Balearic Islands PAU Artistic Foundations Exam study plan

Draw and label the five main representation systems (isometric, cavaliera, axonometric, conical perspective with one and two vanishing points, and orthographic projection), producing one annotated sheet per system.

Analyse how line weight, contour and hatching create volume by copying three short passages from different draughtsmen and writing a 40-word note on each technique.

Build a personal vocabulary sheet of 30 visual-language terms (rhythm, proportion, focal point, chiaroscuro, texture, plane) and define each in one sentence.

Apply a four-step commentary template (identify, describe, interpret, contextualise) to two works of your choice, timing each to 20 minutes.

Construct a timeline from Ancient Greece to the Baroque, placing at least 25 key works with author, approximate date and stylistic label.

Compare Greek, Roman and Byzantine approaches to the human figure and architectural space in three short written comparisons of 120 words each.

Distinguish Romanesque from Gothic by listing five structural and five iconographic criteria and matching each to one named building.

Explain how Renaissance perspective and humanist proportion theory changed pictorial composition, citing two works and their authors.

Trace the transition from Mannerism to Baroque through three works, identifying what each borrows and rejects from its predecessor.

Summarise the core claims of three aesthetic positions (Platonic mimesis, Kantian disinterested beauty, the Romantic genius) in 100 words each.

Match five historical treatises or theoretical statements to the periods they shaped and justify each match in one sentence.

Draft a 15-line argument on whether beauty is objective or culturally constructed, using at least two named theorists.

Map the principal avant-gardes from Impressionism to Surrealism onto a grid of date, manifest or key text, main authors and formal innovations.

Contrast Cubism and Futurism on how each treats time, motion and the picture surface, citing two works per movement.

Explain the shift from figurative to non-figurative abstraction using three artists and their stated intentions.

Write a 250-word commentary on one avant-garde work without consulting notes, then correct it against sources.

Connect four technical developments (collage, photomontage, ready-made, industrial paint in tubes) to the movements that exploited them.

Describe the working process of oil painting, watercolour, fresco and tempera, naming the binder and support for each.

Compare intaglio and relief printmaking, listing three processes of each and the visual traces that reveal which was used.

Explain how the shift from analogue to digital photography alters the concepts of authorship, edition and originality in 150 words.

Produce six timed commentaries of 20 minutes each, covering drawing, painting, sculpture, print, photography and a digital work, one per technique.

Identify medium and support from visual evidence alone in each commentary and state how that evidence supports your dating or attribution.

Refine the commentary template so that description and interpretation are clearly separated and each claim is anchored to a visible detail.

Self-mark all six commentaries against a four-criterion rubric (identification, description, interpretation, context) and log recurring errors.

Explain four functions of art (ritual, commemorative, ideological, market commodity) and attach one historical example to each.

Outline the main debates in heritage conservation (restoration versus minimum intervention, authenticity, mass tourism) in 200 words.

Describe at least four elements of Balearic artistic heritage, such as talayotic monuments, Gothic and Baroque church architecture, and the island's modern and contemporary art collections, with their locations.

Draft a 200-word argument for or against restricting visitor numbers at a heavily visited heritage site, using two conservation principles.

Sit two full mock exams under time pressure and mark them against the official-style criteria you have built.

Revisit the error log from week 6 and rewrite your three weakest commentaries to rubric standard.

Condense the whole syllabus into a single revision sheet of 40 cues covering visual language, aesthetics and image analysis.

Rehearse a 5-minute spoken defence of one work, moving fluently between description, interpretation and context.