with the practical problems of protection. Acquisition of the basic scientific terminology. Seminar papers.

Compulsory reading: (selected chapters) Ceschi, Carlo (1970) Teoria e storia del restauro, Roma: Bulzoni. Choay, Francoise (2001) The Invention of the Historic Monument, Cambridge: Cambridge

University Press. pp. 1-247

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Clark, Kenneth (1962) The Gothic Revival. An Essay in the History of Taste, New York: Icon Editions; Harper & Row.

Denslagen, Wim (1994) Architectural Restoration in Western Europe: Controversy and Continuity, Amsterdam: Architectura & Natura Press. pp. 1-319

Jokilehto, Jukka (1999) A History of Architectural Conservation, Oxford: Butterworth-Heinemann. pp. 101-341

Marasović, Tomislav (1985) Aktivni pristup graditeljskom nasljeđu, Split: Društvo konzervatora Hrvatske – Zagreb. pp. 1-189

Price, Nicholas Stanley & Talley jr. M. Kirby & Vaccaro, Alessandra Meluco (1996) Historical and Philosophical Issues in the Conservation of Cultural Heritage – Readings in Conservation, Los Angeles: The Getty Conservation Institute. pp. 1-500

Tyler, Norman (1999) Historic Preservation: an Introduction to its History, Principles and Practice, New York: W.W. Norton & co.

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Prof. Ivo Maroević, Ph.D. (Tenure), Prof. Zlatko Juri ć, Ph.D. (Assistant) Title of the module: CONSERVATION OF CULTURAL HERI TAGE Title of the course: HISTORY AND THEORY OF THE CONSERVATION OF

CULTURAL HERITAGE IN CROATIA IN THE 20TH CENTURY


classes per week Conditions of admission: Completed 9th semester Examination: written exam Syllabus: Conservation in Croatia from the turn of the century to the end of World War I, the time of the Kingdom of Yugoslavia and the Independent State of Croatia. Reflections of international developments in conservation of cultural heritage in Croatia. Definition of biological and active conservation principles. Conservation after World War II: reconstructions after the war, laws and organization of conservation agencies interventions on architectural entities and individual buildings, interpolations. Prominent figures in the history of conservation in Croatia: Gj. Szabo, Lj. Karaman, M. Prelog, G. Gamulin, C. Fisković, J. and T. Marasović, I. Maroević et al. Training for conservators in Croatia. Reconstruction after natural disasters (earthquake in Dubrovnik). Cultural heritage in Croatia in the Homeland war: damage and reconstruction. Economic aspects of conservation. Course objectives: Introduction to the fundamental theories and methods of conservation applied in Croatia during the 20th century. Comparison with contemporary European and world developments. Basics in scientific terminology. Seminar papers. Compulsory reading: (selected chapters) Arbutina, Dražen (2000) Glavna obilježja urbanističkog razvoja Zadra 1918.-1944.

(Master’s thesis), Zagreb: Arhitektonski fakultet. pp. 1-163

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Arbutina, Dražen (2002) Zadarski urbanistički i arhitektonski opus Brune Milića, Zadar: Narodni muzej. pp. 1-130

Bulić, Frano (1929) Kaiser Diokletians Palast, Matica Hrvatska. pp. 1-179 Collins, Peter (1998) Changing Ideals in Modern Architecture 1750 – 1950, Montreal [etc.]:

McGill –Queen’s University Press pp. 1-309 Fisković, Cvito & Marasović, Jerko (1950) Prilog proučavanju i zaštiti Dioklecijanove

palače u Splitu, Zagreb: JAZU; book 279. pp. 1-119 + drawings Horvat, Lina Anđela (1944) Konzervatorski rad kod Hrvata, Zagreb: Hrvatski državni

konzervatorski zavod; No. 1. pp. 1-73 Horvat, Lina Anđela (1944) Prilozi poviestnom razvoju čuvanja umjetničkih i kulturno-

poviestnih spomenika u Hrvatskoj, Zagreb: self-published. pp. 1-32 Jokilehto, Jukka (1999) A History of Architectural Conservation, Oxford: Butterworth-

Heinemann. pp. 1-341 Knežević, Snješka & Šerbetić, Berislav (1988-89) Obnova Dubrovnika 1979 – 89,

Dubrovnik: Zavod za obnovu Dubrovnika. pp. 1-370 Marasović, Jerko; Marasović, Tomislav; Gattin, Nenad (1970) Diocletian palace, Zagreb:

Zora. pp. 1-95 Marasović, Jerko (2000) Prostorni razvoj jugoistočnog dijela Dioklecijanove palače, Split.

pp. 1-213 Marasović, Tomislav (1982) Dioklecijanova palača, Beograd: Sloboda. pp. 1-145 Marasović, Tomislav (1983) Zaštita graditeljskog nasljeđa – Povijesni pregled s izborom

tekstova i dokumenata, Zagreb ; Split: Društvo konzervatora Hrvatske – Zagreb. pp. 1-183

Marasović, Tomislav (1985) Aktivni pristup graditeljskom nasljeđu, Split: Društvo konzervatora Hrvatske – Zagreb. pp. 1-189

Marasović, Tomislav (1994) Dioklecijanova palača - svjetska kulturna baština Split - Hrvatska, Zagreb: Naklada Dominović-Buvina. pp. 1-128

Marković, Slavica (1992) Ćiril Metod Iveković - arhitekt i konzervator, Zagreb: DPUH. pp. 1-165

Maroević, Ivo (1986) Sadašnjost baštine, Zagreb: DPUSRH. pp. 1-389 Maroević, Ivo (1995) Rat i baština u prostoru Hrvatske – Krieg und Kulturerbe im Raum

Kroatien, Zagreb: Matica Hrvatska ogranak Petrinja. pp. 1-63 Maroević, Ivo (2000) Konzervatorsko novo iverje, Petrinja: Matica Hrvatska u Petrinji. pp. 1-

200 Munoz Vinas, Salvador (2005) Contemporary Theory of Conservation; Oxford: Elsevier. pp.

1-239 Nenadić, Rosana (1998) Obnova Zadra nakon 2. svj. rata (1944-1991.g.) (Bachelor’s thesis),

Zagreb: Filozofski fakultet: Odsjek za povijest umjetnosti. pp. 1-104 Piplović, Stanko (1994) Harold Bilini ć 1894.-1984., Split: Društvo arhitekata Splita. pp. 1-24

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3.3.3. Teachers’ programme

The study of the teachers’ programme gives the students competence to teach Visual Arts, Art History and related subjects in high schools. The condition of admission to the graduate study programme is a completed three-year undergraduate study of Art History. The teachers’ programme consists of three parts: Teaching Methods module (25 ECTS), common section of the teachers programme (20-30 ECTS), and professional art history section (25+15 ECTS). Each of the parts consists of compulsory and elective courses. In the first part, the students acquire a theoretical understanding of their field, i.e. basic elements of visual language and thus reconstructed works of art (Teaching Methods). The acquired experiences are applied in direct work with high school pupils (Observation, Practical classes, and Teaching I and II). The students will be enabled to use modern teaching aids like LCD projectors and computers, and computer presentations and processing of works of art (Teaching Materials). Elective courses of this module give the students further theoretical and practical elaboration of individual aspects of teaching of works of art. All the courses are available for students of the scientific programme of Art History, but also to students of different Departments, but for some the condition of admission may be a previously completed course or exam. The second part of the module is the one common to all teachers’ programmes, and encompasses psychological, pedagogical, didactical, sociological, philosophical, informatical, and communication courses necessary for the teaching profession. The third part is further professional art history expertise, which encompasses five courses from the scientific graduate programme and (elective) writing of the diploma paper which unifies theoretical knowledge and practical experience of work in a high school. This part carries 25+15 ECTS credits. Module coordinator: Ivan Bogavčić, M.A. (Teaching Assistant)

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GRADUATE STUDY PROGRAMME OF ART HISTORY UMJETNOSTI

TEACHERS’ PROGRAMME

7th semester ECTS L—S—PC

Teaching Methods 7 2—2—1

Teaching Materials 3 1—1—0

8th semester

Observation 2 0—0—2

Elective course (Teaching Methods) 5 1—1—1

9th semester

Elective course (Teaching Methods) 5 1—1—1

(9th or 10th semester)

Practical classes and teaching 4 0—2—1

Creation of diploma paper 5 0—3—1

10th semester

1. Elective course (Teaching Methods) 5 1—1—1

(9th or 10th semester)

2. Practical classes and teaching 4 0—2—1

3. Writing of diploma paper 10 0—6—1

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The student has to accumulate at least 30 ECTS credits in the 7th semester, at the end of the 8th semester has to accumulate a total of 60 ECTS credits, and at the end of the 9th semester he has to accumulate at least 90 ECTS credits. During the graduate study, the student must take all courses common to the teachers’ programme:

Psychology of upbringing and education 8 4—2—0

Pedagogy 4 2—2—0

Didactics 4 2—2—0

Sociology of education 3 1—1—0

Language communication skills 5 2—2—2

Elective course 1 3

Elective course 2 3

During the graduate programme, the student must take seven elective or compulsory courses of the research programme of Art History. During the graduate programme, the student must take two additional elective courses (5 ECTS credits each) of other departments of the Faculty of Philosophy or the University, or any other module of the Department of Art History.

