Undergraduate Art History 2022-2023

Collecting, like art-making, is a universal human activity. This introductory course takes you on a journey through the history of collecting, from early modern cabinets of curiosities, over the origins of the modern art museum, to questions of curation in the digital age. We will explore how changing modes of display affect our perception and understanding of artworks. The course also addresses key debates on the practice and ethics of museums, on restitution and decolonisation.

This course discusses key works and movements in the history of art from c. 1800 to today. It serves as an introduction to one of the most dynamic and multifaceted chapters in art history. Topics to be discussed may range from the Pre-Raphaelites and the rise of abstraction to contemporary performance art. The course will also consider the global intersections of Western art, aiming to de-centre our understanding of what counts as 'modern'

This course explores art history in the Western world from antiquity to the nineteenth century. We examine the artistic production of distinct historical periods, with reference to their social, religious, political and cultural contexts, and consider art history’s use of specific labels and chronologies, from Classical and Medieval, to Renaissance, Baroque, and Romantic art.

‘Art’ is a controversial category. In museums, you might see urinals and cardboard boxes exhibited – but what earns them this accolade? Is it about skill? Creativity? Beauty? Who decides what counts as ‘good’ art? And why are museums full of stuff made by white men? This course discusses these and related questions. It will introduce you to a wide range of historical definitions of art, and discuss key works, from antiquity to Instagram - many of which challenged the boundaries of ‘art’.   

This course focuses on ten art objects, mapping the wealth and diversity of art historical research: from iconic 'masterpieces' to popular imagery, votive objects and craft. Works discussed may range from the Parthenon marbles and Velazquez' 'Las Meninas' to wax penises and pub signs.

Each case study introduces different questions and approaches for discussing art objects: a series of lessons in critical interpretation.

This course focuses on how artworks are made. Students will be introduced to a wide range of materials, techniques and processes over the centuries relating to paintings, prints, drawings, sculpture, photography and more. Each method and material will be examined using case-study examples, with discussion opening out to issues of the agency of materials and media and their cultural logics. In doing so, students will learn how artistic intentions are shaped and determined by material qualities.

This course focuses on the theory and practice of curation, making use of the internationally renowned University Museums and Special collections, which include artworks and material culture from the earliest times to the present day. The course comprises a series of seminars covering topics, including museum and exhibition history, object selection, exhibition texts and education, which prepare the ground for student curatorial teams to design an exhibition proposal. The course is assessed by portfolio work, a presentation and a position paper. It is co-taught by Art History and Museums and Special Collections. 

Throughout the 19th century, countless artists travelled to Greece in search for the splendours of antiquity. Many were disappointed by the rugged and mountainous country -

but for many Scottish travellers Greece proved surprisingly similar to their homeland. We will focus on these Scottish artists and antiquaries travelling to Greece, and their experiences.

The course is based on the study of material in Aberdeen collections, serving also as hands-on training in work with primary sources.

Surrealism was one of the most significant international avant-garde movements of the twentieth century (1924-1968) and has interdisciplinary reach as a theory of knowledge and mode of political activism making it pertinent to study today. This course introduces the core themes and activities of this vibrant art and literary history. Through study of key examples, students hone understandings of Surrealism’s enduring impact on, and practical manifestation in, early twenty-first century culture, from contemporary art to social justice campaigns #MeToo and Black Lives Matter.  

This course focuses on sacred and profane wall paintings in central and northern Italy, exploring their role in the making of visual cultures. It begins with materials and modes of production to enhance knowledge of theory and practice. Case-study seminars focus on themes of salvation, chivalry, politics and astrology. Students will explore the significance of works created for key sites and patrons, as well as ideas about permanence and originality during the Renaissance and in modern times.

This module develops students' knowledge and understanding of early modern European painting, providing a chronological overview of elite portraiture and diplomatic commissions in England between 1530 and 1650.  Artists studied in their English contexts include Hans Holbein, Nicholas Hilliard, Peter Paul Rubens and Anthony Van Dyck. Furthermore, this module asks important questions about the persuasive and diplomatic possibilities of the visual arts, the relationship between painter and patron, and the impact and legacy of foreign artists on British painting and visual culture through the sixteenth and seventeenth centuries and beyond.

This course focuses on the physical and social contexts for the production and consumption of works of art and architecture. At the core of this course is a subsidised fieldtrip to a European city, allowing for an in-depth study of the urban contexts of art across time. Seminars and the fieldtrip will discuss themes such as urbanism, the specificities of public and private, sacred and profane spaces, and histories of collecting.

Throughout the 19th century, countless artists travelled to Greece in search for the splendours of antiquity. Many were disappointed by the rugged and mountainous country -

but for many Scottish travellers Greece proved surprisingly similar to their homeland. We will focus on these Scottish artists and antiquaries travelling to Greece, and their experiences.

The course is based on the study of material in Aberdeen collections, serving also as hands-on training in work with primary sources.

Surrealism was one of the most significant international avant-garde movements of the twentieth century (1924-1968) and has interdisciplinary reach as a theory of knowledge and mode of political activism making it pertinent to study today. This course introduces the core themes and activities of this vibrant art and literary history. Through study of key examples, students hone understandings of Surrealism’s enduring impact on, and practical manifestation in, early twenty-first century culture, from contemporary art to social justice campaigns #MeToo and Black Lives Matter.  

This course focuses on sacred and profane wall paintings in central and northern Italy, exploring their role in the making of visual cultures. It begins with materials and modes of production to enhance knowledge of theory and practice. Case-study seminars focus on themes of salvation, chivalry, politics and astrology. Students will explore the significance of works created for key sites and patrons, as well as ideas about permanence and originality during the Renaissance and in modern times.

This module develops students' knowledge and understanding of early modern European painting, providing a chronological overview of elite portraiture and diplomatic commissions in England between 1530 and 1650.  Artists studied in their English contexts include Hans Holbein, Nicholas Hilliard, Peter Paul Rubens and Anthony Van Dyck. Furthermore, this module asks important questions about the persuasive and diplomatic possibilities of the visual arts, the relationship between painter and patron, and the impact and legacy of foreign artists on British painting and visual culture through the sixteenth and seventeenth centuries and beyond.

Your dissertation is intended to give you the opportunity to carry out a piece of sustained research on a topic of your own choice and to demonstrate to the examiners your ability to present the results of such research in a proper, scholarly manner. Your research may be of various kinds.  It may address works of art (or a single work of art) directly, through first-hand study in galleries, museums, or private collections, or it may be of a more literary kind, addressing critical or theoretical problems. Or it might involve both.