English

Not applicable.

None.

Credit is awarded on the basis of attendance and completion of assigned tasks. Further assessment will be done by individual and group crits.
Classes are held in the Painting 1 Studio in five-hour blocks. One unexcused absence is tolerated. Making up missed classes beyond the above mentioned framework takes place after agreement with the teacher in the form of alternative assignments.

The aim is to introduce students to basic painting techniques (oil, tempera) and painting practice. They should learn the basic habits of building a composition, mixing colours, working with paint in layers, etc. The exploration and better mastery of the means of painting expression as carriers of content should enable students to be as free as possible with the medium of painting.
The students will be able to master traditional painting disciplines such as still life painting and portraiture, and to choose adequate means of expression.

Not applicable.

Not applicable.

Not applicable.

E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation (1960). 2d rev. ed. Reprint, Princeton, NJ, 1969. (EN)
Erwin Panofsky, Perspective as Symbolic Form. Translated by Christopher S. Wood. New York, 1991. (EN)
Isabelle Graw, The Love of Painting: Genealogy of a Success Medium. Sternberg Press 2018. (EN)
Johanes Itten. The Art of Color: The Subjective Experience and Objective Rationale of Color (1st ed.). John Wiley & Sons. 1991 (EN)
Michel Fried, “Art and Objecthood.” Artforum, Summer 1967. pp.12-23. (EN)
Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting. Reaktion Books, 2017 (Illustrated edition). (EN)
Rudolf Arnheim, “Visual Dynamics.” Encyclopedia of Aesthetics. Ed. Michael Kelly. 4 vols. New York: Oxford University Press. 1998. (EN)
W. J. T. Mitchell,“Word and Image.” In Critical Terms for Art History. Nelson, Robert S. and Schiff, Richard, eds. University of Chicago Press, 1996. Chapt. 4, pp. 47–57. (EN)