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Title of the module: TEACHING METHODS Title of the course: TEACHING METHODS ECTS credits: 7 Language: Croatian Duration : 1 semester (7th semester) Status: Compulsory Form(s) of realization: 2 hours of lecture, 2 hours of seminar, and 1 hour of field study Conditions of admission: Completed 6th semester Examination: submission of a portfolio of practical classes performed during the semester,

Written and oral exam Syllabus: Explanation of three visual processes: looking, seeing, and observation. Systematic introduction to the basic elements of visual language (line, plane, colour, and surface), art principles (line, point, colour, visual-tactile terms) and universal principles (symmetry, ratio, and proportion) and thus reconstructed works of art. Lectures and seminars are thematically linked, and the classes are in the forms of workshops (practical classes, experiments). Course objectives: Knowledge: Theoretical understanding of three visual processes: looking, seeing, and observation. Systematic introduction to the basic elements of visual language (line, plane, colour, and surface), art principles (line, point, colour, visual-tactile terms) and universal principles (symmetry, ratio, and proportion). Skills: Ability to reconstruct a work of art using the acquired terminology. Competence: Ability to interpret any visual manifestation or work of art. Compulsory reading: Damjanov, J. (1991) Vizualni jezik i likovna umjetnost, Zagreb: Školska knjiga. Damjanov, J. (1998) Umjetnost avantura, Zagreb: Hermes. Damjanov, J. (1996) Pogled i slika, Zagreb: Hermes. Additional reading: Gibson, James J. (1950) The Perception of the Visual World, Boston: Houghton Mifflin Company. Rawson, Ph. (1969) Drawing, London: Oxford University Press. Gibson, James J. (1966) The senses considered as perceptual systems, Boston: Houghton Mifflin Company. Arnhajm, R. (1987) Umetnost i vizualno opažanje, Beograd: Univerzitet umetnosti u Beogradu. Kuppers, H. (1978) Das Grund gesetz der Farbenlehre, Koln: Dumont. Munsell, A. H. (1969) A Grammar of Color, New York:Van Nostrand Reinhold Comp. Klee, P. (1964) Das Bildnerische Denken, Bassel ; Stuttgart: Schwabe&Co Verlag.

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Albers J. (1971) Interaction of Color, New Haven: Yale University Press. Alexander Ch. (1977) The Pattern Language, New York: Oxford University Press. Bouleau Ch. (1963) La geometrie secrete des peintres, Paris: Charpentes. Kranz S., Fisher R. (1966) The Designe Continuum, New York: Reinhold. March L.L., Steadman P. (1975) The Geometry of Environment, London: Riha. Weyl H. (1982) Symmetry, Princeton: Princeton University Press.

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Ivan Bogavčić, M.A. (Teaching Assistant) Title of the module: TEACHING METHODS Title of the course: TEACHING MATERIALS ECTS credits: 3 Language: Croatian Duration : 1 semester (7th semester) Status: Compulsory Form(s) of realization: 1 hour of lecture, 1 hour of seminar Conditions of admission: Completed 6th semester Examination: submission of a portfolio of practical classes performed during the

semester Syllabus: During this course, the students are introduced to the teaching materials/aids which they will use during teaching in high schools, and practice individual photography of works of art (architecture, sculpture, paintings) with classic or digital cameras. The emphasis is on modern methods of photographing, processing and presentation of works of art with the help of digital technology (digital photography, computer, and LCD projector). Course objectives: Knowledge: knowledge of traditional and modern teaching materials/aids. Skills: Individual photographing of different works of art, and processing and presentation of the photographed material with digital technology. Creation and use of traditional and modern teaching materials/aids. Competence: Application of technical knowledge and skills in relation to any visual phenomenon or work of art. Compulsory reading: http://infoz.ffzg.hr/msp/ Photography manual Digital photography manual Photoshop manual

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Ivan Bogavčić, M.A. (Teaching Assistant) Title of the module: TEACHING METHODS Title of the course: OBSERVATION ECTS credits: 2 Language: Croatian Duration : 1 semester (8th semester) Status: Compulsory Form(s) of realization: 2 hours of practical classes Conditions of admission: Completed 7th semester, completed course of Teaching Methods Examination: Submission of a diary of observed classes Syllabus: During this course, the students attend demonstrations and final classes performed by the students of the 10th semester, and actively participate in the preparation of those classes. Every class is preceded by preparation, and after the lecture it is analysed. During the observations, the student keeps a diary according to previously stated criteria. During the observations, the mentor introduces the student to the multiple aspects of the teaching profession (class and teachers’ council, class leadership and cooperation with parents, curriculums and teaching programmes, textbooks and manuals). Course objectives: Knowledge: Knowledge of various types of class preparation, principles of class analysis, and multiple aspects of the teaching profession (class and teachers’ council, class leadership and cooperation with parents, curriculums and teaching programmes, textbooks and manuals). Skills: Use of various types of class preparation. Competence: Ability to attend Practical classes and teaching. Compulsory reading: Zbornik programa i planova srednjoškolskog predmeta Likovne umjetnosti u Hrvatskoj (script) Damjanov, J. (1998) Umjetnost avantura, Zagreb: Hermes. Damjanov, J. (1970) Metodički priru čnik za likovnu umjetnost, Zagreb: Zavod za unapređivanje stručnog obrazovanja. High school textbooks and manuals

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Ivan Bogavčić, M.A. (Teaching Assistant) Title of the module: TEACHING METHODS Title of the course: PRACTICAL CLASSES AND TEACHING I ECTS credits 4 Language: Croatian Duration : 1 semester (9th semester) Status: Compulsory Form(s) of realization: 2 hours of seminar, 1 hour of practical classes Conditions of admission: Completed 8th semester, completed course of Teaching Methods Examination: Demonstration classes during the semester Syllabus: Enabling and preparing the student for group teaching in high schools. Introduction to the set of exercises on the web site http://infoz.ffzg.hr/msp/ , exercise selection/re-modelling of an existing exercise/autonomous creation of an exercise. Written preparation and testing of the exercise. Teaching is repeated to acquire experience in teaching. Between individual classes, the previous class is analysed and possibilities of improvement are pointed out. Course objectives: Knowledge: Precise usage of terminology (previously acquired terms), application of previously acquired procedures (reconstruction/analysis, comparison, analogy), and articulation of the given time (class). Skills: Preparation and group teaching within the class. Competence: Acquired security for individual preparation and teaching of a class. Compulsory reading: Damjanov, J. (2002) Likovna umjetnost 1 and 2 (teacher’s manual), Zagreb: Školska knjiga. http://infoz.ffzg.hr/msp/ Damjanov, J. (1998) Umjetnost avantura, Zagreb: Hermes. Additional literature : Damjanov, J. (1973) Bilten za nastavu likovne umjetnosti 1, Zagreb: Aktiv nastavnika likovne umjetnosti. Mirenić, J. (1973) Bilten za nastavu likovne umjetnosti 2, Zagreb: Aktiv nastavnika likovne umjetnosti.

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Janda, Mirenić, Damjanov, Tomić, Rakić, Cvitan (1980) Prijedlog mikroanalize nastavnih sadržaja likovne umjetnosti za izradu izvedbenih programa redovne, izborne i fakultativne nastave, Zagreb: Zavod za prosvjetno pedagošku službu. Multiple authors (1983) Radionica I (Vježbe iz metodike povijesti umjetnosti), Zagreb.

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Ivan Bogavčić, M.A. (Teaching Assistant) Title of the module: TEACHING METHODS Title of the course: PRACTICAL CLASSES AND TEACHING II ECTS credits: 4 Language: Croatian Duration : 1 semester (10th semester) Status: Compulsory Form(s) of realization: 2 hours of seminar, 1 hour of practical classes Conditions of admission: Completed 9th semester, completed course Practical classes and

teaching I Examination: Demonstration classes during the semester Syllabus: Enabling and preparing the student for individual teaching in high schools. Use of the set of exercises on the web site http://infoz.ffzg.hr/msp/ , (exercise selection), exercise re-modelling and autonomous creation of an exercise. Written preparation and testing of the exercise. Teaching and analysis of class. Course objectives: Knowledge: Precise usage of terminology (previously acquired terms), application of previously acquired procedures (reconstruction/analysis, comparison, analogy), and articulation of the given time (class). Skills: Preparation and teaching within the class. Competence: Acquired security for individual preparation and teaching of a class. Compulsory reading: Damjanov, J. (2002) Likovna umjetnost 1 and 2 (teacher’s manual), Zagreb: Školska knjiga. http://infoz.ffzg.hr/msp/ Damjanov, J. (1998) Umjetnost avantura, Zagreb: Hermes. Additional reading: Damjanov, J. (1973) Bilten za nastavu likovne umjetnosti 1, Zagreb: Aktiv nastavnika likovne umjetnosti. Mirenić, J. (1973) Bilten za nastavu likovne umjetnosti 2, Zagreb: Aktiv nastavnika likovne umjetnosti. Janda, Mirenić, Damjanov, Tomić, Rakić, Cvitan (1980) Prijedlog mikroanalize nastavnih sadržaja likovne umjetnosti za izradu izvedbenih programa redovne, izborne i fakultativne nastave, Zagreb: Zavod za prosvjetno pedagošku službu.

