Art History

This course examines how art functions as collective expression of cultures, nations, and communities across history, and develops skills in visual literacy and analysis; image-based communication; and the psychology of visual perception.

This course is a challenging introductory course and is specifically for non-History of Art students. The specific content changes each year, but the course introduces students to various themes and issues in architectural practice and patronage from the medieval period to the present day, focusing on buildings and sites in London such as Westminster Abbey, St Paul's Cathedral, Chiswick House, the South Bank Centre, the Barbican, and Canary Wharf.

This course provides a survey of Baroque, Rococo, and Enlightenment art in Europe and beyond. Students begin with a study of 17th-century Italian art and architecture, discussing artists such as Gianlorenzo Bernini, Francesco Borromini, Annibale Carracci, and Caravaggio. From Italy the focus shifts to Spain, Flanders, and Holland in order to explore portraiture, allegory, and historical painting looking at artists such as Velazquez, Rubens, Van Dyck, and Rembrandt. Students also touch upon issues of artistic identity and the status of women artists during the period. A number of lectures are then dedicated to the parallel tradition of Islamic art, and the baroque beyond Europe's borders. Following thematic lectures on collecting and printmaking, the focus shifts to art in France. The course ends with lectures on the classical tradition in British art and architecture and the Enlightenment. 

This course explores the emergence and key concepts of the global market for art from the 18th to the 21st centuries through a discussion of its history, disruptions, and innovations. The course takes a thematic approach delivered via specific case studies to map the key concepts, individuals and institutions, and the various business models, and ethical and legal considerations that underpin the contemporary market. Students gain an understanding of the globalized art market economy through a comparative study of different geographical market regions across time, including the emergence of new global art market centers and the rise of the millennial collector. Throughout, the auction house and the unique behind-the-scenes access afforded to students of Sotheby’s Institute of Art, provides a detailed and practical case study of the history, development, and future of this market.

This is a tutorial to the lecture course INTRODUCTION TO ART HISTORY. This course offers an introduction to the major questions in the history of modern and contemporary art in the West, based on a historical and artistic panorama ranging from the Renaissance to the end of the 19th century. It addresses several themes and questions, including what art history is; what roles figure, movement, and nature play in representation in the West; what an artist and an art critic is; what place the museum and the market occupy in our relationship to art; and what the terms "modern art" and "contemporary art" mean. The course identifies the descriptive and critical terminology developed in France and abroad to comment on artistic productions, as well as the history of terms within the art world. It also mobilizes the fields of general knowledge in art history and archaeology to document and interpret an artistic production and an archaeological object.

This course is based around the rich visual resources of London. Through lectures and visits to monuments and national museums such as Westminster Abbey, the National Gallery, the Victoria and Albert Museum, The British Museum and the Tate Galleries, as well as to local collections such as the Whitechapel Gallery and contemporary art galleries in the East End, students explore the histories of art from the medieval period to the present day by focusing on a selected group of objects, images, or buildings. This allows students to develop skills of visual analysis and provide an understanding of the historical context in which the object or building in question was originally made. At the same time students examine issues of how these objects are presented today, considering the questions of museology, curatorial practice, and the contemporary art market. Topics covered may vary according to exhibitions and temporary displays that are open to the public during the semester.

This course offers an initiation to the study of personal adornment in different historical and cultural contexts. It covers the main styles of art in which personal adornment stood out and developed the most.

This course examines the primacy of aesthetics in comprehending and responding to environmental crises by considering the role of the arts in addressing environmental disasters;  whether the aesthetic appreciation of nature should be grounded in scientific understanding; and the aesthetic dimensions of climate change, wastelands, wetlands, and wilderness. Attending the connection between historical conditions and philosophical notions, the course explores the emergence of environmental aesthetics within the European philosophical tradition of the mid-eighteenth century, concurrent with the first industrial revolution and rise of capitalism. It reviews classical and contemporary texts (from Immanuel Kant and Alexander Baumgarten to Peter Sloterdijk, Sianne Ngai, and Yuriko Saito), and introduces key categories: the beautiful, sublime and picturesque; landscape, scenery, environment; atmosphere, climate; Nature, the Anthropocene–and its critical alternatives. Deploying these concepts, the course analyzes contemporary works of art and literature grounded in awareness of ecological conditions quite different from older traditions (e.g. of landscape painting and nature poetry), examining the work of artists such as Olafur Eliasson and his former students, and science fiction writers from Mary Shelley to Kim Stanley Robinson. Finally, this course derives an important lesson from the history of aesthetics and its engagement with the environs: the aesthetic pertains as much to the background as to foreground of attention; to ambient conditions of everyday life as to works of art and unique sites. Thus, the course moves in the direction of a revaluation of our modes of life, with particular attention to our homely environmental aesthetics: the banal, quotidian, routine, and habitual aspects of our lives, homes, and streets. This is the arena in which the impact of environmental crises–and efforts to remediate them–is felt most acutely: in our patterns of consumption of energy and materials, how we dress, do chores, feed ourselves, transport, and communicate. Through these intimate investigations, the course considers how contemporary ideas of the environment call for a rethinking of aesthetics, as well as aesthetic approaches to environmental remediation. 

This course offers an introduction to the major questions in the history of modern and contemporary art in the West, based on a historical and artistic panorama ranging from the Renaissance to the end of the 19th century. It addresses several themes and questions, including what art history is; what roles figure, movement, and nature play in representation in the West; what an artist and an art critic is; what place the museum and the market occupy in our relationship to art; and what the terms "modern art" and "contemporary art" mean. The course identifies the descriptive and critical terminology developed in France and abroad to comment on artistic productions, as well as the history of terms within the art world. It also mobilizes the fields of general knowledge in art history and archaeology to document and interpret an artistic production and an archaeological object.