Undergraduate Art History 2023-2024

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’.   

Art is a lightning rod for protest. Whether as vehicle or target, the formal qualities and symbolic values of art can generate the impulse to act. This course investigates key objects that place art front and centre in the urgent issues and debates of our time as well as those of the past.

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.

From Hildegard of Bingen to Isabella D’Este, women played a defining role in the commissioning, making and experiencing of devotional art and architecture. This course explores the opportunities nuns, sisters, mystics, wives and widows had to express their faith, status and power by material means. Equally it focuses on the way in which such devotional works could shape women’s visions and modes of contemplation. Case studies are drawn from across Europe, with a primary focus on Italy and Germany during the period 1150-1500.

Performance art broke the mould of what it means to make and experience art. Often referred to as the Live Arts, this encompasses live readings, costume design and installation, from the spontaneous to the durational. Foregrounding body and audience, the course explores performance art in all its guises as a political arena. Attention is given to theoretical texts that have articulated performance practices and their critical aftermath, e.g. photography, archival footage and fiction.

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. 

The twelfth century was a period defined by upheaval and innovation, when ancient learning and new ideas combined to transform European society across the continent. This course explores the artistic dimension to cultural, social, and political change, and brings marginalised communities into focus. We will draw on a range of sources, including manuscripts, architecture, stained glass and metalwork to understand a range of lived experiences, from isolated monks to Jewish communities.

This course examines English art across the eighteenth century, addressing a range of genres, from portraiture and historical narratives, to sporting art and political satires. We consider where and how such art was encountered, in public exhibitions, private homes, pleasure gardens and shop windows. Artists studied include William Hogarth, Thomas Gainsborough, James Gillray and Anglica Kauffman.

From Hildegard of Bingen to Isabella D’Este, women played a defining role in the commissioning, making and experiencing of devotional art and architecture. This course explores the opportunities nuns, sisters, mystics, wives and widows had to express their faith, status and power by material means. Equally it focuses on the way in which such devotional works could shape women’s visions and modes of contemplation. Case studies are drawn from across Europe, with a primary focus on Italy and Germany during the period 1150-1500.

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.

Performance art broke the mould of what it means to make and experience art. Often referred to as the Live Arts, this encompasses live readings, costume design and installation, from the spontaneous to the durational. Foregrounding body and audience, the course explores performance art in all its guises as a political arena. Attention is given to theoretical texts that have articulated performance practices and their critical aftermath, e.g. photography, archival footage and fiction.

The twelfth century was a period defined by upheaval and innovation, when ancient learning and new ideas combined to transform European society across the continent. This course explores the artistic dimension to cultural, social, and political change, and brings marginalised communities into focus. We will draw on a range of sources, including manuscripts, architecture, stained glass and metalwork to understand a range of lived experiences, from isolated monks to Jewish communities.

This course examines English art across the eighteenth century, addressing a range of genres, from portraiture and historical narratives, to sporting art and political satires. We consider where and how such art was encountered, in public exhibitions, private homes, pleasure gardens and shop windows. Artists studied include William Hogarth, Thomas Gainsborough, James Gillray and Anglica Kauffman.

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.