alternative representation i. 4 · the photo’s impact on painting: hyperrealism, techno realism....

Alternative Representation I. 4

Type of course: practice and number of lessons: 2

Method of assessment (colloquium / practice/ other): Practice

Course’s place in curriculum (term) 3rd term

Pre-study conditions:

Course Description: brief and informative description of the knowledge to be acquired and the competences to be shaped

In the framework of the practical lecture students meet different techniques lesson by lesson. This exercise will give new opportunities and tools into the hands of students by stepping beyond the genres of traditional easel painting. In addition to the usual traditional techniques that are often considered too clear, visual expression now often offers other options as well. During the lessons the students step out to the three-dimensional space, take a look into installation genres, deal with sound and video. Thinking in a group and creating together become particularly important.

A list of 3-5 most important mandatory and recommended literature (lecture notes, textbooks) with bibliographic information (author, title, publication data, [or pages], ISBN)

Katalin Keserü: Variációk a POP ART-ra (Variations for Pop Art), Új Művészet Kiadó, 1992. Jindrich Chalvpecky: A művész-sorsa. Duchamp meditációk (The artist's fate. Duchamp meditations), Balassi Kiadó, 2002. Új Művészet (magazine) Unser Jahrhundert (catalog, Prestel Verlag Munich) Művészet a 20. században (Art in the 20th century, book; Taschen)

Responsible lecturer: Dr. Péter Balázs college associate professor, DLA

Instructors involved in the course, if any: Erik Mátrai, adjunct professor

Alternative Representation II. 4

Type of course: lecture and number of lessons: 2


Course’s place in curriculum (term) 4th term

Pre-study conditions: Alternative Representation I.


Use of ready-mades in the image. The objects of mass culture (newspapers, objects, reproductions of the advertising world), finished works, graphic works (screen printing, offset printing, photocopying, linocut, etc) individual transformation by means of other materials (Pop Art, Warhol, Lichtenstein). Constructing an image, picture in picture, assembling images of different character. Creating large images: the involvement of the environment to the creation of the image. Harmony and dissonance, as aesthetic elements in creating images. The Arte Povera (poor materials), the use of organic materials in creating images. Images’ transition to other genres: installations and the field of performance art, advertising.


Katalin Keserű: Variációk a POP ART-ra (Variations for Pop Art), Új Művészet Kiadó, 1992. Jindrich Chalvpecky: A művész-sorsa. Duchamp meditáció (The artist's fate. Duchamp meditations), Balassi Kiadó, 2002. Új Művészet (magazine) Unser Jahrhundert (catalog, Prestel Verlag Munich) Művészet a 20. században (Art in the 20th century, book; Taschen)



Alternative Representation III. 4

Type of course: lecture and number of lessons: 2



Pre-study conditions: Alternative Representation II.


Ideas as dominant elements in the creation of an image. The visual means of conceptual art and intellectuality. Minimal art, then ambition for establishing the term ’reduction art’ ("to say less is more"). The expansion of the character of photo: photo gets into the field of fine arts. Analogue and digital photo, creation of image without camera: the edited, planned image; snapshot as raw material: creation after the exposure. Photo manipulation with its own tools and other materials. The photo’s impact on painting: hyperrealism, techno realism. Photo-based imaging, the original and the copy, the issues of manual techniques and modern technology in visual representation. Paraphrase: art history as raw material. Reformulation, rewriting of values by using their own tools.


Allan Kaprow: Assemblage, Environmentek és Happeningek (Assemblage, Environments and Happenings), Balassi Kiadó, 1998.

Fotóművészet / Photo Art (magazine) Digitális fotó/Digital photo (magazine) Praesens (magazine) Tibor Gyenis (catalogue)



Alternative Representation IV. 4

Type of course: practice and number of lessons: 2



Pre-study conditions: Alternative Representation III.


Use of modern tools, non-tactile images: creation of images via light and shadow, video image, projected video image. Application of virtual world, computer, media arts, animation. How do the virtual image and the opportunity of digital photography transform our concept of imaging? Photo as study, art piece and manipulable raw material. Art and commodity, fashion and modernity, reproduction, growing popularity of art, problem of massification, the impact of the media industry on the expanding concept of the image. Temporality: sound, film, interactivity, use of change in light and shade. The use of virtual images with other art media. Responding to social phenomena. Portfolio-making.


