{"id":421,"date":"2014-12-01T15:22:55","date_gmt":"2014-12-01T15:22:55","guid":{"rendered":"http:\/\/sites.ipleiria.pt\/ipleiria-courses\/?post_type=course&p=421"},"modified":"2026-03-18T17:08:34","modified_gmt":"2026-03-18T17:08:34","slug":"master-in-fine-art","status":"publish","type":"course","link":"https:\/\/www.ipleiria.pt\/en\/course\/master-in-fine-art\/","title":{"rendered":"Fine Art"},"content":{"rendered":"\n
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Fine Art<\/h1>\n
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Course Type: <\/div>\n
Master\u2019s Programme<\/div>\n <\/div>\n <\/div>\n\n\n
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Programme Introduction<\/h2>\n
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This Master Programme aims to provide students with the practical and conceptual knowledge and skills, for the production of art works and original creations in contemporary visual arts. Students should develop an autonomous practice of artistic research, both material and interdisciplinary, leading to an artistic project informed by the most relevant languages and debates of contemporary artistic production, deepening a critical awareness of cultural, social and political impacts of this production. <\/p>\n\n\n\n

The training programmme\u2019s curriculum is oriented to the acquisition of operational skills that enable projectexploration of individual creative processes in order to consolidate a professional artistic practice, both authorial and experimental. In close continuity with the graduation degree it intends to overcome divisions between technical and artistic genres, between traditional and technological media, opening to experimentation in multiple media and emerging.<\/p>\n<\/div>\n

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Programme Coordinator<\/h2>\n
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Ana Jo\u00e3o Romana
ana.romana@ipleiria.pt<\/a><\/p>\n<\/div>\n

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Reference\n<\/h2>\n
2001<\/div>\n
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School<\/h2>\n \n
Arts and Design<\/a><\/div>\n
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City<\/h2>\n \n
Caldas da Rainha<\/a><\/div>\n
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Language<\/h2>\n
Portuguese<\/div>\n
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Type<\/h2>\n
Morning & Afternoon<\/div>\n
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Length<\/h2>\n
4 Semesters<\/div>\n
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Vacancies\n<\/h2>\n
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General and International student contingent: 25<\/p>\n<\/div>\n

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Notice<\/h2>\n
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Edital 2026<\/a> (PT Doc-Ret)<\/p>\n<\/div>\n

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DGES certification<\/h2>\n
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Link to Registration<\/a><\/p>\n<\/div>\n

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Study Plan<\/h2>\n
ECTS: 120<\/div>\n <\/div>\n \n \n
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  1. 1st Year<\/li>\n
  2. 2nd Year<\/li>\n <\/ol>\n
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    1st Year<\/caption>\n
    ID<\/th>\n Name<\/th>\n Semester<\/th>\n ECTS<\/th>\n Length<\/th>\n <\/tr>\n <\/thead>\n
    \n 2001301\n <\/td>\n \n \n Studio Work I\n <\/a>\n <\/td>\n \n 1st Semester\n <\/td>\n \n 9\n <\/td>\n \n 60 h\n <\/td>\n <\/tr>\n
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    B1 Presentation of contents, authors, artists and tools for interdisciplinary theory-practice based research, through collective reading and texts discussions, preparation of critical reviews on art classes with guest artists and other agents, field trips, bibliographic suggestions , etc.
    B2 Students will develop a work proposal during the semester trough systematic artistic production, studio and workshop practice, in order to build an individual final project.
    B3 regular dialogue with students in a mentoring\/tutorial method in order to build a framework or a map of references appropriate to the intent, form, idea, techniques of each of the individual final projects.
    B4 Public presentation of final individual project and participated debate with the class.<\/p>\n<\/td><\/tr>\n

    \n 2001302\n <\/td>\n \n \n Theory and Criticism of Art I\n <\/a>\n <\/td>\n \n 1st Semester\n <\/td>\n \n 6\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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    B.1\u2013 Modernity
    B. 1.1. \u2013 Baudelaire modern life;
    B. 1.2. \u2013 Marinetti and futurism;
    B. 1.3. \u2013 Fernand L\u00e9ger and the new spirit in painting;
    B. 1.4. \u2013 Paul Klee and modern art.<\/p>\n\n\n\n