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Multiple authors (1983) Radionica I (Vježbe iz metodike povijesti umjetnosti), Zagreb.

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(Professor to be named subsequently) Title of the module: TEACHING METHODS Title of the course: ELECTIVE COURSE OF TEACHING METHODS ECTS credits: 5 Language: Croatian Duration : 1 semester (8th semester) Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study Conditions of admission: completed final or half-term exam of Teaching Methods Examination: Exercises during the semester, written and oral exam Syllabus: The main premise of elective courses gives the students further theoretical and practical knowledge of individual aspects of teaching of works of art. The subject may also be different branches of art or specific subjects within individual branches, or testing of different teaching procedures. Course objectives: Knowledge: Further knowledge of the selected area or subject. Skills: Usage of teaching procedures. Competence: Integration of further professional knowledge and teaching procedures. Compulsory reading: Depending on the subject of the elective course

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3.3.4. Elective courses

The elective courses of the programme of Art History are one semester courses. Their objective is to expand knowledge, especially knowledge of Croatian art history, where the student is not introduced only to the subject matter, but also to the latest scientific developments in each of the directions and periods, and thus develops the skill of critical and autonomous thought, along with the acquisition of the latest methodological apparatus. THE LIST OF ELECTIVE COURSES OF THE DEPARTMENT OF A RT HISTORY:

1. Dubravka Botica, M.A. (Teaching Assistant):

RESIDENTIAL ARCHITECTURE OF THE 17TH AND 18TH CENTURIES IN NORTH-WESTERN CROATIA

2. Dubravka Botica, M.A. (Teaching Assistant):

TYPOLOGY OF SACRAL ARCHITECTURE OF THE 17TH AND 18TH CENTURIES IN CONTINENTAL CROATIA

3. Prof. Višnja Brali ć, Ph.D.:

TECHNIQUE AND STYLE OF PAINTING FROM THE 15TH TO THE 18TH CENTURY

4. Prof. Sanja Cvetnić, Ph.D. (Assistant):

ICONOGRAPHY AFTER THE TRIDENT COUNCIL

5. Dragan Damjanović, B.A. (Teaching Assistant):

ARCHITECTURE OF HISTORICISM AND SECESSION IN SLAVONIA

6. Dragan Damjanović, B.A. (Teaching Assistant):

SACRAL ARCHITECTURE OF HISTORICISM IN CROATIA

7. Prof. Frano Dulibi ć, Ph.D. (Assistant):

MODERNIST PAINTING AND ARCHITECTURE IN CROATIA

8. Prof. Igor Fisković, Ph.D. (Tenure):

SCULPTURE BETWEEN THE GOTHIC PERIOD AND RENAISSANCE IN SOUTHERN CROATIA

9. Prof. Igor Fisković, Ph.D. (Tenure):

GOTHIC PAINTING IN THE ADRIATIC

10. Prof. Jasna Galjer, Ph.D. (Assistant):

PHOTOGRAPHY


HISTORY OF DESIGN


WORLD EXHIBITIONS

13. Prof. Nada Gruji ć, Ph.D. (Tenure):

ANTIQUE MODELS IN RENAISSANCE ARCHITECTURE

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14. Prof. Zlatko Juri ć, Ph.D. (Assistant):

CONSTRUCTION AND ARCHITECTURE OF ZAGREB, 1800-1918

15. Prof. Zlatko Juri ć, Ph.D. (Assistant):

MODERNIST AND POST-MODERNIST IN ARCHITECTURE AFTER THE YEAR 1945

16. Prof. Nada Gruji ć, Ph.D. (Tenure):

RESIDENTIAL ARCHITECTURE OF THE 15TH AND 16TH CENTURIES IN ADRIATIC CROATIA

17. Prof. Zvonko Maković, Ph.D. (Associated):

POST-OBJECT ART

18. Prof. Predrag Markovi ć, Ph.D. (Assistant):

GOTHIC ARCHITECTURE IN FRANCE

19. Prof. Predrag Markovi ć, Ph.D. (Assistant):

QUATTROCENTO ADRIATICO - MONUMENTAL SACRAL ARCHITECTURE OF THE 15TH CENTURY IN THE ADRIATIC

20. Dino Milinovi ć, M.A. (Teaching Assistant)

THE LATE EMPIRE PERIOD (ART FROM HADRIAN TO THEODOSIUS)

21. Marko Špiki ć, M.A. (Teaching Assistant):

AUSTRIAN CULTURAL POLICY AND DALMATIAN ARCHAEOLOGY, 1800-1850

22. Marko Špiki ć, M.A. (Teaching Assistant):

BIRTH OF THE HISTORICAL MONUMENT IN ITALIAN HUMANISM

23. Professor to be named subsequently

ELECTIVE COURSE OF TEACHING METHODS





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Dubravka Botica, M.A. (Teaching Assistant) Title of the course: RESIDENTIAL ARCHITECTURE OF THE 17 TH AND

18TH CENTURIES IN NORTH-WESTERN CROATIA ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes per week Conditions of admission: none Examination: written exam and seminar papers; the final grade consists of:

10% attendance; 30% seminar paper – analysis and presentation; 20% seminar paper at field study; 40% written exam

Syllabus:

The course provides an overview of residential architecture in North-Western Croatia (castles, manors, city palaces, and houses). The analyses of selected examples provide an insight into the typological and stylistic characteristics of architecture, as well as the role of the orderer. A part of the classes is field study, and along analyses of individual buildings and their typological and stylistic characteristics, the ambiental value of residential architecture, placement in the landscape or urbanistic situation within the city core are discussed (on the examples of Varaždin or Zagreb’s Gornji grad).

Course objectives:

Knowledge: Understanding of the typological and stylistic aspects of problems of Baroque residential architecture. Skills: Written and oral analysis of architecture. Competence: Ability to recognize and interpret Baroque forms in residential architecture.

Compulsory reading:

1. V. Marković (1995) Barokni dvorci Hrvatskog zagorja, Zagreb: NSK. 2. Horvat – R. Matejčić- K. Prijatelj (1982) Barok u Hrvatskoj, Zagreb: Sveučilišna

naklada Liber. pp. 75-133

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3. M. and B. Šćitaroci (1998) Dvorci i perivoji u Slavoniji - od Zagreba do Iloka, Zagreb: Šćitaroci.

4. L. Dobronić (1986) Zagrebački Kaptol i Gornji grad nekad i danas, Zagreb: Školska knjiga.

5. Lentić-Kugli (2001) Zgrade varaždinske povijesne jezgre, Zagreb: Naklada Ljevak.

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Dubravka Botica, M.A. (Teaching Assistant) Title of the course: TYPOLOGY OF SACRAL ARCHITECTURE IN THE

17TH AND 18TH CENTURY IN CONTINENTAL CROATIA

ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical


10% attendance; 30% seminar paper – analysis and presentation; 20% seminar paper at field study; 40% written exam

Syllabus:

The course provides an overview of typological groups in sacral architecture of the 17th and 18th centuries in Croatia and Europe. The characteristics of the basic typological groups (longitudinal and central churches, and combination of types) are discussed, as well as the origin of types in (Central)European architecture and ways of transfer of individual types. The emphasis is on the influence of building tradition and the role of the orderer on the selection of architectural types. The typological characteristics of architecture, as well as the stylistic guidelines of the type itself, are determined on examples of sacral architecture in Croatia, which is partially done in field study. Course objectives: Knowledge: Understanding of the problem of typology of Baroque sacral architecture in Croatia, as well as the origin of a specific type, and the problems of determination of style. Skills: Written and oral typological analysis of architecture. Competence: Ability to recognize and interpret typological and stylistic Baroque forms in sacral architecture.

Compulsory reading:

1. A. Horvat, R. Matejčić, K. Prijatelj (1982) Barok u Hrvatskoj, Zagreb: Sveučilišna

naklada Liber. pp. 15-75 2. Đ. Cvitanović (1985) Sakralna arhitektura baroknog razdoblja, Zagreb: DPUH. 3. V. Marković (2004) Crkve 17. i 18. stoljeća u Istri – tipologija i stil, Zagreb: IPU.