Art Journals (Balkon, Art Forum, Új Művészet, Octogon, Praesens ) Kortárs képzőművészeti szöveggyűjtemény I. II. (A contemporary art textbook I. II.),

Ed .: András Lengyel and Ernő Tolvaly

Géza Perneczky: A korszak, mint műalkotás (The era as a work of art), Irisz Könyvek,

Corvina, 1988.

Lóránd Hegyi: Új szenzibilitás (New Sensibility), Magvető Kiadó, Budapest, 1983.



Anatomy I. 3

Type of course: lecture: 2





The course presents the human body’s bone and muscle system from the artistic perspective. During the four semesters, students will learn about the special language and history of anatomy, and its relations in art history. The theoretical lectures are complemented by practical exercises, which provide practice in relation to the human body’s proportions. The exercises compare the structure of the human musculoskeletal system and the one of the animals. They also examine the human body in the course of different moves. By the end of the fourth semester, the students will be able to draw the life-size proportional human figure in movement while they get the essential skills regarding the anatomical system of the human body to draw portraits and nude. The language of anatomy. The base of osteology, bones, cartilage, joints. The skull’s bones, sutures. The head’s proportion system. The anatomical aspects of portrait drawings. The spine and ribcage. The spine’s movement possibilities. The bones of the shoulder girdle. The bones of the upper arm and the forearm. The hand bones. The proportion system of the hand. The anatomical aspects of hand drawing. The hip bone system. The proportion system and drawing aspects of the hip bone. The thigh bone and shin bone. The foot bone structure. The anatomical aspects of foot drawing. The differences between male and female skeletons. Animal skeletal systems. The base of myology, muscles, tendons, aponeuroses. The head’s muscular system. The neck’s muscle system. The muscles of the shoulder. The muscles of the upper arm. The muscles of the forearm. The hand’s muscular system. The chest muscles. The abdominal muscles. The back muscles. The hip muscles. Thigh Muscles. The muscles of the lower leg. The muscles of the foot. Making large drawings of movements.


Jenő Barcsay: Művészeti Anatómia (Artistic Anatomy), Corvina Kiadó, 2008 Gothfried Bammes: Der Nackte Mensch, der Kunst Verlag Dresden,1969

Frigyes Kőnig- Gyula Funták: Művészeti Anatómia és Geometria (Geometry of Art and Anatomy), Semmelweis Kiadó, 2007

Responsible lecturer: Dr. István Erőss professor, DLA

Anatomy II. 3

Type of course: lecture: 2



Pre-study conditions: Anatomy I.


The course presents the human body’s bone and muscle system from the artistic perspective. During the four semesters, students will learn about the special language and history of anatomy, and its relations in art history. The theoretical lectures are complemented by practical exercises, which provide practice in relation to the human body’s proportions. The exercises compare the structure of the human musculoskeletal system and the one of the animals. They also examine the human body in the course of different moves. By the end of the fourth semester, the students will be able to draw the life-size proportional human figure in movement while they get the essential skills regarding the anatomical system of the human body to draw portraits and nude. The hip bone system. The proportion system and drawing aspects of the hip bone. The thigh bone and shin bone. The foot bone structure. The anatomical aspects of foot drawing. The differences between male and female skeletons. Animal skeletal systems.


Jenő Barcsay: Művészeti Anatómia (Artistic Anatomy), Corvina Kiadó, 2008 Gothfried Bammes: Der Nackte Mensch, der Kunst Verlag Dresden,1969

Frigyes Kőnig- Gyula Funták: Művészeti Anatómia és Geometria (Geometry of Art and Anatomy), Semmelweis Kiadó, 2007

Responsible lecturer: Dr. István Erőss professor, DLA

Imaging studio practice I. 5

Type of course: practice: 5




Course description:

The student examines the possibilities of mapping the visible world, the „external image” as the first step in the development of the picture language.

Lighting exercises (shape and space), rational analysis (structure and line) Possibilities of forming blotches and colour, scenery, atmosphere, expression

(monochrome and colour exercises, blotch, tone, colour) Compositional context of spatial relations (framing, perspective) Forming of space (line, blotch, colour) Elaboration of individual gestures depending on the use of materials

Knowledge of materials and techniques (coal, pitt, graphite, coloured pencil, pastel, watercolor, tempera, acrylic)

Examples, analogies in art history

A list of 3-5 most important mandatory and recommended with bibliographic information (author, title, publication data, [or pages], ISBN)

Lóránd Hegyi: Avangarde és transzavantgarde (Avantgarde and transavantgarde. Periods of modern art history), Magvető, Budapest, 1996.

