Friuli Venezia Giulia has a long artistic and painting tradition and the First Level Academic Course in Painting promoted by ABA UD takes origin from this.
A new educational offer that wishes to support artistic development of all students coming from the Region and not only that, starting from history, but looking towards the future with a modern approach, answering the needs of young artists and favouring their cultural growth.
Students can experience various imaging techniques: indian ink, oils, graphite, charcoal, inks and any other material fit for the formation of the student and for the creation of his works.
A course of study with strong cultural bases and lab practice, built in order to help improve and grow the artistic sensitivity and the skills of each ABA UD student.
The Painting course wishes to form artistic skills and qualified professionalism that, keeping in mind technical innovation and plurality of languages, may help develop an individual search within painting itself linked to traditional techniques and their elaboration experimenting with new forms of expression.
Students with a Painting degree can carry out professional activities in different fields, both in the freelance art profession and in the field of visual arts and creative activities, as well as collaborating in the different fields of its application, such as planning, designing, and specific interventions in painting, both using traditional tools and with new technologies and new pictorial expressions found in national and international exhibitions.
HISTORY OF MODERN ART
The course will be carried out through frontal lessons, supported by PowerPoint presentations, dedicated to the main artists, art movements and key issues of the hiistorical-philisophical-artistic events that characterized the period that went all the way to The Renaissance and to Neo-Classicism.
The student must show knowledge of disciplinary contents, must be able to analyze works, authors and art periods in a coherent and articulate way, historically contextualizing them, expressing a correct and motivated critical evaluation ( also personal ones) also referring to the study career and the experience acquired. Therefore, the student must be able to place the work both in the correct timeframe and recognize style and technique .
Methods of evaluation
The final test shall verify the degree of knowledge of the main protagonists of Art History, from the end of the fifteenth century to the beginning of the nineteenth century, of the main artistic movements and of the historical-aesthetic aspect of art language.
The student will have to prove that he can place the work in the appropriate historical-artistic context, within the personal experiences and relationships of the artist ( commissions, work contents and finality, technical-formal characteristics) i.e. he must show that he can properly read and understand the style of the work itself.
C. Bertelli, G. Briganti, A. Giuliano, Storia dell’arte italiana, Milano, Electa Mondadori, vol. 3, unità 15, 16, 17 18; vol. 4, unità 19.
Ernst Hans Josef Gombrich: Storia dell’arte racconta da E. H. Gombrich, Einaudi, dal capitolo XII al XXIII.
Other books must be agreed with the professor.
HISTORY OF CONTEMPORARY ART I
The finality of this course is to deepen the knowledge of contemporary artists developing their artistic path and placing it in the context they had lived in.
We will also analyze the dynamics that govern the world of art, mainly of contemporary art.
Students will be placed in groups and a research on a specific artist will be assigned to each group.
Members of each group shall illustrate their research to all lesson participants, explaining it in a correct and professional way.
Curiosity and question asking are welcomed and kindly expected.
This is an Academy therefore a place where philosophy is pursued. Plato started his activity in the garden of an Academy. Please do the same….
Emotive temperature and colour physicality from Giotto’s frescoes to the performance of Achille Lauro.
First module (70 hours)
We will analyze colour and its use both in connection with physicochemical and emotional implications deriving from it, through a trip that retraces the history of art and the connections with other arts and disciplines. The course will be characterized by a comparison between different eras and, therefore, between images used and predominant colours (Giotto ultramarine blue/Picasso blue/ International Klein Blue and blue after Klein. Titian red and Cardinal red, Matisse red, Burri red, Rothko red, all the way to the red shirts chosen by combat sports athletes, and so forth and so on with more colour shades…), indirectly reviewing also all the art works and contamination with design, advertising, cinema, fashion.
Monographic course (5 hours)
Vanessa Beecroft (Genoa 1969) merges in her works perfection and suffering, aestheticization and forms of asceticism based on resistance and control. Since the beginning of her career she centered her research on the female body, displayed according to a formal, geometric and colouristic rigor that composes articulated tableaux vivants. The point of departure for her work was, in 1993, Despair or the Food Book, with typewritten lists of foods- divided by quality and colour-, eaten by the artist from 1983 to 1991, when she was suffering from anorexia. Her first performance, VB01, was correlated to this work. Thirty girls she met in the streets, at the Academy, or in the surrounding areas, that reminded her of paintings of the Renaissance or of movie actresses of the sixties, wore her clothes, whose colours referred to a group of water colours placed on the floor. More than a hundred performances followed the first one, all titled with her initials, VB (that became sorts of a trademark, a logo) and the action number. During the monographic course we shall take a trip among these warm but frozen bodies, simulating with their representations, Renaissance painting, classic sculpture, cinema, architecture; bodies lent to fashion glam, to video clips, with a continuous reflection on contemporary western society, shown by media exposure with all its contradictions and obsessions.
This course wishes to see colour used when realizing an image and emotional stimulation. We wish the student to develop an expertise in the cultural, historical, alchemical, symbolic, psychological and healing meaning of colour itself, supplying the analytical and critical methods for proper design.