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Exhibition catalogues: 4. Sveti trag, 900 godina umjetnosti Zagrebačke nadbiskupije 1094.-1994. (1994), Zagreb:

MGC - Muzej Mimara. pp. 233-270 5. Isusovačka baština u Hrvata (1992), Zagreb: MGC. pp. 41-74 6. Kultura pavlina u Hrvatskoj 1244 - 1786 (1989), Zagreb: MUO. pp. 111-125

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Prof. Višnja Brali ć, Ph.D. Title of the course: TECHNIQUE AND STYLE OF PAINTING FROM THE

15TH TO THE 18TH CENTURY ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study

per week Conditions of admission: none Examination: written exam and a seminar paper; the final grade consists of:

10% attendance; 30% seminar paper; 60% written exam.

Syllabus:

An overview of the basic materials with a description of their technical and visual characteristics, and an overview of their changes from the 15th to the 18th century. Stratigraphy of layers on a painting in relation to the techniques of easel painting. The relation between the aging of the material and environmental influences on the visual characteristics of a painting: the difference between permanent, irreversible, and reversible or partially reversible changes. Visual effect of subsequent intervention on paintings, the historical dimension of restoration works and the relation to the taste of the time, and change of the function of the painting (changes of original placing, function, and iconographic content). The said themes will be discussed on examples from Croatian visual arts heritage, on which the conservation research and restoration were done in the Croatian Conservation Institute (the works of A. and B. Vivarini, Titian, Palma Junior, followers and copiers of G. Reni, A. Fellner, F. Benković, G. Diziani, G. Camerata, and anonymous painters of the 18th century), as well as on similar examples published in literature.

Course objectives: Knowledge: An overview of painting techniques of easel painting; terminology related to the painting procedure. Skills: Recognition of painting techniques, their behaviour through time, and the influence on art history valorisation. Competence: Assessment of the preservation state of an original work of art. Compulsory reading: 1. Jill Dunkerton (1994) Giotto to Dürer. Early Renaissance Painting in the National

Gallery, London: National Gallery. (selected chapters)

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2. Jill Dunkerton et al. (1999) Dürer to Veronese. Sixteenth Century Painting in the National Gallery, London: National Gallery. (selected chapters)

3. Andrea Kirsh, Rustin Levanson (2000) Seeing through Paintings. Physical Examination in Art Historical Studies, New Haven ; London: Yale University Press.

4. Early Italian Paintings (2003) (edited by Patricia Garland), New Haven: Yale University Art Gallery.

Additional reading: Articles on the problems which the students will receive prior to the course.

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Prof. Sanja Cvetnić, Ph.D. (Assistant) Title of the course: ICONOGRAPHY AFTER THE TRIDENT COUNCIL ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study

per week Conditions of admission: none Examination: written exam; the final grade consists of: 10% attendance; 30%

seminar paper and presentation in the 10th week; 60% written exam.

Syllabus:

The course will introduce the student to the historical frame of the Trident Council (1545-1563) and its decisions, which formed a new church discipline (regular visitations and reports, residency of a bishop), and are indirectly important for art history research. Furthermore, the decisions of the 25th meeting of the Croatian Parliament in 1563, which were more directly linked to art, honouring of saints, relics, pilgrimages, Church as the orderer, and its role, will be additionally discussed. With the comparison of texts of the main tractate writers (Gilio, Paleotti, Molanus, Recheôme...) and paintings of the European and Croatian heritage, the role of tractates in the forming and selection of content will be discussed, and the comparison of transfer of almost all iconographic solutions from the large centres (Rome, Venice, München, Antwerp), and the role of the model in the global presence of individual inventios in Catholic countries will be presented. The iconography of paintings will be compared to the new piety promoted by the new order, the Jesuits (Spiritual Exercises by St. Ignatio de Loyola, Mariale by Petrusa Cansiusa ...), again through the prism of Croatian cultural heritage.

Course objectives:

Knowledge: Knowledge of historical facts, protagonists, and phenomena related to the Trident Council and its relevance for the change of the role of art. Skills: Understanding and analysis of iconographic content in sacral art after the Trident Council, and the ability to interpret a work of art in relation to the change of its role. Competence: Recognition and ability to explain the origin of new iconographic phenomena.

Compulsory reading: Currently in preparation.

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Additional reading: Giovanni Andrea Gilio (1986) Dve dialogi di M. Giovanni Andrea Gilio da Fabriano, Firenze: S.P.E.S. [In Camerino per Antonio Gioioso (1564)] Gabriele Paleotti (1582) Discorso intorno alle imagini sacre et profane, diuiso in cinque libri , In Bologna per Alessandro Benacci.

.

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Dragan Damjanović, B.A. (Teaching Assistant)

Title of the course: ARCHITECTURE OF HISTORICISM AND SECESSION

IN SLAVONIA ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes (field study) per week Conditions of admission: none Examination: written exam (seminar paper, written during the semester, also

forms a part of the final grade)

Syllabus: This elective course will discuss the problems of history of architecture in Slavonia from 1860 to 1918. Apart from discussions in the form of lectures illustrated by examples, the students will be required to study individual buildings in the form of orally presented seminar papers, created on the basis of literature, and objects in the field (at field study). Course objectives: The objective of the course is acquisition of knowledge of an important segment of history of architecture in Croatia in the 19th and 20th centuries. By analysis of individual buildings, the students will develop the skill of not only formal analysis of buildings, but the competence of their inclusion in the historical, cultural, ideological, economic, etc. context in which they were created, with the objective to acquire sufficient knowledge to deal with the history of architecture of the said period and geographical area. Compulsory reading: 1. Historicizam u Hrvatskoj I, II (2000) Exhibition catalogue, Zagreb: Muzej za umjetnost i

obrt. 2. Ivanković, G. M. (1994) Secesijski duh u arhitekturi i životu Osijeka, Exhibition

catalogue, Osijek: Muzej Slavonije. 3. Secesija u Hrvatskoj: Zbornik radova znanstvenog skupa s međunarodnim sudjelovanjem,

Zagreb ; Osijek: HAZU ; Zavod za znanstveni i umjetnički rad u Osijeku. pp. 277-285

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4. Secesija slobodnog i kraljevskog grada Osijeka (2001), Exhibition catalogue, Osijek: Hrvatska akademija znanosti i umjetnosti ; Zavod za znanstveni i umjetnički rad u Osijeku.

5. Umjetnost XIX. stoljeća u Osijeku, Osijek: Galerija likovnih umjetnosti. (in preparation)

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Dragan Damjanović, B.A. (Teaching Assistant) Title of the course: SACRAL ARCHITECTURE OF HISTOR ICISM IN

CROATIA ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes per week Conditions of admission: none Examination: seminar paper in the first half of the semester and a final written

exam

Syllabus: The course is a combination of classic lectures related to continuous analysis of architecture by students, whether in the classroom or in the field, in Zagreb and outside of it. Analysis of an architectural work in the form of a seminar paper is a significant part of the final grade. Course objectives: The course deals with the history of sacral architecture of Historicism in Croatia from the middle to the end of the 19th century. The theme is very adequate for the problems of style in the 19th century, since every religious community chooses a style with which it identifies for its objects. Chronologically, the course will deal first with the sacral architecture of Croatian Romanticism on the example of works by Franjo Klein, and proceed with the first examples of mature Historicism (the cathedral in Đakovo). As individual themes, the opuses of Hermann Bolle, Janko Holjac, and Vinko Rauscher will be presented. The course finishes with examples of sacral architecture of late Historicism in Croatia (county church of St. Peter and Paul in Osijek, the Capuchin church in Rijeka, etc.). The students will develop the skill of interpretation of architecture of the 19th century, and shall also be introduced to the methods of their research. The course will provide the students competence to deal with sacral architecture of the second half of the 19th century. Compulsory reading: 1. Historicizam u Hrvatskoj I, II (2000) Exhibition catalogue, Zagreb: Muzej za umjetnost i

obrt. 2. Deanović, A. - Čorak, Ž. (1988) Zagrebačka katedrala, Zagreb: Globus ; Kršćanska

sadašnjost. pp. 257-304

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3. Dobronić, L. (1983) Graditelji i izgradnja Zagreba u doba historijskih stilova, Zagreb: DPUH.

4. Horvat, A. (1995) Historicizam, in: Enciklopedija hrvatske umjetnosti I (edited by Domljan, Ž.), Zagreb: Leksikografski zavod "Miroslav Krleža". pp. 334-336

5. Karač, Z. (2000) Arhitektura sinagoga u Hrvatskoj u doba historicizma, Zagreb: Muzej za umjetnost i obrt ; Kulturno društvo Miroslav Šalom Freiberger.

6. Knežević, S. (2003) Zagreb u središtu, Barbat: Zagreb. pp. 1-350 7. Maruševski, O. (1986), Iso Kršnjavi kao graditelj, in: Društvo povjesničara umjetnosti

Hrvatske, book XXXVII, Zagreb.

