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Lecturer(s)
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Course content
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- Setting the communication rules during the semester. Assigning the final work topics. - Consideration on the status of art, particularly paintings in the contemporary society - excursion, discussion - workshops on selected topics - analysis of students' work - portfolio, presentation
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Learning activities and teaching methods
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Collaborative instruction, Project-based instruction, Discussion, Instruction based on dialogue, Multimedia supported teaching, Students' portfolio, One-to-One tutorial, Group discussion, Skills demonstration, Task-based study method, Individual study, Seminar, Field trip
- Contact hours
- 130 hours per semester
- Individual project (40)
- 40 hours per semester
- Graduate study programme term essay (40-50)
- 40 hours per semester
- Preparation for an examination (30-60)
- 30 hours per semester
- Practical training (number of hours)
- 45 hours per semester
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| prerequisite |
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| Knowledge |
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| reproduce the names and definitions of the advanced building elements of the art language in painting, about their possible reciprocal compositional relationships and their usage for painting methods and procedures, to recall procedures and possible usage of drawing and painting expressions, to use knowledge about visual and artistic means suitable for painting techniques and their usage in making of conventional complex units and graphics as own artistic expression, to interpret own knowlidge about historical and contemporary style canons and approaches and their possible conections, to use the suitable ways of mechanism of communication with the client to determine his/her requirements, to critically assess his/her own work in a discipline context, compare the results achieved on the given field of creation (both own and foreign), evaluate them and conclude those processes, to accept the work of other authors, to have an overview about own skills and possibilities, to plan a project in the production team dealing with complex tasks, about ways to justify and defend your own design activity in relation to other members of the production team, to apply knowledge about basic illustratorial and semanthical morphology when designing the assigned task to use vocabulary and qualities of aesthetics and art in communication about own work and to evaluate it, |
| Skills |
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| of making drawing designs of higher noticeable value for graphic elaborating considering specifics based on the nature of the graphic technique and its overlap to other artistic forms and their combination, of new technnologies, content interpretation and the other options and approaches to work, to propose stylization of visually processed topics and their integration into a artistically effective composition related to own wide united style and its development, to meaningfully work on paintings in a public space in harmony with an environment, to choose the appropriate technology for producing the final product based on its usage, to reflect its work in the context of professional, technical and technological processes, to justify and vindicate on proposal - used materials, reversibility, time schedule, list of working tools, an economic balance, to critically assess his/her own work in the field context and style framework, to select the most suitable variant of the final artistic project and create portfolio containing complex project documentation, to choose appropriate forms of presentation and promotion of graphic design, with erudition, to present his work to the professional community, to be able to accept and assert in a way the evaluation and critical response, to be fully involved in the activities of the production team dealing with complex tasks, to be able to accept and assert in a way the evaluation and critical response, to individually choose a sphere of interest and problematics, which he/ she will deal with and creativelly solve, |
| Competences |
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| N/A |
| N/A |
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| learning outcomes |
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| Knowledge |
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| about possibilities of inspiration and creation initiated by own innovative intention and a generally assigned task, about own skills and possibilities, about planning a complex and technically difficult project of artistic and praphic character about planing and managing work and specialized procedures, of advanced painting and combined artistic methods and approaches, about several most significant protagonists of particular approaches, about the possibilities and limits of involvement in interdisciplinary cooperation on painting projects in more difficult complexes, about a wider range of advanced artisti and visual assets, about their possible reciprocal compositional relationships and their usage in conventional and experimental way, about advanced painting techniques and their overlap to other techniques and technologies including options of unconventional historical and recent materials, about the historical and contemporary styling canons of both figural and non-figural paintings, about viewing and interpretation in the field of art in their social context and in a general sense, options of using those contexts in creating own visual symbols and their meanings, |
| Skills |
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| to lear to use a field of new technologies, interpretation and new approaches to work, to apply them and to experiment, to critically assess his/her own work in the field context and style framework, to work with several varied alternatives and variations, to choose most suitable design based on specific requirements of each project, to select the most suitable variant of the final painting project and create complex design documentation, choose the appropriate technology for producing the final product, to make effort to find various solutions to given problem, to maintain originality of own design and to own advancement aiming to distinctie artistic and graphic expression, to be able to accept and assert in a way the evaluation and critical response, to think in a broader context and accepts artworks of others artists and to reflect own work in the context of professional, technical and technological processes, to reflect his work in historical and contemporary contexts and to be aware of potencial of those contexts for own original expression and inspirational sources which work with this reality, to interpret creations and in the field of art in their social context and in a general sense, |
| Competences |
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| N/A |
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| teaching methods |
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| Knowledge |
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| Lecture with visual aids |
| Seminar |
| One-to-One tutorial |
| Skills |
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| Skills demonstration |
| Seminar classes |
| Students' portfolio |
| Project-based instruction |
| Competences |
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| Discussion |
| assessment methods |
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| Knowledge |
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| Individual presentation at a seminar |
| Project |
| Skills |
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| Skills demonstration during practicum |
| Project |
| Practical exam |
| Competences |
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| Individual presentation at a seminar |
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Recommended literature
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Elkins, J. Proč lidé pláčou před obrazy. Praha: Academia 2007. ISBN 978-80-200-1509-9.
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Gombrich, E. H. Příběh umění. Praha, 1992.
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Hattstein, M., Delius, P. (eds.). Islám, umění a architektura. Praha, Slovart, 2006.
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Liessmann, Konrad Paul. Filozofie moderního umění. Olomouc : Votobia, 2000. ISBN 80-7198-444-2.
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