    B. 2\u2013 The first oponents of modernity
    B. 2.1 \u2013 Andr\u00e9 Breton and surrealism.
    B. 2.2 \u2013 Georges Bataille, the human, the animal and informe.
    B. 2. 3 \u2013 Max Ernst and oposition to painting through technique..
    B. 2.4 \u2013 Giacometti and the call for imaterial. <\/p>\n\n\n\n

    B. 3 \u2013Contemporary
    B. 3.1 \u2013 Arthur Danto and the definition of contemporary
    B. 3.2 \u2013 The end of modernism: minimal art and pop art
    B. 3.3 \u2013 The end of modernism: Ernesto de Sousa.<\/p>\n<\/td><\/tr>\n

    \n 2001303\n <\/td>\n \n \n Research Seminar I\n <\/a>\n <\/td>\n \n 1st Semester\n <\/td>\n \n 3\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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    B. 1) Introduction: artistic practices.
    B1.1)The being without end of art (useless or no finality?)
    B.1.2.) On the construction of art.<\/p>\n\n\n\n

    B.2.) Central concepts of construction:
    B.2.1.) Experimentation\/Experimentalism.
    B. 2.2.) expressive materials, concepts and ideas.
    B.2.3.) Constuction of art – necessitya)various media and meansb) Unity and multiplicity. .<\/p>\n\n\n\n

    B.3.) : a) Some strategies of creation \/ construction in contemporary authors. b) Contemporary art in relationship with other contemporary culture territories.B.4) Conclusion: “useless” productivity builds itself, without “end” or proper means. But it must (“necessarily”) be built.<\/p>\n<\/td><\/tr>\n

    \n \n <\/td>\n \n \n Elective I*\n <\/a>\n <\/td>\n \n 1st Semester\n <\/td>\n \n 6\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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    • 2001316 \u2013 Drawing and Experience in Art *<\/li>\n<\/ul>\n

      The Drawing and Experience in Art proposes a higher level of questioning about drawing by treating some of its questions more specifically associated with the notion of frontier of drawing within the fine arts. The work will focus on the development of this issue, and assume often a tutorial form, alongside the other pedagogical actions &ndash; as defined. The pedagogical contents
      focus on: B1. A participatory and comparative experience on drawings&rsquo; visual issues. The making of the visual output on drawing &ndash; in its disciplinary and technical manifestations &ndash; conceived as an independent subject. B2. The &lsquo;put into practice&rsquo; of a sustainable channel of work that&rsquo;s, at the same time, a craft and an experimental response to creative intentionality.B3. The understanding of the relations within different kinds of drawings.<\/p>\n

      * This Elective is defined annually by the school.<\/p>\n<\/td><\/tr>\n

    \n \n <\/td>\n \n \n Elective II*\n <\/a>\n <\/td>\n \n 1st Semester\n <\/td>\n \n 6\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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    • 2001317 – Contextos do Objeto Art\u00edstico*<\/li>\n<\/ul>\n

      B1 – The commons – resources, places and living beings: extraction, production and exploitation; natural disasters
      and accidents since the second half of the 20th century; the role of imagination: relationships with art.B2 – Space,
      time and confinements – the consents; consent and common goods; shared spaces, confinement and cooperation:
      relationships with artistic practices.B3 – Mutual support – Imagination, ecology and freedom; commons and individual<\/p>\n

      * This Elective is defined annually by the school.<\/p>\n<\/td><\/tr>\n

    \n 2001306\n <\/td>\n \n \n Studio Work II\n <\/a>\n <\/td>\n \n 2nd Semester\n <\/td>\n \n 9\n <\/td>\n \n 60 h\n <\/td>\n <\/tr>\n
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    B1 – Continuation of each artistic individual project, previously presented and discussed with the curricular unit teacher.<\/p>\n\n\n\n