Gábor Andrási - Gábor Pataki – György Szücs – András Zwickl: Magyar képzőművészet

a 20. században (Hungarian art in the 20th century), Egyetemi könyvtár, Corvina 1999.

A második nyilvánosság. XX. századi magyar művészet (The second public sphere.

20th century Hungarian art), compiled by Hans Knoll, edited by Júlia Jolsvai,

Enciklopédia Kiadó, 2002.

Alan Bowness. Modern European Art, Thames and Hudson, 1972.

Lóránd Hegyi: Új szenzibilitás (New Sensibility), Magvető Kiadó, Budapest, 1983.

Responsible lecturer: Tamás Kótai college associate professor, Munkácsy Award

Imaging studio practice II. 5




Pre-study conditions: Imaging studio practice I.

Course description:

Confidence from knowing the reality i.e. the routine of mapping the „external image” frees those inner expressions that turn the drawings and respectively, pictures in the direction of expression while reconsidering the scenery. The emotional, mental content will be the guidelines in shaping forms and space and choice of colour. The internal energy, internal vibration, melancholy "reconsiders” the scenery, settles on it, tunes and re-evaluates it. The traces of all these can be seen in the works, and thus alter the creator’s self-knowledge as well, and the result is a more personal, subjective message. (Honesty in our/my relationship to the world.) The exercises are still linked to settings, models, but require freer individual interpretation, the emotions attached to objects, models „penetrate” the works.

Exercises in shaping form (blotch, line, colour). Exercises in organizing and shaping space (dynamic, passive ...) Compositional exercises (emphasis, stress, balance) Colour and form reductions, colour transposal. (Find the individual sound in colour.) Exercises in handling materials (technology and gestures, the character of the

material...) Factural exercises (base) Examples in art history


Umberto Eco: A nyitott mű (The open work), Gondolat, Budapest, 1976. John Bergeer: Mindennapi képeink (Our everyday images), Corvina, Budapest, 1990. György Kepes: A világ új képe a művészetben és a tudományban ( The new image of

the world in art and science), Corvina, Budapest, 1979

Dieter Ronte - László Beke: Dóra Mauer, Present time foundation, Budapest, 1994. Dubuffet, in collaboration with the Art Institute of Chicago and the Los Angeles

County Museum of Art, New York, 1962.


Imaging studio practice III. 5



Course’s place in curriculum (term): 5th term

Pre-study conditions: Imaging studio practice II.

Course description:

In the possession of adequate visual experience, material handling knowledge and image building experiences, „internal images” formulated along the associations, intuitions in the creators can be evoked in an authentic way. Their essence is to make the visual ideas, emotions and the mediation of message contents visible. The internal image is a personal message: the social responsibility depends on the creative character’s devotion and empathy, thus its self-building nature, task is indispensable. Such images are usually "born", they cannot be made, the series of tasks calling them to life is complicated and individualised. Their set of tools is complex and is built on the logics of visual language. Exercises in shaping of form (appearances - visual sign)

The development of visual memory (appearances - memorial picture - image - image signal)

Association exercises („calling” of signs) Parallelism and confrontation of conceptual and visual signs

Compositional exercises, space-shaping exercises (possibilities of operation of a pictorial space)

Colour handling practices (colour contrast, highlighting with colour) Material handling practices (shape, colour, facture, excitation of gesture-forming

automatism) Examples in art history, analogies


Ruhrberg -Schneckenburger - Frieke - Honnef: Kunst des 20. Jahrhundertes, Cologne, 2000.

Pál Bánszky:A naiv művészet Magyarországon (The naive art in Hungary), Képzőművészeti Kiadó, 1984.

René Berger: A festészet felfedezése I-II. (The discovery of painting I.-II), Gondolat, Budapest, 1977.

Jindrich Chalupecky: A művész sorsa. Duchamp-meditációk (The fate of the artist. Duchamp meditations), Balassi, 2002.


Imaging studio practice IV. 5




Pre-study conditions: Imaging studio practice III.

