Artesis Plantijn Hogeschool Antwerpen
Koninklijke Academie voor Schone Kunsten Antwerpen
campus Mutsaardstraat
Mutsaardstraat 31 - 2000 Antwerpen
T +32 3 213 71 00 - F +32 3 213 71 19
academie@ap.be
Painting: Craft Technology 26300/1624/1819/1/57
Study guide

Painting: Craft Technology 2

6300/1624/1819/1/57
Academic year 2018-19
Is found in:
  • Bachelor of Arts in Visual Arts, programme stage 2
    Choice option within specialisation:
    • Painting within Fine Arts
    Choice package:
    • aan opleidingsonderdelen naar keuze
  • Bachelor of Arts in Visual Arts
    Choice option within specialisation:
    • Painting within Fine Arts
    Choice package:
    • Elective courses
  • Preparatory Programme Visual Arts
  • Schakelprogramma Beeldende Kunsten
This is a single course unit.
Study load: 3 credits
Special admission is required to attend this course unit within a
  • exam contract (to obtain a credit).
  • exam contract (to obtain a degree).
Co-ordinator: Mathysen Pieter
Languages: Dutch, English
Scheduled for: Semester 1 + Semester 2
This course unit is marked out of 20 (rounded to an integer).
Possible deadlines for learning account: 31.10.2018 ()
Re-sit exam: not possible.
Fail mark compensation: You have to pass this course unit (will never be compensated).
Preservability: The result of this course unit is preservable according to the terms of the program you are enrolled for.
Total study time: 90,00 hours

Prerequisites

Learning objectives (text)

The student is able to analyse a wide range of historic and contemporary paintings. He understands the importance and has a command over diverse physical and non-physical techniques involved in picture-making. He understands the effect of different materials on the outlook and thus on the meaning of a painting. He is able to recognise and recycle techniques involved in the construction of certain image-types. He can put his own artistic practice in an artistic lineage.


Learning outcomes (list)

The student has insight into a number of more specific technical problems, especially concerning modern paint types and materials.
The student has insight into the relationship between material-technical experiments and artistic innovation, both historical and contemporary.
The student knows that material-technical errors in the construction of a work of art have caused irreparable damage in a number of cases
The student knows the main problems that can arise in the conservation of modern artworks and adapts his method or method in such a way that the chance of early damage is limited.

Learning objectives

The student is able to analyse a wide range of historic and contemporary paintings. He understands the importance and has a command over diverse physical and non-physical techniques involved in picture-making. He understands the effect of different materials on the outlook and thus on the meaning of a painting. He is able to recognise and recycle techniques involved in the construction of certain image-types. He can put his own artistic practice in an artistic lineage.

Course content

While for most art-lovers it is enough to stand in awe in front of a well-made painting, the aspiring painter soon wants to know how the picture was brought about. What materials were used? What thought processes led the artist through his creative process?

In this course we shall study the ‘making of’ of a wide number of paintings. From chalky Mexican murals to the ‘finish fetish’ of West Coast minimalism, from tranquil Japanese inkbrush painting to the painterly bravura of the Baroque. We want to know what’s inside a painter’s toolkit: physically as well as mentally.

Where possible we shall follow the creation of a painting from the first flash of inspiration to the final finishing touches, investigating a wide range of techniques along the way. Though we shall study imagery as a piece of technology, we will predominantly focus on the correlation between imagery and the techniques that bring these images into being. Along the way we will learn that technique is more than just the clever use of appliances or showing off some fantastic skill. That it is in fact the deliberate attempt of an artist to enhance a picture’s impact by the careful selection of materials and compositorial schemata.

Through a series of well-documented lectures we will create a deep understanding of the physical and non-physical techniques involved in picture-making. Ideally, at the end of each lesson, the student walks away with a list of fresh ingredients he can put in his creative cauldron.

We will do what artists always have done: ransack the past in order to give birth to the new.

Educational organisation (list)

Learning Activities
Lectures and / or tutorials60,00 hours
Work time outside of contact hours30,00 hours

Evaluation (list)

Evaluation(s) for both exam chances, not reproducible in re-sit exam
MomentForm%Remark
Academic yearReflection assignment100,00notes & discussion

Evaluation (text)

notes (75%) discussion (25%) 

During lectures students are expected to take notes. Whenever you get an idea that could further your personal artistic practice you write it down. We evaluate your ability to generate ideas based on our analysis’ of paintings. Whether your ideas are stupid, unrealistic, brilliant or mad is not important. What is important is that you allow yourself to think freely. More ideas equals more points. At the end of the second semester students hand in their notes and discuss what they have learned with their teacher.