Undergraduate Art History 2026-2027

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 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.

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 provides an introduction to the history and theory of fashion, one of the most dynamic, intriguing and influential artforms. From premodern tailoring to contemporary pret-a-porter, costume design and creative subcultures: the course surveys a wide range of ever-changing fashion trends, and asks what they tell us about identities, aesthetics, and popular culture.

‘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 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.

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 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.

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 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.