Course description:

The aim is to motivate the students for independent creative work. The recognition of positive emotions associated with creative work by means of aesthetic experiences. The development of visual memory and creative imagination. In the course of the creative processes, the enrichment of the students’ world view, problem-solving skill, creative potential, as well as the emotional, moral, volitional trait of their personality. All this happens via many individual consultations, corrections.

A list of 3-5 most important mandatory and recommended literature (lecture notes, textbooks) with bibliographic information (author, title, publication data, [or pages], ISBN))

Current exhibition books, catalogues Art journals: Új művészet (New Art), Balkon (Balcony) Géza Perneczky: A korszak, mint műalkotás (The era as work of art), Irisz könyvek,

Corvina, 1998. A művészet története. A XX. század művészete (The history of art. 20th century art),

Corvina, 1993. Kortárs képzőművészeti szöveggyűjtemény I-II. (A contemporary art textbook I.-II. Ed

.: András Lengyel and Ernő Tolvaly)


Drawing I 6



Course’s place in curriculum (term) 1st term



The subject is the main subject of the Imaging department. It is intended to develop the students’ creative abilities and artistic creativity as well as to provide a basis for all other practical subjects. The subject ranges from drawing cubes through the laws of perspective and settings of still lives and interiors as well as studies after models to the compositional skills and a certain level of pictorial thinking in the foundation period. The first term’s task is to catch up with the differently prepared students and develop them to the same level. Examination of the visual, spatial, formal and colour phenomena, the visual representation of the non-visible internal context. The perception of form in the context of contrast, the quality of lighting and colours. The interpretation of form, the rationalisation of irregular and subtly regular shapes, the context of their structure, part-shape and their characters by illustrating their connections to geometric spaces.

Term 1: Learning about the characteristics of various drawing techniques (pencil, charcoal, Pitt pencil, ink). Exercises in spatial representation. The perspective’s representation in two dimensions. Still life drawing, drapery on geometric bodies. Consultation about the drawings.


A képzőművészet iskolája (The school of fine arts), Képzőművészeti Alap Kiadó,

Budapest, 1976.

Heribert Hutter: A művészi rajz története és technikája (The history and technique of

artistis drawing), Corvina, Budapest, 1968.

Dénes Pataki: A magyar rajzművészet (Hungarian Drawing), Képzőművészeti Alap

Kiadó, Budapest, 1960.

Júlia Szabó: Szabó Júlia: Magyar rajzművészet 1890-1919 (Hungarian Drawing 1890-

1919), Corvina, Budapest, 1969.

Mai magyar rajzművészet, bev.Solymár István (Contemporary Hungarian art of

drawing, introduction by István Solymár), Képzőművészeti Alap Kiadó, Budapest,

1972.

In addition, the uncountable amount of literature of art history and contemporary art concerning the topics and individual creative problems

Periodicals: Új Művészet, Balkon, Műértő

Responsible lecturer: Dr. Zsolt Ferenczy associate professor, DLA

Drawing II. 6



Course’s place in curriculum (term) 2nd term

Pre-study conditions: Drawing I.


The subject is the main subject of the Imaging department. It is intended to develop the students’ creative abilities and artistic creativity as well as to provide a basis for all other practical subjects. The subject ranges from drawing cubes through the laws of perspective and settings of still lives and interiors as well as studies after models to the compositional skills and a certain level of pictorial thinking in the foundation period. The first term’s task is to catch up with the differently prepared students and develop them to the same level. Examination of the visual, spatial, formal and colour phenomena, the visual representation of the non-visible internal context. The perception of form in the context of contrast, the quality of lighting and colours. The interpretation of form, the rationalisation of irregular and subtly regular shapes, the context of their structure, part-shape, their characters by illustrating their connections to geometric spaces.

Term 2: The basics of portrait drawing. The use of the head proportion system in practice. Frontal portrait drawing, three-quarter profile, profile. Drawing of half-length figure. Consultation about the drawings.

A list of 3-5 most important mandatory and recommended literature (lecture notes, textbooks) with bibliographic information (author, title, publication data, [or pages], ISBN)))


Budapest, 1976.









1972.


Drawing III. 6




Pre-study conditions: Drawing II.



Term 3: Incorporation of the portrait into the figure. Drawing half-length figure in environment. Drawing of double portrait. Fitting the head to the body. half- length figure in clothes, with or without drapery. Consultation about the drawings.



Budapest, 1976.









1972.



György Kepes: A látás nyelve ( The language of vision), Gondolat, Budapest, 1979.

