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Undergraduate Program - Writing a Thesis

Created by Marcus Mayo , last modified on Jan 31, 2024

Pursuing a Thesis

Senior Concentrators wishing to graduate with honors in the Department must produce a senior thesis and carry academic standing of Group II or better, with a minimum GPA of 3.00 in concentration grades. In deciding whether one wishes to fulfill the honors requirements, students should consider their academic interests, commitment to independent research, and other deadlines and obligations during the thesis year. Many students find the task of producing a substantial piece of critical scholarship interesting and rewarding, but others find the senior thesis can become a frustrating and unwieldy burden. Some students prefer the freedom to take elective courses or savor extra-curricular pursuits during their last year at the College unhampered by the encroaching demands of thesis preparation. In general, it may be remarked that students are unlikely to do well in the honors program who are not already proven practiced writers committed to the process of scholarship; the senior thesis is not the place to acquire basic skills in writing, design, and/or research. In considering the Department's honors requirements, it should be remembered that students with honors grades overall may graduate with University Honors (Cum Laude) even if they do not receive Honors in History of Art and Architecture.

Department Timeline of Thesis Preparation

A schedule of departmental dates and deadlines relative to the thesis will be available by the beginning of each Fall Term. The thesis writer and faculty thesis adviser should agree on a working schedule which will adequately conform to these deadlines.

Concentrators undertaking a thesis are required to enroll in HAA 99A (fall) and B (spring) for course credit. Students in the architecture track pursuing a design thesis should enroll in HAA 92r (fall) and 99B (spring). Joint concentrators will enroll in the 99 course of their primary concentration.

Overseen by the Senior Thesis Adviser, HAA 99A –“The Senior Thesis Seminar” – will meet several times during the fall semester for two-hour sessions devoted to facilitating the preparation and writing of a thesis. These sessions will cover such topics as compiling a bibliography, using archives, the use of key technology and software, and constructing and presenting an effective argument. All concentrators pursuing a written thesis project are required to enroll in this seminar. Joint concentrators enrolled in another department’s thesis seminar, and HAA design thesis students enrolled in HAA 92r, are welcome and encouraged to attend some or all sessions of 99A in addition to their primary thesis preparation course.

Late in the fall semester, each concentrator pursuing a thesis will deliver a twenty-minute presentation on the thesis topic, illustrated with digitally projected images, at the Senior Thesis Presentations. All departmental faculty and students will be invited to these presentations. By the end of winter break, each student will submit a complete first draft of the thesis, complete with illustrations.

Overview of Key Dates for Thesis Preparation

These dates apply to all HAA students wishing to pursue an honors thesis. For further criteria specific to students preparing a design thesis in the Architecture Track, see Academic Requirements: Design Thesis in the Architecture Track

Please consult the Senior Thesis Seminar Canvas site, or reach out to the Undergraduate Program Coordinator, for specific dates.

Spring Semester, Junior Year

February: Initial Meeting. Junior concentrators are invited to meet with the Senior Thesis Adviser for an introduction to the senior thesis writing process.
Early April: Short Proposals Due. Students submit a basic proposal outlining preliminary ideas, along with a list of potential faculty advisers. Faculty advisers are assigned to thesis projects in late April or early May.
Late April: Applications due for Pulitzer and Abramson Travel Grants. See Undergraduate Prizes, Grants and Opportunities for details on grants and applications. Information on how to apply will be provided by the Undergraduate Program Coordinator. Grant recipients will be notified by email.

Fall Semester, Senior Year

During the semester, students enroll in HAA 99A or 92r and follow course deadlines (Please consult the HAA 99A and 92r Canvas sites for additional details).
Students meet regularly with their faculty advisers.
Early December: Senior Thesis Presentations. All students pursuing a thesis will give a twenty-minute presentation to department students and faculty followed by discussion.

Spring Semester, Senior Year

Late January: First Draft . Before the spring semester begins, students submit a full draft of the thesis, with illustrations, to the faculty adviser for comments.
Late February/Early March: Second Draft. Students are encouraged to submit the near-final draft to their faculty adviser for a final review before formal submission to the Department.
Week before Spring Break: Final Submission Deadline. Late submissions will not be accepted. On the afternoon of submission, all students are invited to attend the Thesis Reception.
Late March: Gallery-Style public reception and presentation of Design Thesis projects. All architecture track students that have prepared a design thesis will present their work informally at this event. All HAA thesis writers, as well as faculty and graduate students, are encouraged to attend.
April: Thesis Review and Honors Recommendation . Senior Honors Theses are read and critiqued by Members of the Faculty in HAA (and the GSD and the Harvard Art Museums, where relevant) at the request of the Senior Thesis Adviser. Department Faculty meet to vote on final honors recommendations, after which thesis writers will receive an email from the Senior Thesis Adviser notifying them of their thesis grade and recommendation for honors. Students should speak with their Allston Burr Senior Tutor for the anticipated final honors decision of the College.
Mid-April: Senior Thesis Poster. All senior thesis writers are expected to prepare a digital file for a 24 x 36” poster summarizing the thesis to be exhibited in the HAA Department for the following academic year. A suggested template will be provided and a workshop will be held in late March for assistance with poster preparation. The printing and associated costs are taken care of by the Department. Examples of previous posters can be found here (AY21-22) and here (AY22-23) .

Senior Thesis Adviser

The process of taking honors and producing the thesis in the Department is overseen for all concentrators by the Senior Thesis Adviser, Professor Carrie Lambert-Beatty. The Senior Thesis Adviser leads the Fall Term thesis-writing seminar (HAA 99A) and directs the meetings for departmental approval once theses have been submitted.

Faculty Thesis Adviser

When submitting their initial proposal in the spring of the junior year, students should include a list of three possible faculty advisers. The Department will then match students with advisers according to student preference and faculty availability. Faculty thesis advisers should generally be full faculty members of the History of Art and Architecture Department, although Harvard museum curators with relevant expertise may also serve as advisers at the discretion of the Senior Thesis Adviser. Students in the architecture track pursuing a design thesis must also secure a second adviser from the faculty of the Graduate School of Design. Joint concentrators will generally select one faculty adviser from each department.

The adviser ought to serve as a critic of synthesized ideas and writings/designs, rather than as a director of the project. The adviser should be chosen with consideration more to compatibility in overseeing the process of the work than to being an expert in the field. If you have trouble identifying an appropriate adviser, please consult with the Senior Thesis Adviser or Undergraduate Program Coordinator before the spring deadline for the Thesis Proposal.

Graduate students in the Department of History of Art and Architecture do not advise Senior Theses.

Program Director, Harvard Undergraduate Architecture Studies Track

Megan Panzano, Program Director of the Harvard Undergraduate Architecture Studies Track, oversees the execution of the two studio courses “HAA 96A – Architecture Studio I: Transformations” and “HAA 96B – Architecture Studio II: Connections”, as well as the senior design-thesis seminar “HAA 92R – Design Speculations.” She is available to consult for general advice on the design-thesis process and in finding a suitable advisor from the GSD. She coordinates the assignment of readers to senior design-thesis projects in consultation with the Senior Thesis Adviser and Undergraduate Program Coordinator.

Undergraduate Program Coordinator

The Undergraduate Program Coordinator, Marcus Mayo, is available to consult at any point regarding general questions about the senior thesis writing process. In conjunction with the Senior Thesis Adviser, they will coordinate the initial meeting of concentrators interested in writing a thesis in the spring term of their junior year. The Undergraduate Program Coordinator collects and distributes thesis proposals, summer funding proposals, advisor assignments, as well as completed theses, grades and reader comments. They hold examples of the written requirements (thesis proposal and prospectus) and of the Pulitzer and Abramson Grant applications which students might wish to consult as paradigms.

Academic Requirements – Written Thesis

The writing and evaluation of the thesis is a year-long process, during which the writer enrolls in a senior thesis preparation seminar (HAA 99A) and meets at scheduled intervals with their faculty adviser to formulate, develop, and ultimately refine their thesis work.

