Department:

Study of Form and Ambience

Course Leader:

conf.dr.arh. Mihaela Șchiopu

Teaching Staff:

conf. dr. arh. Mihaela Schiopu, conf. dr. arh. Carmen Dumitrescu, lect. dr. sculptor Ionel Istoc, asist. Andreea Ivanciof

Learning outcomes:

The aims of the course are creativity developping, inventiveness and plastic expression applied to the plastic area of the interior architecture and of the product design. Students will also develop their ability to make abstract shapes and spaces, making them as expressive as possible. The course aims to familiarize students with techniques used in the 20th century plastic art: collage, acrylic paint (and oil of choice) as well as various mixed techniques.

Content:

Lectures: 1. SELF PORTRAIT. ESENTIALISM Cubism specific expression means (Picasso, Braque, Gris). Investigating the ways in which a form can be identified. Palette of monochrome color or reduced to 2-3 colors. Drawing on paper and painting on canvas. 2. HOUSE. LIGHT AND INTERIORS. Composition and expression means specific to expressionism (Munch). Study of the expressive relationship between the inner spaces and the light that shapes them. Spaces, lights and characters. Commemorating the accident at the Collective. 3. OBJECTS AND PERSONS. Composition and means of expression specific to abstract art. (Miro, Kandinsky, Klee). Stages: figurative representation - abstraction. The complex theme - 4 weeks. 4. MEMORY. The relationship between space, time and characters. Specific composition and means of expression for the Pop-Art stream. Investigating the graphic and pictorial ways to describe the story of an object accumulated over time and the emotional load it receives in relation to a character. 5. PRINT AND WRITING. The relationship between graphics, photographs and various surfaces. Specific composition and means of expression for Tapies. The study of writing as a plastic sign, the practical intervention of the gesture in painting. The complex theme - 4 weeks

Teaching Method:

Lectures accompanied by screenings, followed by work in the studio.

Assessment:

Average grade for the practical activities.

Bibliography:

- Leyton M.,Springer, “The structure of paintings”, Verlag, Wien, 2006 - David Hopkins, “Dada and Surrealism: A Very Short Introduction” , Oxford University Press, USA, 2004 - Heskett John, “Design: A Very Short Introduction”, Oxford University Press, USA, 2002 - Stallabrass Julian, “CONTEMPORARY ART:A Very Short Introduction”, Oxford University Press, USA, 2004 - Cottington David, “Modern Art: A Very Short Introduction” Oxford University Press, USA, 2005 - James Jamie, “Pop art”, Borders Press, Phaidon Press Limited, 1996 - Mical Thomas, “Surrealism and Architecture”, Routledge, Taylor & Francis Group, London and New York, 2005 - Smith,Terry, “CONTEMPORARY ART WORLD CURRENTS, Laurence King Publishing, New Jersey, USA, 2011, - Apollinaire Guillaume, Eimert Dorothea, Podoksik Anatoli, “Cubism”, Parkstone International, 2008 - Bassie Ashley, “Expressionism”, Parkstone International, 2008 - Chase Linda, “Hiperrealism”, Rizzoli International Publications, Inc. New York, USA, 1975 - Upjohn, Wingert, Mahler, “History of World Art “,OXFORD UNIVERSITY PRESS, New York, USA, 1958 - Pile, John F.”History of interior design”, John Wiley & Sons, Inc., Hoboken, New Jersey. USA, 2000 - Jones Amelia, “A Companion to Contemporary Art since 1945”, Blackwell Publishing Ltd, , Oxford OX4 2DQ, UK, 2006 - Fineberg Jonathan, Art since 1940, “Strategies of being” Prentice Hall, New Jersey, USA, 1995

Notes:

- the course may have additional adjacent classes; - the course may be extended in terms of length and themes for students of the Product Design Faculty, and practical activities may be differentiated (at some classes there are alternative proposals, depending on the faculty)