Undergraduate Art History 2026-2027

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.

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.

This course examines the use of art as a tool for propaganda, diplomacy and education in England between 1520 and 1640. It explores how paintings were commissioned, created and consumed in a world of changing religious and political circumstances, and considers the role of art in both consolidating and challenging power. Case studies range from Queen Elizabeth I’s construction of a distinct visual identity as a female monarch, and Peter Paul Rubens’ creation of a grand mural scheme for King Charles I, to the function of jewel-like portrait miniatures, and the recording through pictures of the first encounters between English colonialists and Indigenous American peoples.

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 history of art history is often presented as a story of 'great men' and 'great ideas'. However, since the nineteenth century, the discipline was shaped decisively by female professionals who researched, published, and curated in various capacities. The course aims to uncover their contribution to the development of the discipline, with a special focus on the history of art history in Britain.

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.

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.

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.

This course examines the use of art as a tool for propaganda, diplomacy and education in England between 1520 and 1640. It explores how paintings were commissioned, created and consumed in a world of changing religious and political circumstances, and considers the role of art in both consolidating and challenging power. Case studies range from Queen Elizabeth I's construction of a distinct visual identity as a female monarch, and Peter Paul Rubens' creation of a grand mural scheme for King Charles I, to the function of jewel-like portrait miniatures, and the recording through pictures of the first encounters between English colonialists and Indigenous American peoples.

The history of art history is often presented as a story of 'great men' and 'great ideas'. However, since the nineteenth century, the discipline was shaped decisively by female professionals who researched, published, and curated in various capacities. The course aims to uncover their contribution to the development of the discipline, with a special focus on the history of art history in Britain.

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.