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Prof. Frano Dulibić, Ph.D. (Assistant) Title of the course: MODERNIST PAINTING AND ARCHITECTURE IN

CROATIA ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes per week Conditions of admission: none Examination: written exam

Syllabus:

The modernist painting and sculpture in Croatia are interpreted in chronological sequence of all manifestations and artistic directions of the first half of the 20th century, with comparative material from the European, more specifically Central European and former Yugoslav area. The subject matter discussed is from museums and galleries, as well as private collections. The significance of artistic organizations and groups is discussed: Proljetni salon, Grupa nezavisnih umjetnika, Klub likovnih umjetnica, Grupa trojice, Zemlja. A critical analysis of existent literature with emphasis on insufficiently researched opuses or thematic units. Course objectives: This course gives the students knowledge of the beginnings of modernist painting and sculpture in Croatia in the European context. In seminars and practical classes, the students will develop methodological and theoretical knowledge and skills for the interpretation of works created in different techniques. Special emphasis will be on the comparative material which views the local artistic production in the context of the European area. Compulsory reading: 1. Mansbach, Steven A (1999) Modern Art in Eastern Europe: from the Baltic to the

Balkans, ca. 1890-1939, Cambridge. 2. Ruhrberg, K., Schneckenburger, M./Fricke, Christiane/Honnef, Klaus (2005) Art of the

20th Century, Zagreb: Taschen/VBZ. 3. Gamulin, Grgo (1988) Hrvatsko slikarstvo XX. stoljeća, Zagreb: Naprijed.

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Prof. Igor Fisković, Ph.D. (Tenure) Title of the course: SCULPTURE BETWEEN THE GOTHIC PERIOD AND

RENAISSANCE IN SOUTHERN CROATIA ECTS credits: 5 Language: Croatian Status: Elective Duration: 1 semester Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study

per week Conditions of admission: none Examination: two written and an oral exam Syllabus: An overview of sculptural heritage from 1360 to 1460 in Adriatic Croatia with the determination of formal changes significant for the definition of developmental stages of the Gothic style and the turn towards Renaissance. The emphasis is on the question of continuity and discontinuity in relation with the regional and local traditions and the active reception of foreign influences in the period of development of the specific characteristics of domestic workshops and schools. Thus the opuses of less significant sculptors of Venetian schools are studied, as well as the arrival and work of the most productive sculptors from Southern or Northern Italy (Paolo of Sulmona, Bonino of Milan, P. Martinov of Milan). Along with that, a course of development of Croatian sculpture is established in the circles around Juraj Dalmatian in Central and Northern Dalmatia, and around the members of the family Andrijić and other people from Korčula in the area around Dubrovnik. The goal is to define the hybrid style of Gothic characteristics as a precondition for the Renaissance. Course objectives: Knowledge of the significant chapter in artistic creation in Croatia and an introduction to its Western European context. The ability to recognize stylistic characteristics, introduction to the morphology of works of selected sculptors, and the ability of independent aesthetic assessment of wider subject matter from the period of transition from Gothic to Renaissance style.

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Prof. Igor Fisković, Ph.D. (Tenure) Title of the course: GOTHIC PAINTING IN THE ADRIATIC ECTS credits: 5 Language: Croatian Status: Elective Duration: 1 semester Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study

per week Conditions of admission: none Examination: written and oral exam Syllabus:

Painting in the Adriatic area from the year 1300 to 1450. The development of style is discussed on the examples of monumental paintings (frescos) and techniques on wood, and in a smaller measure on miniatures, etc. Through the heritage of the Adriatic area, the main creators are presented, as well as the most fertile influences from the Apennine peninsula on Dalmatia, and those from the continent on Istria. The course provides insight into the heritage of those Apennine centres (Venice, Padova, Sienna, and Rimini) and great painters (Giotto, Duccio, Paolo Veneziano, and their circles) which marked the main stylistic currents. Analysis of the cycles of works of art created in relation to domestic traditions, as well as new reaches in the coastal cities, from the Romanesque to late Gothic experience. After the break-up with Byzantine traditions, the creation of a new painting language by Paolo Veneziano and other reformers of Venetian painting is discussed with a separate view of the reception of their language by the South Croatian painters (monographic description of the most significant, such as Blaž Jurjev) and in domestic areas open to the spirituality of early Humanism.

Course objectives: Overview of the visual arts of the Adriatic area in the context of the evolution of style in the 14th/15th century with the precedent of the Mediterranean Gothic style. Acquisition of knowledge of the processes and artists that defined the epoch, and the skills of recognition of their characteristics in the heritage available. Enabling the student to create individual judgement on the works of art from the late Middle Ages in the area of centres of development, as well as the provinces. Compulsory reading: 1. J. White (1990) Art and Architecture in Italy 1250 - 1400, Harmondsworth: Pelican. (selected chapters)

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2. R. Palluchini (1964) La Pittura Veneziana del Trecento, Venezia ; Roma. (selected chapters) 3. AAVV, Il Trecento adriatico. Paolo Veneziano e la pittura tra Oriente e Occidente (2002), Exhibition catalogue, Rimini: Silvana Edititorirale Spa. 4. AAVV, Stoljeće gotike na Jadranu – Slikarstvo u ozračju Paola Veneziana (2004), Zagreb: Galerija Klovićevi dvori. 5. I. Fisković (1990) Tipologija i morfologija oltarnih slika 15. stoljeća u Dalmaciji, in: Prilozi povijesti umjetnosti u Dalmaciji 23, Split. Additional reading: 1. B. Fučić (1963) Istarske freske, Zagreb. 2. C. Fisković (1966) Dalmatinske freske, Zagreb. 3. V. Zlamalik (1967) Paolo Veneziano i njegov krug, Exhibition catalogue, Zagreb. 4. G. Gamulin (1971) Bogorodica s djetetom u staroj umjetnosti Hrvatske, Zagreb. 5. G. Gamulin (1983) Slikana raspela u Hrvatskoj, Zagreb. 6. K. Prijatelj (1983) Dalmatinsko slikarstvo 15. i 16. stoljeća, Zagreb. 7. V. Marković (1987) Slikarstvo, in: Zlatno doba Dubrovnika XV. i XVI. stoljeće, Exhibition catalogue, Zagreb: Muzejski prostor. 8. Blaž Jurjev Trogiranin (1986), Exhibition catalogue, Split ; Zagreb. 9. J. Belamarić (1995) Nove potvrde za Dujma Vuškovića, in: Prilozi povijesti umjetnosti u Dalmaciji (Zbornik Ive Petriciolia II), Split. pp. 31-42 10. M. Boskovits (1991) Od Blaža Trogiranina do Lovre Kotoranina, in: Likovna kultura Dubrovnika 15. i 16. stoljeća, Zagreb. 11. AAVV, Na slavu Božiju – 700 godina šibenske biskupije (1998) (edited by Ksenja Kalauz), Šibenik.

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Prof. Jasna Galjer, Ph.D. (Assistant) Title of the course: PHOTOGRAPHY ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes Conditions of admission: none Examination: two written exams and a seminar paper

Syllabus: The subject of the course is history of photography, structured in a chronological order of the basic problematic and genre manifestations, theoretical approaches to the interpretation of photography, and photography in the context of visual culture. The contents of the course include the basic aspects of the relation between photography and visual arts, and the various functions of photography, from commercial to the documentary. The course also includes visits to museums that store and exhibit collections of photographs. Course objectives: Acquisition of knowledge on the specificity of photography as the medium of creative expression, technical foundations of photography, comparative analysis and contextualizing of photographs in relation to art history and visual cultures.

Compulsory reading:

1. The New History of Photography (1998) (edited by Frizot, M.), Köln: Könemann.

(selected chapters) Additional reading: 1. The Contest of Meaning. Critical Histories of Photography (1989) (edited by Bolton,

R.), Cambridge, MA ; London: The MIT Press. 2. Thinking Photography, (1982) (edited by Burgin, V.), London: Macmillan Press Ltd. 3. Visual Culture: The Reader (1999) (edited by Evans, J., and Hall, S.), London: Sage

Publications.

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Prof. Jasna Galjer, Ph.D. (Assistant) Title of the course: HISTORY OF DESIGN ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes Conditions of admission: none Examination: two written exams and a seminar paper

Syllabus: The contents of the course include the history of industrial (product) and graphic design from the beginning of the 19th century to the current production, with emphasis on the relation between individual segments of design and other areas of visual culture. Individual thematic units within the programme are the areas of inter-relations and inter-influences of design and architecture and urban planning, exhibitions as a specific form of promotion of design, the relation between design and ideology, design in the context of social conditions, fashion, the question of kitsch in design, and the relation between design and popular culture. The course deals with styles and periods in the period from Historicism, Secession, Art Nouveau, and Art Deco to the modern, avant-garde, and neo-avant-garde design, or the functional and organic design, to postmodern design and current tendentions, with the focus on key manifestations, experimental education models, movements, institutional and extra-institutional forms of activities and manifestations, including the theoretical foundations of design. Course objectives: Acquisition of knowledge of design as a specific medium of creative expression, the foundations of methodology of design history, development of skills for interdisciplinary approach to research of analogous subjects. Compulsory reading: 1. De Noblet, J. (1999) Dizajn, Zagreb: Golden marketing. Additional Reading: 1. Hollis, R. (1994) Graphic Design. A Concise History; London: Thames & Hudson. 2. Heskett, J. (1980) Industrial Design; London: Thames & Hudson. 3. Dormer, P. (1993) Design since 1945, London: Thames & Hudson.