György Kepes: A világ új képe a művészetben és a tudományban (New picture of the world in art and science), Corvina, Budapest, 1979.

A képzőművészet iskolája I-II. (The school of fine art I- II.), Képzőművészeti Alap Kiadó, 1976.

H. Gombrich: A művészet története (History of Art), Gondolat, Budapest, 1983.


Drawing IV 6



Course’s place in curriculum(term) 4th term

Pre-study conditions: Drawing III.



Term 4: Nude drawing. Understanding the human body’s proportion system. Making sketches in various sizes (A4-A3-A2). Making sketches with various techniques. Learning classical positions (contraposto, sitting nude, half-lying, lying position). Consultation about the drawings.




A képzőművészet iskolája I-II. (The school of fine art I- II.), Képzőművészeti Alap Kiadó, 1976.

H. Gombrich: A művészet története (History of Art), Gondolat, Budapest, 1983. László Moholy Nagy: Az anyagtól az építészetig (From material to architecture),

Corvina, 1968.

Huba Bálványos – László Sánta: A vizuális megismerés és a vizuális kommunikáció

(The visual understanding and visual communication)

Zoltán Szalai: A vonalművészet. Gondolatok a rajz és nyomtatott vonalvilág

művészetértől (Line art. Thoughts on the art of drawing and printed world of lines),

Budapest, 1944.

Alan Bowness: Modern European Art, Thames and Hudson, 1972.


Drawing V 6




Pre-study conditions: Drawing IV.


The subject is the main subject of the Imaging department. It is intended to develop the students’ creative abilities and artistic creativity as well as to provide a basis for all other practical subjects. The subject ranges from drawing cubes through the laws of perspective and settings of still lives and interiors as well as studies after models to the compositional skills and a certain level of pictorial thinking in the foundation period. The first term’s task is to catch up with the differently prepared students and develop them to the same level. Examination of the visual, spatial, formal and colour phenomena, the visual representation of the non-visible internal context. The perception of form in the context of contrast, the quality of lighting and colours. The interpretation of form, the rationalisation of irregular and subtly regular shapes, the context of their structure, part-shape, their characters by illustrating their connections to geometric spaces. Term 5: Nude drawing. Drawing a figure in clothes, with drapery and without clothes. Human body in various illumination. Difficulties of the observation and representation of foreshortening. Consultation about the drawings.


Kortárs Képzőművészeti Szöveggyűjtemény (Contemporary art Textbook), A &E’ 93

Kiadó, 1995.

Katalin Keserü: Variációk a POP ART-ra (Variations for Pop Art), Új Művészet Kiadó,

1992.

Gábor Andrási - Gábor Pataki – György Szücs – András Zwickl: Magyar képzőművészet

a 20. században (Hungarian art in the 20th century), Egyetemi könyvtár, Corvina 1999.

Books, catalogues, art magazines on actual, contemporary exhibitions

Drawing VI. 6




Pre-study conditions: Drawing V.


The subject is the main subject of the Imaging department. It is intended to develop the students’ creative abilities and artistic creativity as well as to provide a basis for all other practical subjects. The subject ranges from drawing cubes through the laws of perspective and settings of still lives and interiors as well as studies after models to the compositional skills and a certain level of pictorial thinking in the foundation period. The first term’s task is to catch up with the differently prepared students and develop them to the same level. Examination of the visual, spatial, formal and colour phenomena, the visual representation of the non-visible internal context. The perception of form in the context of contrast, the quality of lighting and colours. The interpretation of form, the rationalisation of irregular and subtly regular shapes, the context of their structure, part-shape, their characters by illustrating their connections to geometric spaces. Term 6:

Nude drawing. Making life-size drawings. Making drawings with mixed technique. Making

double or triple nude drawings. Consultation about the drawings.


Actual books, catalogues on exhibitions

Art journals: Új művészet, Balkon

Géza Perneczky: A korszak, mint műalkotás (The era as a work of art), Irisz Könyvek,

Corvina, 1988.

A művészet története. A XX. század művészete (The history of art. 20th century art), Corvina, 1993.

Kortárs képzőművészeti szöveggyűjtemény I. II. (A contemporary art textbook I. II.),

Ed .: András Lengyel and Ernő Tolvaly


alternative representation i. 4 · the photo’s impact on painting: hyperrealism, techno realism....

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