    B2 – Presentation of processes and methodologies with an experimentation component related to the project production and materialization.<\/p>\n\n\n\n

    B3 – Solution research, acording to each personnal path.<\/p>\n\n\n\n

    B4 – Bibliography research, acording to each personnal project justification.<\/p>\n<\/td><\/tr>\n

    \n 2001307\n <\/td>\n \n \n Theory and Criticism of Art II\n <\/a>\n <\/td>\n \n 2nd Semester\n <\/td>\n \n 6\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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    B. 1 – Art and art criticism in the 21st century – a crossroads
    B. 1.1 – What art? What criticism?
    B. 1.2 – Criticism and dynamics and interrelations in the artistic field (school, market, museum, curatorship)
    B.1.3 Criticism after criticism ends<\/p>\n\n\n\n

    B. 2. – The Contemporary paradigm and its foundations
    B. 2.1 Concept (Idea, Language, Meaning)
    B. 2.2 Image (Representation, Real, Fiction, Simulation)
    B. 2.3 Presence (Object, Space, Context)
    B. 2.4 Action (Gesture, Demonstration, Liberation)<\/p>\n\n\n\n

    B3. – Themes, contexts and recurring problems of contemporary art
    B3.1 Art and Institutional Context
    B3.2 Art and Gender Policies and Representation
    B3.3 Art, Postmodernity and Postcolonial Context<\/p>\n<\/td><\/tr>\n

    \n 2001308\n <\/td>\n \n \n Research Seminar II\n <\/a>\n <\/td>\n \n 2nd Semester\n <\/td>\n \n 3\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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    B.1. Introduction: Investigate to enhance your own practice
    B.2. Research in art dimensions of artistic practice:
    B.2..1. Research on art, through art and in art.
    B.2.2. aesthetics; noetics; relation to you; relation to others; relation to the world.
    B.2.3..know local art non-local knowledge in art
    B.3. The enhancement of practice through discourse and writing:
    B.3.1. Functions of writing in the arts (non-literary):B.3.2. Speech validation modes<\/p>\n<\/td><\/tr>\n

    \n \n <\/td>\n \n \n Elective III*\n <\/a>\n <\/td>\n \n 2nd Semester\n <\/td>\n \n 6\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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    • 2001318 – Machines of Imagination *<\/li>\n<\/ul>\n

      B1. Machines of Imagination (F. Jameson, G. Agamben, G. Deleuze &amp; F. Guatarri)<\/p>\n

      B2.Utopia and Imagination (Stephen Shukaitis, Thomas More, Al Berto; Jos\u00e9 Gil)<\/p>\n

      B3. The Utopian Impulse and The Principle of Hope. (Stephen Shukaitis, Ernst Bloch, F. Jameson)<\/p>\n

      B4. Detour and the Utopian Impulse -Bertolt Brecht e o V-(Verfremdungseffekt) effect (Brecht, E. Bloch)<\/p>\n

      B5. OUncanny, o Terrain-vaguee os Espa\u00e7os Heterot\u00f3picos (Freud, Sol\u00e1-Morales,Michel Foucault)<\/p>\n

      B6. Debate and Experience: D\u00e9rive and other psychogeographic games (G.Debord)<\/p>\n

      B7. Conceptual and Formal Models of Imagination Machines.<\/p>\n

      B8. Public Presentation of theme and method for final theoretical paper.<\/p>\n

      B9. Individual Final Theoretical paper: Should reflect on at least one of the concepts or ideias exposed during classes, in relationto an artistic work o
      artist.t\u00f3pico e o Princ\u00edpio Esperan\u00e7a. (StephenShukaitis, Ernst Bloch, F. Jameson)<\/p>\n

      * This Elective is defined annually by the school.<\/p>\n<\/td><\/tr>\n

    \n \n <\/td>\n \n \n Elective IV*\n <\/a>\n <\/td>\n \n 2nd Semester\n <\/td>\n \n 6\n <\/td>\n \n 45 h\n <\/td>\n <\/tr>\n
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