The exam will consist of an oral interview and a written essay.
Any art history book is advisable in order to have a general knowledge of the various historical periods together with those suggested by teachers of history of modern and contemporary art. As for biographies I suggest Giunti monographies, while for eighteenth century art: Hal Foster, Rosalind Krauss, Yve-Alain BoisArte dal 1900. Modernismo, antimodernismo, postmodernismo, Zanichelli, 2017 / Angela Vettese, Si fa con tutto. Il linguaggio dell’arte contemporanea, Laterza, 2015).
Rudolf Steiner, L’essenza dei colori, Editrice Antroposofica, 2013 (prima edizione 1929)
Two or more books to be chosen among:
Michel Pastoreu I colori dei nostri ricordi, Ponte delle grazie, 2011
Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
Sophie Duplaix, Gina Pane (1939-1990). È per amor vostro, catalogo della mostra MART, Rovereto, 17 marzo – 8 luglio 2012, Hoepli, 2012
The objective of the first year is to give students solid foundations of human anatomy , in particular of osteology. Bone structure is studied using a synthetic-geometric approach to allow easy decoding in the external morphology of the living model.
The geometric approach of the anatomical study will help not only to solve, in a conscious way, a complex transposition of a tri-dimensional figure on a bi-dimensional surface, but also to acquire a spatial reasoning such as to lay the foundation for the design of pure invention.
Lessons will have practical demonstrations made by the teacher, a Lab design phase and correction of all exercises.
Knowledge of the whole bone and joint structure of the human skeletal structure and capacity for geometric simplification.
Knowledge of main proportions and bone structure inclinations and ability to graphic re-proposition from different observation points.
Conscious use of acquired anatomic knowledge in life drawing.
Methods of evaluation
The exam is divided into a practical part and an oral part.
The practical part consists in life drawing of a living model and in drawing, without reference, of the human skeletal structure.
The oral part focuses on knowledge of the human skeletal structure. All exercises made in class and all assignments will also be evaluated.
LA FIGURA – Walt Reed – LA BIBLIOTECA DI D&D
The First year of painting is centered on still life. The student acquires a basic knowledge of painting techniques, correct image reading and conscious management of materials and their possible interaction, by re-proposing different objects from life.
This path allows achievement of effective tonal and chromatic image management.
Image geometrical and spatial decoding.
Knowledge of oil and non-oil painting techniques in their main performing dynamics.
Handling of pictorial materials and possible interactions.
Comprehension of image tonal and chromatic values.
Re-proposition of still life based on acquired skills.
Methods of evaluation
The final exam focuses on evaluation of works done by the student during the course and on a practical exam consisting in realization of a still life from life.
Philip Ball – Colore – Una biografia – edizioni BUR
PSYCHOLOGY OF ART
The cycle of lessons will be held during the second semester and they will end with an oral exam. Attendance to the course is mandatory for experimental workshops. The exam, which provides training credits will be on the contents of the bibliographic part and on the knowledge of topics analyzed during frontal and experimental lessons.
The course is divided into two thematic areas of reference. The first one covers the main constructs of psychology and allows the student to orient himself and become familiar with peculiarities of art psychology. The second area focuses on perception studies concerning the functioning of the senses and reactions, triggered in humans by sensory stimuli. This elaboration of sensory data is an active and creative process that replaces sensory experience of the surrounding environment, an experience that lies to the basis of how we perceive and decode the world. Perceptual processes are closely linked to and inseparable from other cognitive faculties such as, attention, memory, reasoning, emotions.
Such approach requires the knowledge of the following books together with experience during sensory workshops.
E.R.Kandel, 2012, L’età dell’inconscio, arte, mente e cervello, dalla grande Vienna ai nostri giorni, Milano, Raffaello Cortina Editore.
Office hours: Thursday from 5.00 p.m. to 6.30. p.m. preferably by appointment.
DRAWING FOR PAINTING
Drawing, with its visual, emotional, design power, acquires today a new communicative feature. Graphic and segnic expression is not placed on a subsidiary communication plan, but on total expressive autonomy.
Sign, as means of pictorial investigation, takes on a specific language role , graphics become themselves a finished work of art.
To better address the issues herewith, we have to analyze four operational phases: practical-rational drawing, exploratory research drawing, personal autonomous drawing, segnic drawing.
Practical-rational drawing: contents of design drawing, preparatory to the work, aimed at artistic production. Drawing is the essence of creativity, it is a graphic language, incisive in the creative process of the work of art.
Exploratory research drawing: drawing seen as investigation and method of analysis, aid as an understanding of form; creative drawing; drawing as reality of continual experimentation, a bridge between conscious and unconscious creativity, the sketch or the graphic note, as a moment of spontaneous creativity devoid of language pattern; study drawing, copying of real life models, synthesis of Nature’s image.
Personal autonomous drawing: the student will work with independent graphic drawing in search for pure feelings-ideas. The graphic work will be an end in itself, autonomous and representative.
Segnic drawing: during exercises the student will be constantly stimulated and urged in a quest for its own personal expressive mark, which is at the base of the unique creative signature.