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Prof. Jasna Galjer, Ph.D. (Assistant) Title of the course: WORLD EXHIBITIONS ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture and 1 hour of seminar per week Conditions of admission: none Examination: two written exams and a seminar paper

Syllabus: The subject of the course are world exhibitions as places of affirmation of modern culture from the middle of the 19th century to the 1950s. The architecture of the exhibition pavilions is analysed in the context of engineer architecture and urban planning of the 19th century, as well as world exhibitions as a cultural phenomenon, a specific form of promotion of styles, visual cultures, and tendentions of modern art, and the creative potential of architectural formation. Course objectives: Acquisition of knowledge of world exhibitions as a specific aspect of culture, urban planning, art history, and culture. Development of skills for interdisciplinary approach to the research of analogous examples.

Compulsory reading: 1. Greenhalgh, P. (1988) Ephemeral Vistas: The Expositions Universelles, Great

Exhibitions and World’s Fairs, 1851-1939, Manchester University Press. Additional reading: 2. Rapp, Ch. (1996) Die Welt im Modell: Weltausstellungen im 19. Jahrhundert. Der

Traum vom Glück. Die Kunst des Historismus in Europa. 3. Pred, A. (1995) Recognizing European Modernities: a montage of the present, London:

Routledge. 4. Bernett, T., The Exhibitionary Complex, in: New Formations, 4/1988.

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Prof. Nada Gruji ć, Ph.D. (Tenure) Title of the course: ANTIQUE MODELS IN RENAISSANCE

ARCHITECTURE ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical


10% attendance, 30% seminar paper, 20% seminar paper at field study, 40% written exam.

Syllabus: The course provides an overview of all ways and manners of transfer of forms and rules of Antique architecture to the architects of the 15th and 16th centuries. In individual thematic units, the literary and theoretical texts of Antique authors, tractates and drawings by Renaissance authors and especially architects are discussed. Emphasis will be on the analysis of Renaissance architectural monuments with depiction of elements taken from Antique architecture. Course objectives: Knowledge: Knowledge of an important aspect of Renaissance architecture: taking over of Classical architectural language and forms. Skills: Analysis of architecture. Competence: The ability to recognize Antique elements in the architecture of the 15th and 16th centuries. Compulsory reading: 1. Bruschi, Arnaldo (1992) L'Antico e il processo di identificazione degli ordini nella

seconda metà del Quattrocento, in: L'emploi des ordres a la Renaissance, Paris. pp. 11-57

2. Pagliara, Pier Nicola (1986) Vitruvio da testo al canone, in: S. Settis (a cura di) Memoria dell'antico nell'arte italiana III , Torino. pp. 3-85

3. Settis, Salvatore (2004) Futuro del «classico», Torino: Einaudi. 4. Thönes, Christof (1985) Gli ordini architettonici: rinascita o invenzione?, in: Roma e

l'Antico nell'arte e nella cultura del Cinquecento, Roma. pp. 261-271

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Prof. Nada Gruji ć, Ph.D. (Tenure) Title of the course: RESIDENTIAL ARCHITECTURE OF THE 15 TH AND

16TH CENTURIES IN ADRIATIC CROATIA ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical


10% attendance, 30% seminar paper, 20% seminar paper at field study, 40% written exam

Syllabus: The course provides an overview of residential architecture in Istria and Dalmatia with a special emphasis on the Dubrovnik area. It encompasses the urban residential architecture, and thus its urban planning context, and suburban architecture, i.e. all types of rural architecture. The chronological frame of two centuries encompasses two styles – Gothic and Renaissance – and the characteristics of the said styles in relation to the shaping of the architectural space. Course objectives: Knowledge: Knowledge of the basic types of residential urban and suburban architecture in the Southern Croatia. Skills: Analysis of residential architecture. Competence: The ability to recognize the characteristics of residential architecture in relation to typology and forms. Compulsory reading: 1. J. Belamarić (2001) Kultura ladanja u renesansnoj Dalmaciji – Hektorovićev Tvrdalj,

in: Studije iz srednjovjekovne i renesansne umjetnosti na Jadranu, Split. pp. 429-461 2. N. Grujić (1987) Reprezentativna stambena arhitektura, in: Zlatno doba Dubrovnika XV.

i XVI. stoljeće, Exhibition catalogue, Zagreb. pp. 65-108, 307-323 3. N. Grujić (1991) Ladanjska arhitektura dubrovačkog područja, Zagreb.

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Prof. Zlatko Juri ć, Ph.D. (Assistant) Title of the course: CONSTRUCTION AND ARCHITECTURE OF ZAGREB,

1800-1918

ECTS credits: 5

Language: Croatian

Duration : 1 semester

Status: Elective

Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes per week

Conditions of admission: none

Examination: written exam

Syllabus: Biedermeier: 1800-1850 (Introduction; Construction – along the Ilica and Vlaška streets; Architecture – Bartol Felbinger and visiting architects). Reflections of Biedermeier: 1850-1870 (Introduction – Beginning of the transformation from the feudal system to the civil society; Construction – Beginning of the utility-techical preliminary works; Architecture – Arrival of the new generation of architects and builders into the Guild of Architects and Stone Masons). Early Historicism: 1860-1890 (Introduction – Stratificiation of the guild construction and founding of Craft-school and Engineers and Architects' Club; Construction - Janko Nikola Grahor and the creation of the first regulatory foundation: the conflict of the concepts of the national capital and military-transport centre; Architecture - Grahor & Klein: from the realization of engineer construction to the realization of academic architecture). High Historicism: 1890-1900 (Introduction – From the Building and Assistant Staff Education Course to the prerequisites for founding of the Technical university; Construction - Rupert Melkus and Milan Lenuci: creation of the second regulatory foundation and construction of the city sewerage system; Architecture - Hoenigsberg & Deutsch: 1st generation of academic architects and founding of architecture companies). Modernism: Phase I 1900-1909 (Introduction – Celebration of the 25th anniversary of the Engineers and Architects' Club; Construction - Milan Lenuci, Adolf Ehrlich, and the creation of a new regulatory foundation: the discussion on spontaneous spreading of the city in the direction West – East or North – South; Architecture - Pilar&Mally&Bauda and Viktor Kovačić: 1st and 2nd generation of academic architects between Late Historicism and Seccesion). Modernism: Phase II 1909-1918 (Introduction – Discussion between the Government and the Engineers and Architects' Club about the determination of professional competence in construction and architecture; Construction - Viktor Kovačić and the regulation of historical urban parts; Architecture - Rudolf Lubynski and Viktor Kovačić: architectural achievements of the 2nd academic generation between Late Secession and Neoclassicism). Course objectives: Knowledge and acquisition of stylistic and typologic aspects of construction and architecture in Zagreb from 1800 to 1918. Acquisition of the basic professional terminology. Autonomous writing of seminar papers.

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Compulsory reading: (selected chapters) 1. Bergdoll, Barry (2000) European Architecture 1750-1890, Oxford: Oxford University Press. pp. 1-326 2. Cvitanović, Đurđica (1969) Arhitekt Kuno Waidmann, Zagreb: DPUH. 3. Čorak, Željka [etc.] (1978) Hermann Bolle, in: Život umjetnosti, Zagreb. pp. 26-27 4. Dobronić, Lelja (1971) Bartol Felbinger i zagrebački graditelji njegovog doba, Zagreb: DPUH. 5. Dobronić, Lelja (1983) Graditelji i izgradnja Zagreba u doba historijskih stilova, Zagreb: DPUH. 6. Domljan, Žarko (1979) Hugo Ehrlich, Zagreb: DPUH. 7. Franković, Eugen (1983) Regulatorna osnova istočnih područja, in: Zbornik za narodni život i običaje, Book 49, Zagreb: JAZU. pp. 245-275 8. Franković, Eugen (1981) Regulatorna osnova Zagreba iz 1865., in: Život umjetnosti, Zagreb. pp. 32, 49-59. 9. Jurić, Zlatko (1991) Arhitektura Zagreba u razdoblju od 1850. godine do 1914.godine, (doctoral dissertation), Zagreb: AF. pp. 1-567 10. Knežević, Snješka (1996) Zagrebačka zelena potkova, Zagreb: Školska knjiga. pp. 1-655 11. Knežević, Snješka (2003) Zagreb u središtu; Zagreb: Barbat. pp. 1-350 12. Ladd, Brian (1990) Urban Planning and Civic Order in Germany, 1860-1914, Cambridge, Massachusetts ; London, England: Harvard University Press. pp. 1-326 13. Laslo, Aleksander Aladar Baranyai i građanski ideal, in: Arhitektura, XXXVI- XXXVII/1983-84, Zagreb. pp. 64-73, 186-188 14. Laslo, Aleksander & Fabijanić, Nenad Rudolf Lubinsky 1873-1935, in: Arhitektura, XXXVII-XXXVIII/1984-85, Zagreb. pp. 189-195, 159-217. 15. Laslo, Aleksander (1999) Zagreb 1880-1918: Modern Architectural Town Planning in Zagreb, in: Shaping the Great City: Modern Architecture in Central Europe 1890-1937 (edited by Blau, E. & Platzer, M.), Munich [etc.]: Prestel. pp. 136-144 16. Maroević, Ivo (1968) Graditeljska obitelj Grahor, Zagreb: DPUH. 17. Maroević, Ivo O historicizmu u Zagrebu, in: Peristil, XX/1977, Zagreb. pp. 123-144 18. Maruševski, Olga (1986) Iso Kršnjavi - kao graditelj, Zagreb: DPUSRH. 19. Moravanszky, Akos (1998) COMPETING VISIONS – Aesthetic Invention and Social Imagination in Central European Architecture 1867-1918, Cambridge, Massachusets ; London, England: The MIT Press. pp. 1-508

