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Artistic Baccalaureate

"Learn to live"

This course has a high level of specialization and provides students with basic training that enriches their aesthetic sensitivity and develops the necessary skills for the effective implementation of creative processes common to all art and design specialties.

History of the Arts Trips

Students wishing to take this course must have drawing skills and an interest in expanding their knowledge of the progress and evolution of humanity in aspects such as art, history and culture. It opens the door to university studies related to the artistic world, from Fine Arts to clothing styling, decoration, design, etc., as well as the creation of audiovisual and multimedia productions.

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1st year Sixth form
2nd year Sixth form

Materias de modalidad

A1

Dibujo

Proyectos Artísticos

Volumen

Cultura Audiovisual

A2

Dibujo

Cultura Audiovisual

Dibujo Técnico

Volumen

A3

Dibujo

Proyectos Artísticos

Volumen

Psicología

A4

Dibujo

Proyectos Artísticos

Psicología

Cultura Audiovisual

Materias optativas

A raíz de la Nueva Ley Orgánica 3/2020 (LOMLOE) ofrecemos para los alumnos de la modalidad Humanidades las siguientes asignaturas.

OPTATIVA 1
ANUAL

Matemáticas aplicadas 

MACSS Aplicadas

Latín

Dibujo artístico

OPTATIVA 2
TRIMESTRAL

Retos científicos (B y G)

Retos científicos (F y T)

Empresa

Bases cult. artísticas

Creación literaria

Fts. Culturales del s.XX

Art History Trips

The school proposes an itinerary of three trips for students taking the subject of Art History in their second year of Sixth form.

Madrid, Rome and Paris; as well as cultural visits to different museums and emblematic places in our city, Barcelona. These trips are made jointly with the Abat Oliba Loreto School.

Why do we give so much importance to the study of Art History in our schools? This subject will not only educate our students on a cultural and intellectual level, but will also teach them to recognize Beauty, which is not a banal feat. Dostoyevsky said:

“Humanity can live without science, it can live without bread, but it could never live without beauty, because there would be no reason to be in the world. The whole secret is here, the whole history is here.”

We are convinced that Dostoyevsky was right: losing the ability to recognize Beauty inevitably leads to a loss of humanity. We want our students to become true adults, free men and women, and to this end we put at their service all the tools we possess, one of which is undoubtedly the encounter with the work of art.

However, we must not forget that the specific purpose of the trips is academic, so we will conduct classes on them, like those given at school, but at the Louvre Museum, the Prado or San Luigi dei Francesi. As the nature of the classes on site is different from that at school (they do not present the unity of the lessons designed by a teacher, since the works are not always arranged chronologically in museums or cities), upon returning students will be given a table of basic contents indicating the stages, authors and works we have visited, to make it easier for students to reorganise their notes and thus take the exam better.

Testimonies of the trip

"We were all clear that we were going to see museums and we had been told that we would spend many hours standing and taking notes. And we weren't fooled. The city was beautiful, with lots of walking, observing and writing. But what no one was prepared for was the intensity of the trip. Seeing the works in person, experiencing them and the discussions that arose during the two nights we spent in the capital left us all pensive, fascinated and even unsure.
We were surrounded by beauty on all sides and it spoke to us, it asked us to look at it and, at that moment, it was not us who were observing but the painting was looking at us. It demanded attention, it almost begged to be heard, to be accepted into our lives. And behind every work there is a respect, something transcendent and inexplicable that each artist expresses for himself but also for the rest of the world. We are moved by a work of art because we are aware that only human beings are capable of expressing so much on a canvas or a piece of wall with colours and a brush. Art is a mystery. You have to dare to look it in the face, explore it and let it speak to you, to allow you to be part of it. I return from this journey full, exuberant. New. Thank you for everything."
P.S.