The Department encourages seniors to think broadly and explore a problem of interest. The thesis topic does not necessarily have to be within the writer's declared major field, except when required for a joint concentration, in which case, the topic must address an issue shared by both concentrations. The thesis should demonstrate an ability to pose a meaningful question, present a well-reasoned and structured argument, and marshal appropriate evidence. The student should apply a clear methodology and be aware of the assumptions behind the argument, the possible deficiencies of the sources and data used, and the implications of the conclusions. The various parts of the thesis should cohere in an integrated argument; the thesis should not be a series of loosely connected short essays. A primary expectation of the thesis is that it is a work of independent scholarship, directed and crafted by the student, with the thesis adviser serving in a capacity of "indirect overseeing of the project."

There is no set pattern for an acceptable thesis. The writer should demonstrate familiarity with scholarly methods in the use of sources, but this should not be the sole criterion for evaluation. Of equal if not greater importance is the development of the central argument and the significance of the interpretation. A thesis may be research on a little-studied problem or a perceptive reassessment of a familiar question. A well-pondered and well-presented interpretive essay may be as good a thesis as a miniature doctoral dissertation.

Skill in exposition is a primary objective, and pristine editing is expected. The Department encourages writers to keep to a short page count, so as to craft a clear, concise paper, and further edit it to an exemplary presentation. In general, a History of Art and Architecture thesis will have a text ranging from 20,000 to 25,000 words. Students are encouraged to explore the resources available to thesis writers at the Harvard College Writing Center .

The writer must indicate the source of material drawn from others' work, whether quoted, paraphrased, or summarized. Students who, for whatever reason, submit work either not their own or without clear attribution to its sources will be subject to disciplinary action, up to and including requirement to withdraw from the College.

Academic Requirements: Design Thesis in the Architecture Track

The HAA Architecture Track asks students to select an Area of Emphasis for fulfillment of their degree -- either Design Studies or History and Theory. Students wishing to pursue an honors thesis in the History and Theory Area of Emphasis will usually complete a written senior thesis paper and presentation on the same model as the thesis for general concentrators (see Academic Requirements: Written Thesis ).

Students in the Design Studies Area of Emphasis who wish to pursue a thesis project may choose either a traditional thesis or a design thesis project. Design theses are creative thesis projects featuring a combination of written analysis and visual and physical design materials, as described below.

Course Requirements for Honors Consideration with a Design Thesis

Senior year – fall term.

HAA 92r Design Speculations Seminar – required
Course prerequisite: Completion of either HAA 96A (“Transformations”) or HAA 96B (“Connections”) studios.
This course requires that students secure a pair of faculty advisers – one from Harvard History of Art and Architecture (HAA) Faculty and one from the Harvard GSD to support their research work within the course; course faculty advisers then serve as the faculty thesis advisers for the design thesis.
Megan Panzano, GSD Architecture Studies Director, and Jennifer Roberts, HAA DUS, can both help make faculty adviser connections for students pursuing this path.
(optional) HAA 99A Senior Thesis Tutorial – attendance in this seminar is encouraged but not required in parallel with HAA 92r.
Presentation of design work to HAA and select GSD Faculty as part of HAA Thesis Colloquium in December) – required

Senior Year – Spring Term

Throughout the semester: Advising meetings with individual faculty advisers to guide production and iterative refinement of design work (architectural analytical drawings and/or physical models), and edits to digital presentation made in fall term HAA Thesis Thesis Presentations.
March 08, 2024, 12:00 pm EST: Submission of final senior thesis design project including digital images and written text as a single PDF file (see “ Submission Requirements for Honors Consideration ”).
March 29, 2024 (date subject to change and TBC): Participation in a gallery-style final presentation with faculty and peers after submission of thesis . The design presentations for the gallery-style event should include an updated digital presentation comprised of the project title, author’s name, the most current versions of all elements listed below in the Final Project Requirements (with the exception of the Written Manifesto which should be consolidated to a single slide containing 3-4 sentences of a thesis statement capturing the topic of study, a position on this topic, your claim about design agency to address this topic, and specifically, what design elements you’ve explored in your thesis in this address). Students may elect to also print or plot selected original design drawings they produced (analytical or projective) from their digital presentation to pin up in the space. Likewise, students are encouraged to bring any sketch and/or final models they have created to display as well.
April 8, 2024 : Preparation of a digital file for a 24 x 36” poster summarizing the thesis to be exhibited in the HAA department for the academic year to follow. A suggested template will be provided and a workshop will be held on March 26 (2024, date subject to change and TBC) for assistance with poster preparation. Examples of previous posters can be found here (AY21-22) and here (AY22-23) .

Submission Requirements for the Design Thesis Project (due March 08, 2024, 12:00 pm EST)

A single multi-page PDF file labeled with student’s full last name and first initial should be submitted. It should contain the following elements and should incorporate thesis research and design work from both fall and spring terms.

Assemble a visual bibliography of references for your research project. The references included should be sorted into categories of your own authoring in relation to the research. Each reference should be appropriately cited using the Chicago Manual of Style, and each reference should also include an affiliated image. The bibliography should include a brief (approx. 200-word) annotation, describing the rationale behind the sorted categories.
A written design manifesto of a minimum of 2,000 words that concisely articulates the issues, problems, and questions embedded in and engaged by your research project. The manifesto should address:
Discourse : the role and significance of architecture relative to the project topic of interest, and;
Context : the relationship of the project topic to broader surroundings which include but are not limited to the discipline of architecture, cultural contexts, technical developments, and/or typologies.
The final statement should reflect deeply upon the character of the design process for the project, and discuss how the design process reinforced, inflected, or complicated the initial research questions. For most students, this final statement will be an elaboration upon the presentation text prepared for the fall senior thesis colloquium. The final text should capture and discuss the design elements that were further explored in the spring term as means to address initial research questions (i.e. include written descriptions of the drawings and/or physical models produced in relation to the thesis topic).
A visual drawing or info-graphic that describes the process of design research undertaken for your topic. This should include the initial criteria developed for evaluating the project, the steps taken in examining the topic, the points in the process where it became necessary to stop and assess outputs and findings, and final adjustments to the methodology as the project neared completion.
High resolution drawings, animations, and/or diagrams and photographs of physical models (if applicable) that were produced through research. These should be assembled in single-page layouts of slides to follow preceding elements listed here.

Grading of the Senior Thesis

Theses are read and critiqued by faculty members applying a higher standard than expected for work written in courses or tutorials. Faculty do make use of the full range of grades, and students should consider that any honors grade is a distinction of merit. If you have any questions, please contact the Senior Thesis Adviser, the Director of Undergraduate Studies, or the Undergraduate Program Coordinator.

SUMMA CUM LAUDE: A summa thesis is a work of "highest honor." It is a contribution to knowledge, though it need not be an important contribution. It reveals a promise of high intellectual attainments both in selection of problems and facts for consideration and in the manner in which conclusions are drawn from these facts. A summa thesis includes, potentially at least, the makings of a publishable article. The writer's use of sources and data is judicious. The thesis is well written and proofread. The arguments are concise and logically organized, and the allocation of space appropriate. A summa is not equivalent to just any A, but the sort given by instructors who reserve them for exceptional merit. A summa minus is a near miss at a summa and is also equivalent to an A of unusual quality.

MAGNA CUM LAUDE: A magna level thesis is a work worthy of "great honor." It clearly demonstrates the capacity for a high level of achievement, is carried through carefully, and represents substantial industry. A magna plus thesis achieves a similar level of quality to a summa in some respects, though it falls short in others; it is equivalent to the usual type of A. A magna thesis is equivalent to an A-. For a magna minus, the results achieved may not be quite a successful due to an unhappy choice of topic or approach; it is also equivalent to an A-.

CUM LAUDE: As is appropriate for a grade "with honors," a cum level thesis shows serious thought and effort in its general approach, if not in every detail. A cum plus is equivalent to a B+, a cum to a B, and a cum minus to a B-. The cum thesis does not merely represent the satisfactory completion of a task. It is, however, to be differentiated from the magna in the difficulty of the subject handled, the substantial nature of the project, and the success with which the subject is digested. Recall that, as students putting extraordinary effort into a thesis most frequently receive a magna, theses of a solid but not exceptional quality deserve a grade in the cum range. When expressed in numerical equivalents, the interval between a magna minus and a cum minus is double that between the other intervals on the grading scale.