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Prof. Zlatko Juri ć, Ph.D. (Assistant) Title of the course: MODERN AND POSTMODERN ARCHITECTURE IN

EUROPE AFTER THE YEAR 1945

ECTS credits: 5

Language: Croatian

Duration : 1 semester

Status: Elective

Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes per week

Conditions of admission: none

Examination: written exam

Syllabus:

Post-war reconstruction of Berlin. Le Corbusier, Walter Gropius, and Mies van der Rohe in Berlin and Paris. The crisis of late Modernism (Oscar Niemeyer, Marcel Breuer, Pier Luigi Nervi). The crisis of collective housing (Barbican Estate, M. van Treek). The theoretical contribution of Aldo Rossi, Roberto Venturi, and Philipp Johnson. Divergence of ideas: New Modernism (C. de Portzamparc, F. Borel), High Tech (R. Rogers, M. Hopkins, N. Grimshaw), Rationalism (A. Rossi, O. M. Ungers), Postmodernism (R. Venturi, R. Bofill, H. Hollein), Minimalism (Herzog & de Meuron, J. Sawade), New Expressionism (H. Scharoun, H. & I. Baller), Classicism (Q. Terry, R. Stern).

Course objectives: Knowledge and acquisition of stylistic and typological aspects of contemporary European architecture after the year 1945. Acquisition of the basic scientific terminology. Autonomous writing of seminar papers. Compulsory reading: (selected chapters) 1. Pearman, Hugh (2002) Contemporary World Architecture, London: Phaidon Press. pp. 1-

511 2. Steele, James (1997) Architecture Today, London: Phaidon Press. pp. 1-512 3. Tzonis, Alexander and Lefaivre, Liane (1997) Architecture in Europe Since 1968:

Memory and Invention, London: Thames and Hudson. pp. 1-312 4. Watkin, David (1992) A History of Western Architecture, London: King. pp. 1-578

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Prof. Zvonko Maković, Ph.D. (Associated) Title of the course: POST-OBJECT ART ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of practical

classes per week Conditions of admission: none Examination: written exam

Syllabus: The subject of the course are manifestations in the art of the 20th century that literally change the status of a work of art. Instead of form, the attitude (idea, concept, etc.) is emphasized as the only relevant factor. Chronologically, the course begins with Dadaism, first of all the Duchamp's "ready-mades", and follows all events to the present, i.e. conceptual art and its numerous derivates in postmodernism and later times. Course objectives: The course provides the students knowledge of a manifestation in art of the 20th century with the objective of improvement of their understanding of various artistic manifestations of the said period. The students will develop the skill of interpretation of works of post-object art and context in which they are created, with the objective to be competent to use the same knowledge in dealing with the said problems on examples of Croatian or world artistic production. Compulsory reading: 1. Ruhberg – Schneckenburger – Fricke – Honnef (2002) Umjetnost 20. stoljeća, Taschen,

or: Croatian edition from the publisher VBZ, Zagreb, to be published in spring 2005. 2. Yves Michaud (2004) Umjetnost u plinovitu stanju, Zagreb: Naklada Ljevak.

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Prof. Predrag Markovi ć, Ph.D. (Assistant) Title of the course: GOTHIC ARCHITECTURE IN FRANCE ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture and 1 hour of seminar per week Conditions of admission: Completed 2nd semester Examination: written and oral exam, seminar paper

Syllabus: The course provides a detailed insight into the origin and development of the Gothic style in sacral architecture of France, from its early beginnings (the choir-church of Saint-Denis) to the last remnants of the Flamboyant style (cathedral in Rouen). Special attention is given to the prerequisites of style development in the area of Ille-de France, from the ideological, political, and religious to the material-technical. The concurrence of more variants of the Gothic style is pointed out (Angevine and Cistercian Gothic) in the 12th century, as well as the consistency of development of the Gothic style in the north of France during the experimental period (1150-1200) and the "high" or "classical" phase of the Gothic style (1200-1250). The polycentricism in the development of the decorative Gothic phase – "Rayonnant style" (Paris, Troyes, Reims, 1250-1350) is explained, as well as its perception on the national level. The "deconstructive" and painting tendentions of the late "Flamboyant style" are analysed. Special attention is given to the problem of concurrence of Gothic architecture and scholasticism, i.e. the concurrences of mental processes in philosophy and architecture which lead to related manifestations in the formal organization of the system. Course objectives: To introduce the students to one of the most significant periods in the development of Middle Age art of the West. Observation of all significant morphological and "syntactic" elements; terminological and ideological differentiation, as well as individual analysis and dating of sacral architecture of the Gothic period in France. Differentiation between the ideological, functional, and formal aspects of the development of the Gothic style, as well as differentiating between the structural and decorative aspects in the reception of style of the 12th and 13th centuries. Understanding of the process of origination and spread of style and its individual elements. Compulsory reading: 1. Paul Frankl (1962) The Pelican History of Art: Gothic Architecture, Harmondsworth ;

London: Penguin books. (selected chapters)

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2. Jean Bony (1983) French Gothic Architecture of 12th and 13th Century, Los Angeles ; London: University of California Press. (selected chapters)

3. Erwin Panofsky (2003) Gotička arhitektura i skolastika, in: Katedrala. Mjera i svjetlost (edited by Milan Pelc), Zagreb. pp. 245-336

4. C. M. Reading & W. M. Clark (1992) Medieval Architecture, Medieval Reading, London: Yale University press. (selected chapters)

Additional reading: 1. E. A. Branderburg Gothic Art (selected chapters – catalogue of monuments!) 2. AAVV. Gothic Age - Architecture, sculpture, painting (1999), Cologne: Könemann.

(selected chapters) 3. S. Kostoff (1999) A History of Architecture: Settings and rituals, New York ; Oxford:

Oxford University Press. pp. 321-374 - chapters 13, 14

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Prof. Predrag Marković, Ph.D. (Assistant) Title of the course: QUATTROCENTO ADRIATICO - MONUMENTAL

SACRAL ARCHITECTURE OF THE 15 TH CENTURY IN THE ADRIATIC

ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture, 1 hour of seminar, and 1 hour of field study Conditions of admission: Completed 7th semester

Examination: written and oral exam, seminar paper

Syllabus: The course deals with the changes of stylistic expression, from the Gothic and late Gothic to early Renaissance, which happen on the eastern Adriatic coast during the 15th century. Thus on the examples of representative cathedral buildings, mostly large three-naved basilicas (cathedrals in Korčula, Šibenik, Osor, and collegiate churches in Pag and Cres), as well as during construction or pre-construction of other large churches (St. Mary's in Zadar, St. Mary's in Savičent), or smaller, extremely significant architectural entities (Arnir's chapel in Split, baptistery and chapel of beatus Ivan Ursini in Trogir), all relevant manifestations and changes of stylistic expressions, significant for the definition of the entire period, are analysed and interpreted in the broader context of the "Art of the Adriatic in the 15th century" (Quattrocento Adriatico). Special emphasis is on the problem of change of the construction concept during the creation of an individual work and its relation to the typological and stylistic characteristics of the work. Course objectives: Knowledge of the main characteristics of the most significant architectural creations of the 15th century in Adriatic Croatia. Acquisition of the basic historical as well as contemporary ideas, attitudes and points of view about the role and meaning of the key monuments of the said period and their creators. Understanding of the complexity of the processes of the origin of a representative architectural work (creation and acquisition of individual stylistic elements) in relation to specific functional objectives, construction-technical characteristics, as well as the historical-political, traditional, and other preconditions of its creation. Development of the methodological apparatus and a critical attitude towards the previously acquired points of view and ideas on individual monuments, builders, and the problem of their (re)valorisation in the European context.