This trip has been worth it. In these three days my life has changed, even if the change is hardly noticeable. It hasn't changed in the way that I am now kinder or that I won the lottery and have more money, but it has changed my way of seeing reality. I suppose that the changes that this has brought about in me are not yet noticeable, but I hope and wish that in the long run they will appear. Walking among works of art by great artists from different times and places, I have seen that there is something that they all have in common and that is the desire for eternity, to transcend history, the fear of death and oblivion. All of them, in one way or another, express this in their works, and by observing them they have transmitted this message to me. Now I am aware that, like all humans, I have this desire inside me, a desire that I try to satisfy but I cannot find the way. Thanks to meeting my classmates and the two teachers who accompanied us, I have seen that I am not the only one in this situation, but that we are all the same (more or less) and that talking and listening to the experiences of others has helped me understand my own. Sharing this trip with all of them is what has made it so special, because you needed others to realize certain things, this path that we have taken on the trip would not have been possible without the help of others. Everything we have talked about has touched my heart and has moved me like never before. I had heard all this before, but nothing ever reached me, and I still can't believe that hearing exactly the same thing but in a different environment and with different people has changed my life. In the end, this trip has been one of the best experiences of my entire life. J.C.

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"I needed this. I needed reality to stand before me and call me, saying: This is a gift, and This is for you. And I ask myself: What have I done to deserve this? Why me, now and here? I find myself surrounded by beauty, everywhere and at all times, but I cannot give it the value it really has. I walk past it, I look at it and I run away. I do not stop to contemplate it as it deserves. Until a moment comes when everything stops. I observe. My heart softens. It stops. I have no words. What to say in the face of such beauty? Words are not enough. It is something much greater. It is a mystery. It carries a truth that is above everything and everyone. But even so, it penetrates me, and all around me. We recognize something in it that fascinates us. It provokes sensations. Tears. Silence. And it is that putting yourself in front of a work of art is putting yourself in front of a reality, a truth, an artist, a living man. One who wants to be a part of the world. One who wants to talk to you, one who wants to tell you something true, something for you, for me. Something for everyone. And you just stop. You contemplate. Something inside you moves, without knowing the reason and without wanting it, you feel it. But what is it? There is no answer to which it can be reduced. Anything is too small for it. And you recognize the love that the artist has, the love for wanting to communicate something that can save you and bring out the deepest part of you. And you find value in the moment when one manages to recognize and know oneself before the work of art. Then you just think: I hope to be able to one day put love into something like they do and thus be able to say something great to the world. Now all that remains is to say: Thank you." A.R.

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“Despair. You take a step forward, entering a solemn room full of dark paintings and people standing between you and the works. None of them particularly catch your attention… Until it happens. You make eye contact, you recognize the work of art that you have seen before countless times but this time, to your surprise, there is something different. “What is different?” you ask yourself and, involuntarily, your feet take action and guide you, making your way through the crowd of people until you reach your destination. Once in front of the painting you go blank, there is only it and you, a work of art in front of you and you in front of it, everything else vanishes like smoke in the air. You contemplate what is in front of you, the depth in those absorbing eyes. You do not realize it but you get closer and closer, the centimeters slowly shrink and it is at that point that you realize that the desperation, the intense gravity in his gaze, has completely captivated you. Your face is almost glued to the painting, admiring each brush stroke. But suddenly, you come back to reality, you come out of that almost mystical dream state. You take two steps back, you move away again to admire the painting in its entirety, and yet it is too late, you are already bewitched, you come closer again while you ask yourself: Why do I feel like this? And the good thing comes when you realize that you don't even know how you feel, bad?, good?, sad?, happy?, anxious?, or maybe a mix of all of them, or maybe nothing. It doesn't matter, it's not important; the only thing you are sure of is that you don't feel the same as you did a few minutes ago; it has devoured part of your being. What is it about it that makes you feel like this? How can a little bit of black, white, brown and red paint make you shudder in such a way, experience the anguish, fear, pain or hopelessness that those wide eyes feel? How can a real person create such beauty? And why do I feel this way after having seen this before (on a screen or in a book, that is)? Without a doubt, just by experiencing it all first hand, I can say that this journey has been worth it.” V.W.

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“Goya has captivated me from head to toe, he has awakened something different, something that Velázquez, El Greco or Dalí came close to touching; but that, however, Francisco de Goya has managed to touch. He has achieved this with the Black Paintings section. The first time I was fascinated by the power that all the paintings recreated together, and two days ago, when I went back into that dark room; I asked myself what it was that provoked an outburst of emotions, what was in the pessimism of those paintings that caught my attention so much. Is it the story behind each one? Is it the way he has of claiming his thoughts? Or is it simply the nonconformist attitude that so characterizes him and that knows how to empathize with mine?” L.M.

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