NO DISTINCTION: Not all theses automatically deserve honors. Nevertheless, a grade of no distinction (C, D, or E) should be reserved only for those circumstances when the thesis is hastily constructed, a mere summary of existing material, or is poorly thought through. The high standards which are applied in critique of theses must clearly be violated for a thesis to merit a grade of no distinction.

Thesis Readers

Each thesis will have two readers chosen by the Department. All readers will be asked to submit written comments and grades, which will be factored equally to produce the final grade of the thesis. Individual grades are not released. When grades and comments are distributed, the readers no longer remain anonymous. There exists a procedure by which a writer may request, via the Senior Thesis Adviser, to speak with a reader provided that they are willing to discuss the work in further detail or expound on the written critique.

For joint concentrators, the department will defer the reading process to their primary concentration. Students should reach out to their adviser in their primary concentration for further information.

Grade Report and Honors Recommendation

At the end of each term, Fall and Spring, the student's progress in the Senior Tutorial (HAA 99) will be graded SAT or UNSAT. At the end of the Department's Honors Review process, the Senior Thesis Adviser calculates a recommendation for Honors based on the factored grades of the thesis and the student's grades in concentration coursework. This recommendation is presented to the Faculty at their meeting in April for review. A faculty vote is taken and this decision is passed as an honors recommendation to the Registrar of the College. For joint concentrators, the faculty will make recommendations to a student’s primary concentration but will defer the final grading process to them. The decision of Final Honors to be granted on the degree is made by the Registrar based on departmental recommendation and the student’s College-GPA. Students should consult with their Allston Burr Senior Tutor to determine what final honors might be anticipated at Commencement.

The needs of the Department for fair deliberation dictate that there may be no report of decisions regarding the thesis until after the Faculty has considered and voted upon each recommendation for honors. After honors recommendations have been voted by the Faculty, students will be notified of the Department's recommendation to the College and will receive an ungraded copy of each evaluation of their thesis. The comments in these evaluations should provide the student with a clear explanation of the strengths and weaknesses of the thesis, bearing in mind the difficulties of the field and the type of thesis submitted, and evaluating what was accomplished in terms of what was undertaken, given the student's limitation of time and experience.

Discontinuance of a Thesis

The process of writing the thesis is a serious commitment of time and energy for both the writer and the adviser. In some cases, however, it might be agreed that the thesis should be discontinued at mid-year. The Senior Tutorial year may be divided with credit through a procedure in which the student must submit a written paper presenting the project and research to that point.

Examples of Past Theses

Senior Honors Theses which are written by students who graduate Summa or Magna are deposited in the University Archives in Pusey Library . Copies of theses which are awarded the Hoopes Prize are held in Lamont Library . Students are urged to consult past theses as much can be gained in exploring precedent or seeking inspiration.

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Art History Research at Yale: Dissertations & Theses

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WHAT EXPERT RESEARCHERS KNOW

A thesis is typically the culminating project for a master's degree, while a dissertation completes a doctoral degree and represents a scholar's main area of expertise. However, some undergraduate students write theses that are published online, so it is important to note which degree requirements the thesis meets. While these are not published works like peer-reviewed journal articles, they are typically subjected to a rigorous committee review process before they are considered complete. Additionally, they often provide a large number of citations that can point you to relevant sources.

Find Dissertations & Theses at Yale

Dissertations & Theses @ Yale University A searchable databases with dissertations and theses in all disciplines written by students at Yale from 1861 to the present.

Yale University Master of Fine Arts Theses in Graphic Design Finding aid for Arts Library Special Collections holdings of over 600 individual theses from 1951 to the present. The theses are most often in book format, though some have more experimental formats. Individual records for the theses are also available in the library catalog.

Yale University Master of Fine Arts Theses in Photography Finding aid for Arts Library Special Collections holdings of over 300 individual Master of Fine Arts theses from 1971 to the present. The theses are most often in the format of a portfolio of photographic prints, though some theses are also in book form. Individual records for the MFA theses are also available in the library catalog.

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Writing a thesis, department schedule of thesis preparation .

The thesis writer and adviser should agree on a working schedule which will adequately conform to the calendar of thesis requirements established by the Senior Honors Adviser. Each of these written requirements should be submitted to the Tutorial Office for review by the Senior Honors Adviser. Paradigms for each of the written requirements are held on file in the Tutorial Office, for consultation. An updated schedule of departmental dates and deadlines relative to the thesis will be available at the beginning of each Fall Term. All writers of the senior thesis shall enroll in an HAA 99 for course (and requirement) credit - joint concentrators will enroll in the 99 course of their primary concentration.

Beginning in 2006-07, every concentrator writing a thesis will enroll in the senior thesis seminar in the fall of the senior year. Overseen by the Senior Honors Adviser, the senior thesis seminar will meet several times during the semester for a two-hour session devoted to facilitating the preparation and writing of a thesis. These sessions will cover such topics as compiling a bibliography, using archives, and constructing an effective argument. Late in the semester, each participant will deliver a twenty-minute presentation on his or her thesis topic, illustrated with slides or digitally projected images. All departmental faculty and students will be invited to these presentations. By the end of the semester, each participant in the seminar will submit a complete first draft of the thesis, complete with illustrations.

Application for Pulitzer and Abramson Travel Grants: Early March. See above under Prizes for details on grant and application.

Announcement of Pulitzer and Abramson Grant Awards Mid-March: By letter to the recipients.

Adviser's Review: Early March. Ideally, you should present the full, finished and finalized draft of your text to your adviser for a final review before formal submission to the Department.

Thesis Submission: Mid-March - a week before Spring Break. You must submit your thesis in the afternoon at a Thesis Reception. In exchange for your finely crafted magnum opus you will receive a glass of champagne and our heartiest congratulations. Please do attend this afternoon because a thesis submitted late is usually not accepted.

Reader's Response: after Early May. Senior Honors Theses are read and critiqued by Members of the Faculty and the Museum at the request of the Senior Honors Adviser. Readers' identities no longer remain anonymous.

Faculty Meeting on Honors: Early May. Department Faculty meet to vote on final honors recommendations, after which thesis writers will receive by letter from the Senior Honors Adviser notification of their thesis grade and recommendation for honors. Writers will also receive at this time the written responses of their readers. Students should speak with their Allston Burr Senior Tutor for anticipated final honors decision of the College.

Grading of the Senior Thesis

Theses are read and critiqued by faculty members applying a higher standard than expected for work written in courses or tutorials. Faculty do make use of the full range of grades, and students should consider that any honors grade is a distinction of merit. If you have any questions, please contact the Senior Honors Adviser, the Director of Undergraduate Studies, or the Undergraduate Coordinator at 495-2310.

Examples of Past Theses

Senior Honors Theses which are written by students who graduate Summa or Magna are deposited in the University Archives in Pusey Library. Copies of theses which are awarded the Hoopes Prize are held in Lamont. Students are urged to consult past theses as much can be gained in exploring precedent or seeking inspiration.

Discontinuance of a Thesis

The process of writing the thesis is a serious commitment of time and energy for both the writer and the adviser. In some cases, however, it might be agreed that the thesis should be discontinued at mid-year. The Senior Tutorial HAA 99 may be divided with credit through a procedure in which the student must submit a written paper presenting the project and research to that point.

Guidelines for Writers and Advisers of Senior Theses

Senior Concentrators wishing to graduate with honors in the Department must write a senior thesis and carry academic standing of Group II or better, with a minimum GPA of 3.00 in concentration grades. In deciding whether one wishes to fulfill the honors requirements the student should consider his/her academic interests, commitment to independent research and other deadlines and obligations during the thesis year. Many students find the task of researching and writing a substantial piece of critical scholarship interesting and rewarding, but others find the senior thesis can become a frustrating and unwieldy burden. Some students prefer the freedom to savor extra-curricular pursuits during their last year at the College unhampered by the encroaching demands of thesis preparation. In general, it may be remarked that students are unlikely to do well in the honors program who are not already committed to this process of scholarship, and proven practiced writers; the senior thesis is not the place to acquire basic skills in writing and research. In considering the Department's honors requirements, it should be remembered that students with honors grades overall may graduate with University Honors (Cum Laude) even if they do not receive Honors in History of Art and Architecture.

Academic Requirements

The writing and evaluation of the thesis is a year long process, during which the writer meets at scheduled intervals with his/her adviser, to formulate, develop, and ultimately refine their thesis work. The Department has also instituted a "thesis writing seminar" which writers will participate in through the fall term. The thesis is due just before spring break, and is then sent to its readers for their judgment and critique. The final thesis grade and recommendation for honors is determined at a faculty meeting in mid-May. Students working towards a March degree will follow a schedule to finish the thesis in early December.

Skill in exposition is a primary objective, and pristine editing is expected. The department encourages writers to keep to a very short page count, so as to craft a clear, concise paper, and further edit it to an exemplary presentation. In general, a History of Art and Architecture thesis will have a text ranging from 40 to 80 pages, dependent upon the topic. Students are encouraged to explore the resources available to thesis writers at the Writing Center and the Bureau of Study Counsel.

The writer must indicate the source of material drawn from others' work, whether quoted or summarized. Violations of this rule are considered serious and should be brought to the attention of the Director of Undergraduate Studies immediately.

Senior Honors Adviser

The process of taking honors and writing the thesis in this Department is overseen for all concentrators by the Senior Honors Adviser. The Senior Honors Adviser leads the Fall Term thesis-writing seminar, and directs the meetings for departmental approval once theses have been submitted. The department Tutorial Office holds examples of the written requirements (Thesis proposal and prospectus) and of the Pulitzer, and Abramson Grant application which students might wish to consult as paradigms.

Thesis Adviser

Students must seek a thesis adviser who is a full faculty member of the History of Art and Architecture Department or museum curator holding a teaching appointment in this department. The adviser ought to serve as a critic of your synthesized ideas and writings, rather than as a director of your work. The adviser should be chosen with consideration more to compatibility in overseeing the process of the work than to being an expert in the field. Prospective advisers should be approached as soon as you have identified a thesis topic. You should be prepared to show examples of your written work to your prospective adviser. Your verbal agreement with your adviser should be communicated promptly to the Senior Honors Adviser. If you have trouble identifying an appropriate adviser, please consult with the Senior Honors Adviser before the deadline for the Thesis Proposal.

Graduate students in the Department of History of Art and Architecture do not advise Senior Theses.

Thesis Readers

As voted by majority consensus of department faculty, a new procedure for the reading and grading of senior theses will go into effect. Each thesis will have two readers chosen by the Department, ideally, but not exclusively,one from within the student's area of interest, and the thesis adviser. All readers will be asked to submit written comments and grades, which will be factored equally to produce the final grade of the thesis. Individual grades are not released and the readers no longer remain anonymous, and there exists a procedure by which a writer may request, via the Senior Adviser, to speak with a reader provided that reader is willing to discuss the work in further detail or expound on the written critique.

Grade Report and Honors Recommendation

At the end of each term, Fall and Spring, the student's progress in the Senior Tutorial (HAA 99) will be graded SAT or UNSAT. At the end of the Department's Honors Review process the Senior Honors Adviser calculates a recommendation for Honors based on the factored grades of the thesis and the student's grades in concentration coursework. This recommendation is presented to the faculty at their meeting in May for review. A faculty vote is taken and this decision is passed as an honors recommendation to the Registrar of the College. The decision of Final Honors to be granted on the degree is made by the Registrar based on departmental recommendation and grades. Students should consult with their Allston Burr Senior Tutor to determine what final honors might be anticipated at Commencement.

The needs of the Department for fair deliberation dictate that there may be no report of decisions regarding the thesis until after the Faculty has considered and voted upon each recommendation for honors. After honors recommendations have been voted by the faculty, students will be notified of the department's recommendation to the College and will receive an ungraded copy of each evaluation of their thesis (the needs of the Department for fair deliberation dictates that there may be no report of decisions regarding the thesis until after the Departmental Honors Meeting). The comments in these evaluations should provide the student with a clear explanation of the strengths and weaknesses of the thesis, bearing in mind the difficulties of the field and the type of thesis submitted, and evaluating what was accomplished in terms of what was undertaken, given the student's limitation of time and experience.

Proposal for Senior Thesis Design Projects, Honors Consideration

The History of Art and Architecture concentration asks Harvard College students to select an Area of Emphasis for fulfillment of their degree - either Design Studies or History + Theory. The History + Theory Area of Emphasis has traditionally required the completion of a senior thesis paper and presentation as a product of two requirements in order for the student to be eligible for honors consideration: 1/ completion of course HAA 99a Senior Thesis Tutorial and 2/ discussion of a thesis topic to be studied in said course supported through advisement by History of Art and Architecture faculty over the fall and spring semesters of senior year.

The Design Studies Area of Emphasis orients students toward making-based design courses wherein students develop design experiments engaging disciplinary issues, often incorporative of both historical and contemporary architectural precedents. The primary courses currently offered that address thinking through making include: HAA 179x Tectonics Lab (fall), HAA 92r Design Speculations (fall), HAA 96a Transformations (spring), and HAA 96Bb Connections (spring). An increasing number of Harvard College students who have selected the Design Studies Area of Emphasis are interested in extending their architectural design focus to their conclusive senior year work via ‘creative thesis’ projects. These creative thesis projects would include a hybrid of written text and visual and physical design materials originally produced by the student.

This proposal outlines a draft course requirement guideline and set of final submission requirements for a senior thesis design project that aims to support the design and making-based methodologies as thesis research on a topic of interest while simultaneously paralleling the well-conceived course requirements of the traditional thesis paper and presentation within HAA. This proposal offers that through the requirements outlined here, this senior thesis design project could be eligible for honors consideration for any student pursuing this final thesis option.

Senior Thesis Design Project / Course Requirements for Honors Consideration

Senior Year – fall term

1/ HAA 92r Design Speculations Seminar – required (see fall 2019 HAA 92r syllabus for details)

course prerequisite: completion of either HAA 96a Transformations or HAA 96b Connections studios
this course requires students secure a pair of faculty advisor - one from Harvard History of Art and Architecture (HAA) faculty and one from the Harvard GSD to support their research work within the course; course faculty advisor(s) would serve as advising faculty for senior thesis design project
Megan Panzano, GSD Arch Studies Director, and Jennifer Roberts, HAA DUS, would both help make faculty advisor connections for students pursuing this path

2/ HAA 99a Senior Thesis Tutorial (fall) – strongly suggested to be taken in parallel with HAA 92r above

3/ Presentation of design work to History of Art and Architecture and select GSD faculty as part of HAA Thesis Colloquium (fall) – required

to be coordinated with senior thesis tutorial presentations usually made to faculty in December of senior year fall term

Senior Year – spring term

1/ Advisement meetings with individual faculty advisors to guide production of design work (architectural analytical drawings and/or physical models) and edits to digital presentation made in fall term to HAA

2/ Submission of final senior thesis design project digital presentation inclusive of photographs of physical models, high resolution originally-produced design drawings as a PDF and descriptive written text to accompany images in presentation*

Senior Thesis Design Project / Submission Requirements for Honors Consideration

Final Project Requirements: A single multi-page PDF file labeled with student’s full last name and first initial and should be submitted containing the following elements:*

Assemble a visual bibliography of references for your ongoing research project. The references included should be sorted into categories of your own authoring in relation to the research. Each reference should be appropriately cited using the Chicago Manual of Style for recording citations (refer to The Chicago Manual of Style ), and each reference should also include an affiliated image. This bibliography should include a brief annotation, which should comprise a description of the rationale/intention behind sorted categories of research references. This description should be approximately 200 words.
Discourse , the development of a proposition for the role and significance of architecture relative to the project topic of interest, and
Context , the relationship of the project topic of study to broader surroundings which include but are not limited to the discipline of architecture, cultural contexts, technical developments and/or typologies.
The manifesto should take into account the intended audience for the project and use language and modes of communication that reflect this audience in the written text.
A visual drawing or info-graphic that describes your process of design research on your topic. This will include the criteria for evaluating the project, the steps planned to be taken in examining the topic, and when/where along the process of working it may be necessary to stop and assess outputs and findings.
High resolution drawings, animations, and/or diagrams and photographs of physical models (if applicable) that have been produced through research. These should be assembled in single-page layouts of slides to follow preceding elements listed here.

*submission deadlines would parallel HAA thesis paper draft and final submission schedule

Department of the History of Art

You are here, dissertations, completed dissertations.

1942-present

DISSERTATIONS IN PROGRESS

As of July 2023

Bartunkova, Barbora , “Sites of Resistance: Antifascism and the Czechoslovak Avant-garde” (C. Armstrong)

Betik, Blair Katherine , “Alternate Experiences: Evaluating Lived Religious Life in the Roman Provinces in the 1st Through 4th Centuries CE” (M. Gaifman)

Boyd, Nicole , “Science, Craft, Art, Theater: Four ‘Perspectives’ on the Painted Architecture of Angelo Michele Colonna and Agostino Mitelli” (N. Suthor).

Brown, Justin , “Afro-Surinamese Calabash Art in the Era of Slavery and Emancipation” (C. Fromont)

Burke, Harry , “The Islands Between: Art, Animism, and Anticolonial Worldmaking in Archipelagic Southeast Asia” (P. Lee)

Chakravorty, Swagato , “Displaced Cinema: Moving Images and the Politics of Location in Contemporary Art” (C. Buckley, F. Casetti)

Chau, Tung , “Strange New Worlds: Interfaces in the Work of Cao Fei” (P. Lee)

Cox, Emily , “Perverse Modernism, 1884-1990” (C. Armstrong, T. Barringer)

Coyle, Alexander , “Frame and Format between Byzantium and Central Italy, 1200-1300” (R. Nelson)

Datta, Yagnaseni , “Materialising Illusions: Visual Translation in the Mughal Jug Basisht, c. 1602.” (K. Rizvi)

de Luca, Theo , “Nicolas Poussin’s Chronotopes” (N. Suthor)

Dechant, D. Lyle . ” ‘daz wir ein ander vinden fro’: Readers and Performers of the Codex Manesse” (J. Jung)

Del Bonis-O’Donnell, Asia, “Trees and the Visualization of kosmos in Archaic and Classical Athenian Art” (M. Gaifman)

Demby, Nicole, “The Diplomatic Image: Framing Art and Internationalism, 1945-1960” (K. Mercer)

Donnelly, Michelle , “Spatialized Impressions: American Printmaking Outside the Workshop, 1935–1975” (J. Raab)

Epifano, Angie , “Building the Samorian State: Material Culture, Architecture, and Cities across West Africa” (C. Fromont)

Fialho, Alex , “Apertures onto AIDS: African American Photography and the Art History of the Storage Unit” (P. Lee, T Nyong’o)

Foo, Adela , “Crafting the Aq Qoyuniu Court (1475-1490) (E. Cooke, Jr.)

Franciosi, Caterina , “Latent Light: Energy and Nineteenth-Century British Art” (T. Barringer)

Frier, Sara , “Unbearable Witness: The Disfigured Body in the Northern European Brief (1500-1620)” (N. Suthor)

Gambert-Jouan, Anabelle , “Sculpture in Place: Medieval Wood Depositions and Their Environments” (J. Jung)

Gass, Izabel, “Painted Thanatologies: Théodore Géricault Against the Aesthetics of Life” (C. Armstrong)

Gaudet, Manon , “Property and the Contested Ground of North American Visual Culture, 1900-1945” (E. Cooke, Jr.)

Haffner, Michaela , “Nature Cure: ”White Wellness” and the Visual Culture of Natural Health, 1870-1930” (J. Raab)

Hepburn, Victoria , “William Bell Scott’s Progress” (T. Barringer)

Herrmann, Mitchell, “The Art of the Living: Biological Life and Aesthetic Experience in the 21st Century” (P. Lee)

Higgins, Lily , “Reading into Things: Articulate Objects in Colonial North America, 1650-1783” (E. Cooke, Jr.)

Hodson, Josie , “Something in Common: Black Art under Austerity in New York City, 1975-1990” (Yale University, P. Lee)

Hong, Kevin , “Plasticity, Fungibility, Toxicity: Photography’s Ecological Entanglements in the Mid-Twentieth-Century United States” (C. Armstrong, J Raab)

Kang, Mia , “Art, Race, Representation: The Rise of Multiculturalism in the Visual Arts” (K. Mercer)

Keto, Elizabeth , “Remaking the World: United States Art in the Reconstruction Era, 1861-1900.” (J. Raab)

Kim, Adela , “Beyond Institutional Critique: Tearing Up in the Work of Andrea Fraser” (P. Lee)

Koposova, Ekaterina , “Triumph and Terror in the Arts of the Franco-Dutch War” (M. Bass)

Lee, Key Jo , “Melancholic Materiality: History and the Unhealable Wound in African American Photographic Portraits, 1850-1877” (K. Mercer)

Levy Haskell, Gavriella , “The Imaginative Painter”: Visual Narrative and the Interactive Painting in Britain, 1851-1914” (T. Barringer, E. Cooke Jr)

Marquardt, Savannah, “Becoming a Body: Lucanian Painted Vases and Grave Assemblages in Southern Italy” (M. Gaifman)

Miraval, Nathalie , “The Art of Magic: Afro-Catholic Visual Culture in the Early Modern Spanish Empire” (C. Fromont)

Mizbani, Sharon , Water and Memory: Fountains, Heritage, and Infrastructure in Istanbul and Tehran (1839-1950) (K. Rizvi)

Molarsky-Beck, Marina, “Seeing the Unseen: Queer Artistic Subjectivity in Interwar Photography” (C. Armstrong)

Nagy, Renata , “Bookish Art: Natural Historical Learning Across Media in Seventeenth-century Northern Europe” (Bass, M)

Olson, Christine , “Owen Jones and the Epistemologies of Nineteenth-Century Design” (T. Barringer)

Petrilli-Jones, Sara , “Drafting the Canon: Legal Histories of Art in Florence and Rome, 1600-1800” (N. Suthor)

Phillips, Kate , “American Ephemera” (J. Raab)

Potuckova, Kristina , “The Arts of Women’s Monastic Liturgy, Holy Roman Empire, 1000-1200” (J. Jung)

Quack, Gregor , “The Social Fabric: Franz Erhard Walther’s Art in Postwar Germany” (P. Lee)

Rahimi-Golkhandan, Shabnam , “The Photograph’s Shabih-Kashi (Verisimilitude) – The Liminal Visualities of Late Qajar Art (1853-1911)” (K. Rizvi)

Rapoport, Sarah , “James Jacques Joseph Tissot in the Interstices of Modernity” (T. Barringer, C. Armstrong)

Riordan, Lindsay , “Beuys, Terror, Value: 1967-1979” (S. Zeidler)

Robbins, Isabella , “Relationality and Being: Indigeneity, Space and Transit in Global Contemporary Art” (P. Lee, N. Blackhawk)

Sen, Pooja , “The World Builders ” (J. Peters)

Sellati, Lillian , “When is Herakles Not Himself? Mediating Cultural Plurality in Greater Central Asia, 330 BCE – 365 CE” (M. Gaifman)

Tang, Jenny , “Genealogies of Confinement: Carceral Logics of Visuality in Atlantic Modernism 1930 – 1945” (K. Mercer)

Thomas, Alexandra , “Afrekete’s Touch: Black Queer Feminist Errantry and Global African Art” (P. Lee)

Valladares, Carlos , “Jacques Demy” (P. Lee)

Verrot, Trevor , “Sculpted Lamentation Groups in the Late Medieval Veneto” (J. Jung)

Von-Ow, Pierre , Visual Tactics: Histories of Perspective in Britain and its Empire, 1670-1768.” (T. Barringer)

Wang, Xueli , “Performing Disappearance: Maggie Cheung and the Off-Screen” (Q. Ngan)

Webley, John , “Ink, Paint, and Blood: India and the Great Game in Russian Culture” (T. Barringer, M. Brunson)

Werwie, Katherine , “Visions Across the Gates: Materiality, Symbolism, and Communication in the Historiated Wooden Doors of Medieval European Churches” (J. Jung)

Wisowaty, Stephanie , “Painted Processional Crosses in Central Italy, 1250-1400: Movement, Mediation and Multisensory Effects” (J. Jung)

Young, Colin , “Desert Places: The Visual Culture of the Prairies and the Pampas across the Nineteenth Century” (J. Raab)

Zhou, Joyce Yusi, “Objects by Her Hand: Art and Material Culture of Women in Early Modern Batavia (1619-1799) (M. Bass, E. Cooke, Jr.)

Art History Thesis

During their senior year, majors concentrating in Art History will write a senior thesis. The thesis provides an opportunity to work independently, under the guidance of a faculty member, on a focused project over a longer period of time than usually possible on the block plan. It is the capstone experience in the major. Though the project is challenging, art history majors consider the thesis among the most valuable experiences of their academic careers.

The thesis is a research-based project. During their work on it, students engage with issues in the field, including formal analysis, iconography, style, production, reception, and historiography, among others. Students will be expected to use primary and secondary sources, critical reading skills, and appropriate methods and approaches in art history. The final product is a scholarly paper of about 25-30 pages. Students also will give a public presentation of the thesis at the end of the senior year as part of a symposium for majors in the field.

The senior thesis in art history will show that the student has mastered the following:

writing a substantial paper demonstrating knowledge of the chosen subject
in-depth research and critical reading in art history
careful analysis and observation of objects and texts
independent thought
effective organization
clear and correct written expression
completion of a lengthy independent project in a timely manner
communication of some aspect of his/her thesis in a public oral presentation

The Thesis Process

Thesis work will begin in the spring semester of your junior year. At this point, you will choose your topic and make a preliminary proposal in consultation with the art history faculty.

Once preliminary proposals are submitted, you will be assigned a thesis advisor. Your thesis advisor will work with you to develop your research plan and make assignments to be completed during the summer. Final thesis proposals are due early in block 1 of the senior year. During the Senior Seminar (block 2), prior to the New York trip, under the supervision of your thesis advisor, you will do intensive research and produce an outline and/or a section of the thesis. Following Senior Seminar, in block 3, you will take a thesis block (AH415) with your thesis advisor. In most cases, the thesis will be completed by the end of the thesis block. Individual thesis advisors may have slightly different deadlines for revisions etc. In block 6 or 7 of your senior year, you will give a public presentation on your research.

Schedule & Deadlines

Preliminary Thesis Proposals

The preliminary thesis proposal is due at the beginning of block 8 of the junior year. Students consult with faculty prior to submitting the proposals in order to develop a strong and workable topic. Preliminary proposals should describe the topic focus, list possible research questions, and provide names of a few important bibliographical sources and Xeroxes of a few key images. Students are encouraged to consult the appropriate member:

Tamara Bentley : Asian art; theory-oriented topics; art market-oriented topics
Ruth Kolarik : ancient and medieval art; architecture topics; Islamic art; garden-related topics
Rebecca Tucker : Renaissance and Baroque art; Spanish colonial art
Gale Murray : 19th-, 20th-, 21st-century European and American art

You will be assigned a thesis advisor shortly after proposals are submitted. Ultimately, some of the senior thesis students will work with each of us. We will make every effort to have you work with the professor who knows most about your topic and/or whose thesis block is scheduled at a convenient time for you.

Summer research

In consultation with their thesis advisor, students will develop a plan for summer work on their topic. This might include bibliographical research, reading books and articles on the topic, viewing works of art, and/or other assignments. The summer research will help students hone and focus their topics, and become familiar with the literature in the field.

Final thesis proposals

The final proposal should be more detailed than the earlier version, incorporating the results of the summer research. It might include more carefully thought out research questions, a tentative thesis statement, and a list of sections or chapters, as well as additional bibliography and key illustrations. Before you hand it in, the proposal must be approved and signed by your thesis advisor.

Senior Seminar

Senior Seminar is held during block 2 of the senior year. During this block, students will work closely with their faculty thesis advisors. Students should be prepared for intensive reading, research, and thinking under the supervision of their thesis advisor. Assignments might include annotated bibliographies, critical article responses, outlines, and/or drafts of parts of the thesis (among others), at the discretion of the thesis advisor. Students will also prepare for the class trip to New York, which takes place in the final week of block 2.

Senior Thesis block

Students will have signed up for the thesis block with their thesis advisors. In consultation with their advisor, students will establish a schedule of meetings, assignments, and deadlines during the block. Students are expected to be on campus for their thesis block.

The thesis should be written in its entirety during the thesis block. You will be handing in drafts of sections/chapters of your thesis for comments on a regular basis throughout the block. Once you have a complete rough draft, you will revise it and put the thesis in final form. In some instances, further work (such as a second draft) may be required after the senior thesis block is over. In this case, your advisor will set a due date.

Presentations

In block 6 or 7 of their senior year, students will give public presentations on their research. These take place as part of a symposium held by the art department to highlight the work of senior majors. Students will work with their thesis advisors to compose and practice their presentations. The symposium provides a rewarding venue for friends, family, and fellow students to participate in and discuss the majors’ work.

Presentations are usually scheduled for block 6 or block 7. Please make sure to be on campus.

Policies and Grading

Timeliness is taken into account in the grading of your thesis. Failure to meet the final deadline set by your thesis advisor will have particularly severe consequences: you may receive a grade of NC, risk delaying your graduation, and perhaps have to repeat your Senior Thesis and/or Senior Seminar the following year. You must let your thesis advisor know in advance if you have an illness, a family emergency, or other events that will prevent you from meeting a deadline.

You will receive a grade for Senior Seminar and a grade for the thesis block. Your grade in Senior Seminar will depend on your progress on the thesis during block 2, as well as your participation in the New York Trip (journal, attendance, involvement, etc.). The grade for the thesis block is based on the factors listed below. Please keep in mind that, in addition to the quality of your work, your thesis presentation and your ability to perform on deadline and remain engaged over an extended period of time will be considered .

The following is an overview and sample of the grading standards for the thesis:

Thesis Topics

The thesis should be a substantial research paper. While substance cannot be measured in length, a paper of approximately 25 to 30 pages is appropriate. Longer papers are discouraged. The choice of topic is crucial. The most successful theses will have narrowly focused topics. A topic that is too broad, or too ambitiously conceived, will be impractical and difficult to cover in-depth.

In choosing your topic, keep in mind the following criteria:

Your topic must be in an area of art history in which you have already taken a course. Working on a topic you know little about or have little background for would be a considerable handicap. If you plan to write in an area in which the course work is yet to be finished (i.e, block 8 of the junior year, or over the summer), you should discuss the proposed topic with the relevant faculty member ahead of time, so that you can get assistance as you prepare your thesis proposal.
Your topic should have a substantial body of serious scholarship. Serious scholarship means scholarly journal articles, critical exhibition catalogs, monographs, and books. You may choose works of art that themselves are not discussed exhaustively in the literature but that relate to others that are. (On the other hand, if an entire book(s) has been written about your topic, you might consider narrowing your focus.)
Be wary of topics about which little is written, or for which most of the material is written in languages that you cannot read easily. Also be aware of the limitations of Tutt Library's holdings. Probably all of you will need to use Prospector and Interlibrary Loan. However, you should avoid topics on which our library has nothing.
Topics involving very contemporary art and architecture are particularly tricky. If you choose an artist or movement without any literature other than a few newspaper or magazine reviews or promotional materials, you will not be able to write a paper in art history, your work will of necessity be art criticism. This is not acceptable. On the other hand, there are many contemporary artists whose work has been extensively studied.
It is preferable to choose a topic that involves works of art that you have seen or might have a chance to see. Be aware of the possibilities offered by Venture Grants and the New York trip.
An ideal topic will have been discussed by several art historians from different angles or methodological approaches. This gives you a chance to evaluate the literature from various points of view. Be wary of a topic where there is only a single authoritative discussion. It will be more difficult for you to form your own opinions.
Devise an approach to your material that interests you intellectually. Are you more intrigued by visual problems -- analysis, influences, evolution over time; problems of meaning -- symbolism, literary influences, historical reference; theory or social context? You may choose to analyze works of art from several angles.

Researching and Writing your Thesis

Keep complete bibliographical notes. Devise a uniform manner of doing this and write the references out in a standard bibliographical form. This will save a lot of time later. Some students prefer index cards. Don't take a note without writing down where the information comes from. Also note where the book or magazine is located, information such as call numbers, etc. If you use information from a web page be sure to note the date that you accessed the page. Keep your notes in a uniform and well-organized manner. The same goes for photocopies of important articles, sections of books, etc. Keep a written record of what kinds of bibliographical searches you have performed -- what indexes you use, what keywords you searched under. This will help your professor make sure you are searching effectively. The reference librarians can help you with computer searches.

Before you begin writing your thesis decide which computer(s) and software you will use. If you are using your own computer be sure that your software is compatible with that in the college labs so that you can print out your thesis without complications. Make sure that you know how to use all the functions of the software that you will need for your thesis. Keep a backup disc or flash drive, as well as a hard copy of your text as you go. Losing your entire thesis the night before it is due is not an acceptable excuse for missing the deadline.

You may wish to devise several computer files -- one for bibliography, one for notes, one for your own thoughts and ideas, and one or more for the actual text.

Photocopy or scan illustrations that you will need in order to write and illustrate your thesis as you go along. Always note the source of the illustration. Hand in copies of the illustrations with drafts. No one can read an art history thesis effectively without pictures. As you begin to write the text, consider which illustrations most effectively make your points. Note them at the appropriate point in the text. You may wish to number them immediately and change numbers as you go if necessary.

Before you stop working on your thesis for any length of time, e.g. the New York trip or another block course, take time to organize your notes, illustrations, bibliography, etc. Jot down any thoughts for further work, ideas of the moment, things to do, books to request from Interlibrary Loan, etc. Then you will be able to take up your work again with a minimum of lost time. Keep everything together in a safe place. Don’t check your thesis notes with your baggage when traveling.

Leave enough time after your reading and research for careful critical thought and evaluation. This is the intellectual and creative part of your thesis. Don't short yourself. Be sure the drafts that you hand in (even rough drafts) are legible, clear printouts neat, and free from errors in spelling and punctuation. They should include copies of your illustrations. Many students have found the Writing Center greatly helpful throughout the thesis process.

Instructions for Final Copy

Margins and Spacing: The thesis should be double-spaced with 1-1/2" margins at the left, and 1" margins at the right, top, and bottom of each page. (Remember to do this before creating your Table of Contents.)
Pages should be numbered consecutively throughout the thesis. Put page numbers on the upper right-hand side of each page
White paper of at least 20% rag content must be used for final copies. (Crane's Thesis Paper is available in the CC Bookstore. Archival paper is also acceptable and seems to work better with color-printed illustrations.)
Thesis must be printed on a laser printer (copies printed on a dot matrix or inkjet printer are not acceptable). Pages should not be duplexed.
The thesis must have either footnotes or endnotes. If you use footnotes, each note must appear in its entirety on the same page as the reference to it in the text. Be consistent in the forms you use for your footnotes or endnotes. (Refer to Chicago Style Manual or Turabian for proper form.)
Illustrations: If possible, you should scan your illustrations. Photocopies are also acceptable. In either case, try to find the best possible illustrations from which to make your photocopies or scanned images. When color is important to your discussion, it is desirable to include scans or photocopies in color. (Illustrations should be on the same quality paper as the text, and should not be inkjet printed.) Illustrations must appear together at the end of the thesis, with figure number and caption information (see 7f. and 7g. below).
References to illustrations in your text or your notes should be designated as (Fig. 1) or (Figs. 1-2), etc.
Title page (thesis title, your name, date, and the honor code)
Table of contents
Body of the thesis
Endnotes (if you are using endnotes)
Bibliography (Follow bibliographical form in the same source you used for your footnotes.)
for paintings and sculpture: artist, title (indicate if detail), medium (be specific), date, dimensions, collection, or museum.
for architecture: name and location (indicate view or room), architect, date.
Please consult with your advisor about whether or not to include the sources of your illustrations.
Illustrations with captions. These can be identical to entries on the illustration list.
Your thesis must be carefully proofread and free of typographical errors and errors in spelling, punctuation, etc. A pattern of errors in the final copy will have a negative impact on your grade.
You will need to submit two copies on rag or archival paper (one to be kept by the Art Department, the other in Tutt Library). You may also submit a third copy (for yourself). The Art Department will bind all three copies. Turn in the copies of your thesis to Meghan Rubenstein for binding. Please put each copy in a separate manila envelope labeled with your name and thesis title; do not put them in plastic folders or binders.

Reimbursement

Remember that the Art Department will reimburse you for up to $300 of direct expenses incurred in connection with the preparation of your thesis (Xeroxing, purchase of photos, etc.). You must submit receipts (all at one time, please); expenses without receipts cannot be reimbursed.

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Art History Resources

Guidelines for Analysis of Art
Formal Analysis Paper Examples

Guidelines for Writing Art History Research Papers

Oral Report Guidelines
Annual Arkansas College Art History Symposium

Writing a paper for an art history course is similar to the analytical, research-based papers that you may have written in English literature courses or history courses. Although art historical research and writing does include the analysis of written documents, there are distinctive differences between art history writing and other disciplines because the primary documents are works of art. A key reference guide for researching and analyzing works of art and for writing art history papers is the 10th edition (or later) of Sylvan Barnet’s work, A Short Guide to Writing about Art . Barnet directs students through the steps of thinking about a research topic, collecting information, and then writing and documenting a paper.

A website with helpful tips for writing art history papers is posted by the University of North Carolina.

Wesleyan University Writing Center has a useful guide for finding online writing resources.

The following are basic guidelines that you must use when documenting research papers for any art history class at UA Little Rock. Solid, thoughtful research and correct documentation of the sources used in this research (i.e., footnotes/endnotes, bibliography, and illustrations**) are essential. Additionally, these guidelines remind students about plagiarism, a serious academic offense.

Paper Format

Research papers should be in a 12-point font, double-spaced. Ample margins should be left for the instructor’s comments. All margins should be one inch to allow for comments. Number all pages. The cover sheet for the paper should include the following information: title of paper, your name, course title and number, course instructor, and date paper is submitted. A simple presentation of a paper is sufficient. Staple the pages together at the upper left or put them in a simple three-ring folder or binder. Do not put individual pages in plastic sleeves.

Documentation of Resources

The Chicago Manual of Style (CMS), as described in the most recent edition of Sylvan Barnet’s A Short Guide to Writing about Art is the department standard. Although you may have used MLA style for English papers or other disciplines, the Chicago Style is required for all students taking art history courses at UA Little Rock. There are significant differences between MLA style and Chicago Style. A “Quick Guide” for the Chicago Manual of Style footnote and bibliography format is found http://www.chicagomanualofstyle.org/tools_citationguide.html. The footnote examples are numbered and the bibliography example is last. Please note that the place of publication and the publisher are enclosed in parentheses in the footnote, but they are not in parentheses in the bibliography. Examples of CMS for some types of note and bibliography references are given below in this Guideline. Arabic numbers are used for footnotes. Some word processing programs may have Roman numerals as a choice, but the standard is Arabic numbers. The use of super script numbers, as given in examples below, is the standard in UA Little Rock art history papers.

The chapter “Manuscript Form” in the Barnet book (10th edition or later) provides models for the correct forms for footnotes/endnotes and the bibliography. For example, the note form for the FIRST REFERENCE to a book with a single author is:

1 Bruce Cole, Italian Art 1250-1550 (New York: New York University Press, 1971), 134.

But the BIBLIOGRAPHIC FORM for that same book is:

Cole, Bruce. Italian Art 1250-1550. New York: New York University Press. 1971.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in a footnote is:

2 Anne H. Van Buren, “Madame Cézanne’s Fashions and the Dates of Her Portraits,” Art Quarterly 29 (1966): 199.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in the BIBLIOGRAPHY is:

Van Buren, Anne H. “Madame Cézanne’s Fashions and the Dates of Her Portraits.” Art Quarterly 29 (1966): 185-204.

If you reference an article that you found through an electronic database such as JSTOR, you do not include the url for JSTOR or the date accessed in either the footnote or the bibliography. This is because the article is one that was originally printed in a hard-copy journal; what you located through JSTOR is simply a copy of printed pages. Your citation follows the same format for an article in a bound volume that you may have pulled from the library shelves. If, however, you use an article that originally was in an electronic format and is available only on-line, then follow the “non-print” forms listed below.

B. Non-Print

Citations for Internet sources such as online journals or scholarly web sites should follow the form described in Barnet’s chapter, “Writing a Research Paper.” For example, the footnote or endnote reference given by Barnet for a web site is:

3 Nigel Strudwick, Egyptology Resources , with the assistance of The Isaac Newton Institute for Mathematical Sciences, Cambridge University, 1994, revised 16 June 2008, http://www.newton.ac.uk/egypt/ , 24 July 2008.

If you use microform or microfilm resources, consult the most recent edition of Kate Turabian, A Manual of Term Paper, Theses and Dissertations. A copy of Turabian is available at the reference desk in the main library.

C. Visual Documentation (Illustrations)

Art history papers require visual documentation such as photographs, photocopies, or scanned images of the art works you discuss. In the chapter “Manuscript Form” in A Short Guide to Writing about Art, Barnet explains how to identify illustrations or “figures” in the text of your paper and how to caption the visual material. Each photograph, photocopy, or scanned image should appear on a single sheet of paper unless two images and their captions will fit on a single sheet of paper with one inch margins on all sides. Note also that the title of a work of art is always italicized. Within the text, the reference to the illustration is enclosed in parentheses and placed at the end of the sentence. A period for the sentence comes after the parenthetical reference to the illustration. For UA Little Rcok art history papers, illustrations are placed at the end of the paper, not within the text. Illustration are not supplied as a Powerpoint presentation or as separate .jpgs submitted in an electronic format.

Edvard Munch’s painting The Scream, dated 1893, represents a highly personal, expressive response to an experience the artist had while walking one evening (Figure 1).

The caption that accompanies the illustration at the end of the paper would read:

Figure 1. Edvard Munch, The Scream, 1893. Tempera and casein on cardboard, 36 x 29″ (91.3 x 73.7 cm). Nasjonalgalleriet, Oslo, Norway.

Plagiarism is a form of thievery and is illegal. According to Webster’s New World Dictionary, to plagiarize is to “take and pass off as one’s own the ideas, writings, etc. of another.” Barnet has some useful guidelines for acknowledging sources in his chapter “Manuscript Form;” review them so that you will not be mguilty of theft. Another useful website regarding plagiarism is provided by Cornell University, http://plagiarism.arts.cornell.edu/tutorial/index.cfm

Plagiarism is a serious offense, and students should understand that checking papers for plagiarized content is easy to do with Internet resources. Plagiarism will be reported as academic dishonesty to the Dean of Students; see Section VI of the Student Handbook which cites plagiarism as a specific violation. Take care that you fully and accurately acknowledge the source of another author, whether you are quoting the material verbatim or paraphrasing. Borrowing the idea of another author by merely changing some or even all of your source’s words does not allow you to claim the ideas as your own. You must credit both direct quotes and your paraphrases. Again, Barnet’s chapter “Manuscript Form” sets out clear guidelines for avoiding plagiarism.

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Find the best tips and advice to improve your writing. Or, have a top expert write your paper.

80 Art History Thesis Topics To Skyrocket Your Grades

An art history paper is just as the name suggests, an academic paper concerned with the history and development of art as a study field. Here, you will explore expert art history research topics for your homework. Are you ready? Let’s get done with it already!

Art History Thesis Topics on the Late Gothic Period

Significant stylistic changes from the Romanesque style of the 12th century
The relationship between the great cathedrals of Europe and the late Gothic period
Monumental sculptures in the cathedrals of Europe
The relevance of Abbey Church of St. Denis in Gothic architecture
Gothic art in the Notre Dame in Paris
Manuscript illustration in the Gothic paintings
A review of the surviving Gothic paintings

Inspiring Thesis Topics Art History

The artist’s major influences in a particular piece of art
The role of recurring subjects in art
Critically evaluate Lorenzo Costa’s Portrait of a Cardinal in his Study
Why is photogravure used more than encaustic painting?
Critical features of Abstract Expressionist painting
Discuss the common motifs in the embroidery and Scandinavian weaving
Evaluate the Baroque as a significant period of artistic activity

Art History Senior Thesis Topics

A review of the images used to communicate messages in art history
The historical and transcultural contexts of visual works
The history of feminism art portrayal
The impact of Marxism ideology on the development of art
A critical analysis of the aesthetic values of art in homes
The history of signs and symbols in paintings
Theories that define the history and development of art

Undergraduate Art History Thesis Topics

Evaluate the development of art in Ancient Greece
The role of art in historical analysis and learning
How different were the artists from the expressionism period?
The impact of Cubism development on the art world
How did artists preserve ancient artworks, and why?
What led to the extinction of the Dadaism art movement?
A study of Leonardo da Vinci’s life history

Impressive Thesis Topics in Art History

How do the Eastern and Western artworks of the 18th century compare?
An analysis of the developments leading to modern art
Comparison between ancient and contemporary artists
What is the definition of real art?
Methods of dissecting a complex piece of art in simple words
The role of nature and life in influencing art
How art therapy has developed from ancient cultural practices

Art History Photography Thesis Topics

How to make a distinction between an American and French art photographer
Are there distinctions between art and photography?
Why is photography replacing fine art?
How the printing press has led to the development of photography
The cultural revolution and its relationship to art history
Compare and contrast the relationship between photography and ancient art
Compare and analyze design styles in Picasso’s blue and rose periods

Art History Thesis Topics Greek

The importance of pottery and vases in ancient Greek art.
A study of the ancient Greek arts periods: Geometric, Archaic, Classical, and Hellenistic.
How the Statue of Zeus at Olympia reflects the artistic style of the time.
Compare and contrast any of these styles of Greek art: the Doric, Ionic, and Corinthian styles of Greek architecture
Why were Fresco paintings included on or inside many ancient Greek structures?
Contributions of Polykleitos to the ancient Greek art industry
What was so unique about Parthenon?

Art History Thesis Topics Impressionism

The role of impressionists in the art hierarchy
Why canon and traditions were against impressionism
The origins of impressionism
The influence of impressionism on the art process
A study of the founding members of the Impressionism movement
Why the pioneers of impressionism used diverse approaches to painting
The impact of the sketch-like appearance

Modern Art History Topics For High School

The influence of pop art culture in America
Materials and styles in Chinese calligraphy
Evaluate the art of henna in the Middle East, India, and Africa
Art and cultural inclinations
Ancient art culture
The emergence of the Bollywood film industry
The sense of art in today’s movies and series.’

Ancient Art History Research Paper Topics

The art of disguising
Cartoons as a form of art
Color in art
Similarities between Picasso and Leonardo Da Vinci
Is Graffiti vandalism?

Compare and Contrast Topics in Art History

Baroque vs. Rococo designs
Renaissance and Baroque Epoch
Cubism and impressionism
French vs. American art
Gothic vs. Neo-Gothic periods

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Undergraduate Program
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Writing a Thesis
In general, a History of Art and Architecture thesis will have a text ranging from 40 to 80 pages, dependent upon the topic. Students are encouraged to explore the resources available to thesis writers at the Writing Center and the Bureau of Study Counsel. ... 3/ Presentation of design work to History of Art and Architecture and select GSD ...
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Students will be expected to use primary and secondary sources, critical reading skills, and appropriate methods and approaches in art history. The final product is a scholarly paper of about 25-30 pages. Students also will give a public presentation of the thesis at the end of the senior year as part of a symposium for majors in the field.
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Art History Thesis Topics on the Late Gothic Period. Significant stylistic changes from the Romanesque style of the 12th century. The relationship between the great cathedrals of Europe and the late Gothic period. Monumental sculptures in the cathedrals of Europe. The relevance of Abbey Church of St. Denis in Gothic architecture.
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80 Art History Thesis Topics To Skyrocket Your Grades

Art History Thesis Topics on the Late Gothic Period

Inspiring Thesis Topics Art History

Art History Senior Thesis Topics

Undergraduate Art History Thesis Topics

Impressive Thesis Topics in Art History

Art History Photography Thesis Topics

Popular Art History Thesis Topics

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Art History Thesis Topics Impressionism

Modern Art History Topics For High School

Ancient Art History Research Paper Topics

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