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Compulsory reading: 1. Folnesics, H. (1914) Studien zur Entwicklungsgeschichte der Architektur und Plastik

des XV. Jahrhunderts in Dalmatien, in: Jahrbuch des Kunsthistorisches Institutes der K. K. Zentralkommission für Denkmalpflege VIII. pp. 27-196 (selected chapters – translated)

2. Lj. Karaman (1952) Pregled umjetnosti u Dalmaciji, Zagreb. pp. 3-103 3. Lj. Karaman (1933) Umjetnost u Dalmaciji, XV i XVI vijek, Zagreb. 4. P. Marković (2004) Arhitektura renesanse u Hrvatskoj, in: AAVV , Hrvatska renesansa,

(edited by M. Jurković, A. E. Brandenburg), Zagreb: Klovićevi dvori. pp. 71-109 5. E. Concina (1995) Storia dell'architettura di Venezia dal VII al XX secolo, Milano:

Electa. (chapter Venezia e il gotico - pp. 75-119) 6. R. Lieberman (1982) Renaissance architecture in Venice, London. Additional reading: 1. L. H. Heydenreich (1996) Architecture in Italy 1400-1500, Yale University Press. pp. 86-

101 2. R. de Fusco (1984) L'arhitectura dell Quattrocento, Torino: Utet. (pp. 3-7, chapter V – Il

Codice –stile «Pittorico o dei dialetti», pp. 133-161) 3. F. P. Fiore (1998) Storia dell'architectura Italiana – Il Quatrocentto, Milano: Electa.

(pp. 9-37 – introductory chapter) 4. Frey, D. - Mole,V. (1913) Der Dom von Sebenico und sein Baumeister Giorgio Orsini,

in: Jahrbuch des Kunsthistorisches Institutes der K. K. Zentralkommission für Denkmalpflege VII. pp. 1-169 (duplicated translation – published by Institut za povijest umjetnosti)

And according to the subjects of seminar papers (individual monuments)

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Dino Milinovi ć, M.A. (Teaching Assistant)

Title of the module: ART OF ANTIQUITY AND THE MIDD LE AGES

Title of the course: LATE EMPIRE PERIOD

(ART FROM HADRIAN TO THEODOSIUS)

ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 2 hours of lecture, 1 hour of seminar and 1 hour of field study Conditions of admission: completed 6th semester Examination: oral exam, seminar paper during the semester Syllabus: In history, the period from Hadrian (first half of the 2nd century) to the rule of the Theodosius The Great (4th century) is called the "Late Empire period", and considered the beginning of late Antiquity. The interest of professionals in this period resulted in alternative names for it, such as "age of decadence", "age of anxiety", or "age of spirituality". This is a period of questioning of the Antique beliefs and way of life (culture, religion, politics), and birth of new views on the role of man and meaning of life (religious syncretism, monotheism, Christianity). These changes manifest themselves more clearly in art than other areas of human creation, especially in portraits and sarcophagus reliefs. The iconography of "state art" is also changing; in political hierarchy, the Emperor has an even greater role, and he seeks confirmation of his "untouchability" in the special relation with the divine protector (Elagabal, Aurelius, Constantine). Course objectives: The course shall introduce the student to the basic tendentions of this period and give him a better understanding of art of late Antiquity and the Middle Ages. The art of the period from Hadrian (2nd century) to Theodosius (4th century), with an emphasis on sculpture and painting, is viewed in the context of the new political situation (the chaos of the 3rd century and consolidation in the age of Diocletian and Constantine) and new religious developments – from the Antique philosophical tradition ("the 2nd sophism" and Neo-Platonism) to new religions that are spreading through the Roman Empire, first of all Christianity. The student is introduced to the theoretical and artistic foundations of Christian art.

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Compulsory reading: 1. R. Bianchi-Bandinelli (1971) Rome, the Late Empire, London. 2. J. Elsner (1998) Imperial Rome and Christian Triumph, Oxford History of Art. 3. N. Cambi (2002) Antika, Zagreb. Additional reading: as arranged with the teacher.

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Marko Špiki ć, M.A. (Teaching Assistant) Title of the course: AUSTRIAN CULTURAL POLICY AND DALMATIAN

ARCHAEOLOGY, 1800-1850 ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective Form(s) of realization: 1 hour of lecture and 1 hour of seminar per week Conditions of admission: none Examination: written exam

Syllabus:

The beginning of architectural research in Dalmatia under the Austrian Empire in the first half of the 19th century. The problems of discovering Antique monuments as models within the Imperial house. The question of financing, archaeological methodology, teaming, ways of collection of materials, interpretation, presentation. Observations of foreign travel writers (Cassas, Paton, Wilkinson, and Petter). Role of these discoveries in cultural history and history of development of conservation principles in Croatia. Protagonists: F. Carrara, C. Lanza, Š. Ljubić, V. Andrić. Course objectives: Knowledge of early history of antiquarian studies and conservation practices in Croatia. Questioning of methodology, interpretation of texts, valorisation, and placing within the European context. Compulsory reading: (selected chapters) 1. AA. VV. (1985) Hrvatski narodni preporod 1790-1848, Zagreb: Muzej za umjetnost i

obrt. 2. AA. VV. (1987) Bürgersinn und Aufbegehren. Biedermeier und Vormärz in Wien

1815-1848, Exhibition catalogue, Wien. 3. Carrara, Francesco (1991) Topografija i iskapanja Salone (1850.), in: Antička Salona

(edited by Cambi, Nenad), Split: Književni krug. pp. 99-203 4. Kann, Robert (1980 [1974]) A History of the Habsburg Empire 1526-1918, Berkeley

[etc.]: University of California Press. 5. Kečkemet, Duško (1993) Vicko Andrić-arhitekt i konzervator, 1793.-1866., Split:

Književni krug. 6. Novak, Grga (1978) Povijest Splita, volumes 3 and 4, Split: Čakavski sabor. pp. 1619-

1946

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7. Okey, Robin (2001) The Habsburg Monarchy c. 1765-1918. From Enlightenment to Eclipse, Houndmills ; London: Macmillan.

8. Paton, A. A. (1849) Highlands and Islands of the Adriatic, including Dalmatia, Croatia, and the southern provinces of the Austrian Empire, London: Chapmann and Hall.

9. Wilkinson Gardiner, J. (1848) Dalmatia and Montenegro, with a journey to Mostar in Herzegovina, and Remarks on the Slavonic nations, the history of Dalmatia and Ragusa, the Uskoks, 2 volumes, London.

10. Zöllner, Erich, Schüssel, Therese (1997), Povijest Austrije, Zagreb: Barbat. pp. 220-238

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Marko Špiki ć, M.A. (Teaching Assistant) Title of the course: BIRTH OF THE HISTORICAL MONUM ENT IN

ITALIAN HUMANISM ECTS credits: 5 Language: Croatian Duration: 1 semester Status: Elective course Form(s) of realization: 1 hour of lecture and 1 hour of seminar per week Conditions of admission: none Examination: written exam

Syllabus:

Humanist discovery of antiques from Francesco Petrarca to the middle of the 15th century. Culturological and historical problems of the relations of Humanism and antiquarian studies, the question of perception of antiques. Work on original manuscripts on the antiques of Rome (Mirabilia urbis Romae, Petrarca, Caballini, Boccaccio, Salutati, Bruni, Chrysoloras, Vergerio, Bracciolini, Alberti, and Biondo). Development of sensibility towards antiques, reactions to destruction, theorizing about the fragments, the questions of reconstruction.

Course objectives: Introduction to the problem of validity and value of visual sources in the depiction of antique monuments (early cartography, vedutes of Rome, individual drawings of monuments and ruins by artists and architecture theoreticians) as the foundation for understanding of later art conservation phenomena and methodologies. Compulsory reading: 1. Choay, Françoise (1992) L’allégorie du patrimoine, Paris: Editions du Seuil. (Italian

translation (1995): L’allegoria del patrimonio, Roma: Officina edizioni. pp. 9-44; English translation (2001): The Invention of the Historic Monument, Cambridge: Cambridge UP. pp. 1-39)

2. Claridge, Amanda, Toms, Judith, Cubberley, Tony (1998) Rome. An Oxford Archaeological Guide, Oxford: Oxford UP.

3. Jacks, Philip (1993) The Antiquarian and the Myth of Antiquity. The Origins of Rome in Renaissance Thought, Cambridge: Cambridge UP. pp. 1-174

4. Krautheimer, Richard (2000 [1980]) Rome. Profile of a City, 312-1308, Princeton: Princeton UP.

5. Weiss, Roberto (1988) The Renaissance Discovery of Classical Antiquity, Oxford: Basil Blackwell. pp. 16-72

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3.4. List of courses and/or modules the students can choose from other study programmes

According to the currently valid decision of the Faculty of Philosophy, the students

can take any elective or compulsory course of other departments of the Faculty or other

Faculties.

3.5. List of courses and/or modules which can be performed in a foreign language (state language).

As yet no course and/or module are scheduled to be performed in a foreign language.

3.6. Criteria and conditions for transfer of ECTS credits… Have not been defined as yet.

3.7. Finishing the study programme.

The students finishes the study programme by completing all required courses and

with accumulated 300 ECTS credits, which include the writing of diploma paper in the size of

ca 100,000 characters for finishing of study programme, or 60,000 characters for the student

of double major teachers' programme or Art Conservation module.

3. 8. Conditions under which the students … may continue their studies.

Have not been defined as yet.

povijest umjetnosti, prijevod

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