Topics will be taught in two different ways:
Graphic diary/book – (research and functional drawing): students must always carry a scrapbook/notebook where they will draw on a daily basis and where they will write suggestions, visions, shapes, intuitions, images, with the utmost expressive immediacy.
Lab – (autonomous drawing): during Lab activity drawing will be seen as an autonomous and finished work of art. Students will be guided towards the search for the sign and for the most appropriate support to express personal themes, in order to reach a final exhibition artwork.
Methods of evaluation
We will evaluate works done by the student during the academic year.
FUNDAMENTALS OF COMPUTER SCIENCE
Proliferation of digital devices and their continuous daily use in the most different areas, calls for an indispensable basic knowledge of computer use and of computer tools in approaching the artistic, graphic, illustration world.
This course wishes to supply basic knowledge on the use of personal computer and, specifically, to illustrate the main functions of the most popular digital processing programs for rastel and vector images (Adobe Photoshop, Adobe Illustrator) and basic knowledge for digital publishing (Adobe InDesign).
Management of file dimensions, colour methods and formats.
The finality is to acquire basic technical knowledge to realize text compositions and vector drawings.
The finality is to acquire basic technical knowledge to realize simple printed products.
The finality is to acquire basic technical knowledge to realize simple photo editing and photo-montage.
Some useful exercises will be suggested during classes to become familiar with program functions and iconographic examples taken from the art and communication world, emphasising ductility of image processing media and, consequently, of the signifiers and the meaning inside of a fluid system.
Students will be invited to a personal approach to this discipline, keeping in mind rules and limitations as well as their particular inclination, wishing to stimulate them to develop their own artistic research using digital tools, both individually and with group work.
THEORY AND METHODS OF MASS MEDIA
The student will be able to know and recognize the main communication models through media history of the twentieth century and the main experimental paradigms based on the influence of media on society. He will also be able to analyze the main characteristics of creating a community and of on-line communication, to distinguish digital cultures and capture their philosophical aspects and the main artistic, aesthetic, economic and sociologic implications.
The course aims to form a consciousness on kinds of influence and of socio-cultural changes and on the development of mass media through history.
Through analysis of the social fabric related to media influence, the student will acquire the knowledge needed to understand communication dynamics, relationship and persuasion put in action by the media system and will mature a critical sense towards collective contemporary scenarios.
The exam will be conducted in oral form, and will cover the concepts learned during classes, the study of text books and discussion of practical activity linked to project work.
Exam texts (compulsory):
– Paccagnella Luciano, Sociologia della comunicazione, Milano, Il Mulino, 2010 (frontespizio verde)
– Architetture digitali e comunicazione digitale – di E. Zuanelli – edizione 2016 – Aracne
– Lo spettacolo della merce. I luoghi del consumo dai passages a Disney World, di Vanni Codeluppi, maggio 2000, Edizioni Bompiani
Supply a general understanding of painting techniques and of the main theoretical and practical dynamics of the use of colour, as well as management of image tones and chromaticity.
Knowledge of oil and non oil painting techniques in their main performing dynamics.
Handling painting materials and possible interaction.
Image geometric and spatial decoding.
Understanding image tonal and chromatic values.
Image re-elaboration ability based on skills acquired.
The final exam will evaluate work done by the student during the course.
Philip Ball – Colore – Una biografia – edizioni BUR
Professors are already artists and valuable scholars, ready to transfer technical knowledge and “secrets” learned during their artistic profession, following the great academic teaching tradition .
The educational offer is based on a multi-disciplinary model geared toward innovation.
Students follow their theoretical individual studies but they also join group workshops where they share artistic design and its applications and expressions.
During the three-year-course, “Visiting Artists” will hold lectures, seminars and workshops covering specific topics, useful for educational and professional growth, there will also be exhibitions and collaboration with public and private entities, where students will be given a chance to deepen their cultural level and better develop their critical abilities to better read and analyze the language of Visual Arts.
The Accademia di Belle Arti GB Tiepolo offers deserving students with an ISEE lower than 36.000 euro, enrolled in the first year of courses, the possibility to have a 1,200 euro scholarship as a reduction of their academic fees through a ranking list published, within the month of October, on the official site. Economic requirements will be examined based on the student family’s income and assets, keeping in mind the (ISEE), certificate of economic status for the 2019 solar year. Such certificate must be submitted within the terms indicated in the special section (Notices).
The Regional Agency for the Right to Higher Education-ARDISS supports students with a Regional Call for the assignation of benefits and for the provision of services for the right to university education: contributions for scholarships, international exchange, allocation of student accommodations and discounts for the university cafeteria.
Grants for scholarships are awarded to students attending all Universities legally located in Friuli Venezia Giulia and all AFAM Institutions. Students of the Accademia Tiepolo applying for scholarships may request further information at www.ardiss.fvg.it
Viale Ungheria, 39/b – 33100 Udine
+39 0432 245772
Due to the Covid-19 epidemic, there will be no admission test to ABA UD for the a.y. 2020/2021
Registration to the Graphic design for enterprise course, will be accepted to complete the programmed number of 60 seats.
For further information, please contact us in writing at:
or call us at: