history of art dissertation

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.)

• Utility Menu

0b914002f2182447cd9e906092e539f3

Dissertation,   the dissertation.

After the successful completion of the general examination, a topic and adviser for the dissertation should be chosen. Students should discuss potential topics with several faculty members before beginning. The final prospectus should be approved not later than 3 months (within the academic calendar -- September through May) of passing the general examinations in order to be considered to be making satisfactory progress toward the degree. This is the time when the Thesis Reader and Dissertation Proposal form should be completed and submitted to the department office or DGS. Three signatures are now required on the thesis acceptance certificate. Two of the three signatories must be GSAS faculty. The primary adviser must be in the department of History of Art and Architecture; the secondary adviser need not be. In addition to the primary and secondary advisers the student may have one or more other readers. Two readers must be in the department.

Thesis Defense

The Department of History of Art and Architecture requires that all Ph.D. dissertations (of students entering in September 1997 and beyond) be defended. At the defense, the student has the opportunity to present and formally discuss the dissertation with respect to its sources, findings, interpretations, and conclusions, before a Defense Committee knowledgeable in the student's field of research. The Director of the thesis is a member of the Defense committee. A committee is permitted to convene in the absence of the thesis Director only in cases of emergency or other extreme circumstances. The Defense Committee may consist of up to five members, but no fewer than three. The suggested make-up of the members of the committee should be brought to the Director of Graduate Studies for approval. Two members of this committee should be from the Department of History of Art and Architecture. One member can be outside the Department (either from another Harvard department or outside the University). The Defense will be open to department members only (faculty and graduate students), but others may be invited at the discretion of the candidate. Travel for an outside committee member is not possible at this time; exceptions are made rarely.  We encourage the use of Skype or conference calling for those committee members outside of Cambridge and have accommodation for either.  A modest honorarium will be given for the reading of the thesis for one member of the jury outside the University. A minimum of one month prior to scheduling the defense, a final draft of the dissertation should be submitted to two readers (normally the primary and secondary advisors). Once the two readers have informed the director of graduate studies that the dissertation is “approved for defense,” the candidate may schedule the date, room, and time for the defense in consultation with the department and the appointed committee. This date should be no less than six weeks after the time the director of graduate studies has been informed that the dissertation was approved for defense. It should be noted that preliminary approval of the thesis for defense does not guarantee that the thesis will be passed. The defense normally lasts two hours. The candidate is asked to begin by summarizing the pertinent background and findings. The summary should be kept within 20 minutes. The Chair of the Defense Committee cannot be the main thesis advisor. The Chair is responsible for allotting time, normally allowing each member of the committee 20 to 30 minutes in which to make remarks on the thesis and elicit responses from the candidate. When each committee member has finished the questioning, the committee will convene in camera for the decision. The possible decisions are: Approved; Approved with Minor Changes; Approved Subject to Major Revision (within six months); Rejected. The majority vote determines the outcome. --Approved with minor changes: The dissertation is deemed acceptable subject to minor revisions. The dissertation is corrected by the candidate, taking into account the comments made by the committee. The revisions will be supervised by the primary adviser. Upon completion of the required revision, the candidate is recommended for the degree. --Approved subject to major revision within six months: The dissertation is deemed acceptable subject to major revisions. All revisions must be completed within six months from the date of the dissertation defense. Upon completion of the required revisions, the defense is considered to be successful. The revisions will be supervised by the primary adviser. --Rejected: The dissertation is deemed unacceptable and the candidate is not recommended for the degree. A candidate may be re-examined only once upon recommendation of two readers. Rejection is expected to be very exceptional. A written assessment of the thesis defense will be given to the candidate and filed in the Department by the Chair of the Defense Committee. Candidates should keep in mind the Graduate School of Arts and Sciences deadlines for submission of the thesis and degree application when scheduling the defense.

Submitting the Dissertation

Students ordinarily devote three years to research and writing the dissertation, and complete it prior to seeking full-time employment. The dissertation will be judged according to the highest standards of scholarship, and should be an original contribution to knowledge and understanding of art. The final manuscript must conform to University requirements described in the Supplement The Form of the Doctoral Thesis distributed by the Graduate School of Arts and Sciences.

Graduate students should negotiate with their readers the timing of submission of drafts prior to final revisions. However, the complete manuscript of the dissertation must be submitted to the thesis readers not later than August 1 for a November degree, November 1 for a March degree, and April 1 for a May degree (this in order to provide both the committee with time to read and the candidate to revise, if necessary). The thesis readers may have other expectations regarding dates for submission which should be discussed and handled on an individual basis. The student is still responsible for distribution of the thesis to the committee for reading. In cases where a thesis defense is scheduled, the thesis must be submitted to the primary adviser at least one month prior to the defense. The thesis defense must be scheduled at least two weeks prior to the university deadline for thesis submission.

A written assessment by dissertation readers must be included with the final approval of each thesis including suggestions, as appropriate, on how the dissertation might be adapted for later publication.

The Dissertation is submitted online.   The Dissertation Acceptance Certificate (original) must be on Harvard watermark paper and is submitted directly to the registrar’s office once it is signed.

Degree Application and Deadlines

Commencement

History of Art and Architecture

Dissertations.

• Graduate Program

Our graduates have gone on to hold positions in museums and academic departments throughout the nation and abroad. The faculty publishes and directs dissertations that range widely in terms of time, place, media, and methodology.

Here is a list of the department's recent dissertations:

Department of History of Art

Undergraduate dissertations, best undergraduate dissertations:.

• --> Best dissertations of 2015
• --> Best dissertations of 2013
• --> Best dissertations of 2011

News alert: UC Berkeley has announced its next university librarian

Secondary menu

• Log in to your Library account
• Hours and Maps
• Connect from Off Campus
• UC Berkeley Home

Search form

Dissertations in art history : a guide: databases.

• UCB Dissertations
• Foreign Dissertations
• Subject Biblographies

• Next: UCB Dissertations >>
• Last Updated: Nov 14, 2023 1:58 PM
• URL: https://guides.lib.berkeley.edu/arthistorydissertations

Department of History of Art

University | A to Z | Departments

• History of Art
• Postgraduate Study
• MA in History of Art (by research)
• York Art History Collaborations
• Undergraduate Study
• Postgraduate funding
• Partnerships
• Meet our students!
• International Students
• Mature Students
• Student Activities
• For current students
• For incoming Visiting students
• Postdoctoral Fellowships
• Ethics for Art Historians
• Employability and Professional Development
• News and events
• Information for Chinese applicants
• Contact and find us

MA in the History of Art (by research)

Potential supervisors, about the ma by research.

The MA by research consists of a 30,000-word thesis, researched and written over a period of one year full-time or two years part-time.

The dissertation is the sole component of this degree; there is no taught element. It is read by one external and one internal examiner. The external is an expert in the field in which the dissertation is written.

There are no marks awarded and examiners decide solely on pass, fail or referral.

This degree is designed for students who have already identified a specific research topic and who wish to focus exclusively on writing a thesis, working with a particular supervisor in our department.

Before applying

Prior to making an application, applicants are expected to consult other sections in this website for information on our areas of  research and to contact potential supervisors to discuss the topic.

General enquiries are welcome at any time to our Postgraduate Administrators or the Chair of research studies, as appropriate.

Qualifications

Applicants should have a good 2.1 or 1st-class undergraduate degree, or equivalent. Exceptions can be made for applicants with an unusual career profile, but who have substantial related experience.

English Language requirements

If your first language is not English you will need to show evidence that you meet our English Language requirements. Read the University's full listings of accepted tests and scores.

Ordinarily, research students should live within reasonable travelling distance of their designated place of instruction, i.e. the university. However, when undertaking extensive fieldwork, the fieldwork location may be regarded as the designated place of instruction.

All research students are encouraged to participate in the wide range of research activities the department offers. These include research seminars, conferences, activities organized by our departmental research schools , study days and reading groups.

Students in York also take full advantage of resources such as the Raymond Burton Humanities Research Library and Borthwick Institute for Archives.

• Read more about resources available to students

How to apply

You can apply for this course using our online application system. If you've not already done so, please read the application guidance first so that you understand the various steps in the application process.

•   St Andrews Research Repository
• Art History (School of)
• Art History

Art History Theses

• Register / Login

By Issue Date Names Titles Subjects Classification Type Funder

Search within this collection:

School staff and students participate in University-wide research centres such as the St Andrews Institute of Mediaeval Studies and the Scottish Studies Network. Our principal strengths lie in the areas of medieval and Renaissance art, in European and American modernism, the history of photography, the decorative arts in Britain and Museum and Gallery Studies.

For more information please visit the School of Art History home page.

This material is presented to ensure timely dissemination of scholarly and technical work. Copyright and all rights therein are retained by authors or by other copyright holders. All persons copying this information are expected to adhere to the terms and constraints invoked by each author's copyright. In most cases, these works may not be reposted without the explicit permission of the copyright holder.

Recent Submissions

Showtime the influence of theatrical spectacle on four american modernists , the zoo paintings of gilles aillaud : art engagé and camouflage in france, 1950-1980 , national-ish artists : victorio edades and the founding of filipino modern art , look at the sky : the bird simurgh in text and image in iran (1010-1650) , the maison bonfils in the middle east (1867-1918) : visual technologies, empire, and spectacle .

• Skip to main content
• assistive.skiplink.to.breadcrumbs
• assistive.skiplink.to.header.menu
• assistive.skiplink.to.action.menu
• assistive.skiplink.to.quick.search

• A t tachments (1)
• Page History
• Page Information
• Resolved comments
• View in Hierarchy
• View Source
• Export to PDF
• Export to Word

Undergraduate Program - Writing a Thesis

• Created by Marcus Mayo , last modified on May 03, 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.

Fall Semester, Junior Year

• October: Initial Meeting. Junior concentrators are invited to meet with the Senior Thesis Adviser for an introduction to the senior thesis writing process.

Spring Semester, Junior Year

• 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 14, 2025, 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 28, 2025 (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 14, 2025 : 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 25 (2025, date subject to change and TBC) for assistance with poster preparation. Examples of previous posters can be found here (AY21-22) , here (AY22-23) , and here (AY23-24).

Submission Requirements for the Design Thesis Project (due March 14, 2025, 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.

• Copyright © 2023 The President and Fellows of Harvard College
• Accessibility
• Privacy Policy
• Terms of Use
• Atlassian Confluence 7.19.17

History of Art and Architecture - UC Santa Barbara

Ph.d. dissertations, dissertations in progress, architectural history and urbanism/urban planning/historic preservation.

Faichney, Sylvia, “The Domesticated Landscape of War: Army Housing in the United States 1890-1996” Dissertation Advisor: Swati Chattopadhyay

Schlothan, Betty, "Visual Constructions and Assertions of Community in the Early Modern Towns of the German Erzgebirge" Dissertation Advisor: Mark A. Meadow

Van Doorne, Taylor, "Ephemeral Monuments, the Modern French State, and the Parisian Public, 1789-1848" Dissertation Advisor: Richard Wittman

Asian American/Asian Diaspora

Tran, Thuy N. D., "Saigon Modernisms: Art of a New Nation, 1954-1975” Dissertation Advisor: Laurie Monahan

Early Modern Art

Aldrich, Alec, "Common Ground: Landscape and the Mediation of Technology in the Dutch Republic" Dissertation Advisor: Ann Jensen Adams

Gagnon, Emma, “Picturing Indonesia in Amsterdam: The Printed Images of Johan Nieuhof’s Remarkable Voyages and Travels to the East-Indies (1682)” Dissertation Advisor: Ann Jensen Adams

Good, Felicity, “Locating Childhood: The Visual Culture of Children in Early Modern Antwerp and Mexico City” Dissertation Advisor: Mark A. Meadow

Kagan-Moore, Hannah, "Social Identity and the City in the Augsburger Monatsbilder " Dissertation Advisor: Mark A. Meadow

Twentieth and/or Twenty-First Century

Cobra Lima, Letícia, "Assembling the Body: South American Assemblage Art, 1960-1996" Dissertation Advisor: Jenni Sorkin

Grego March, Claudia, " El arte de América Latina es la revolución : networks of political art between Spain and Latin America during the late Francoist dictatorship (1960-1975)" Dissertation Advisor: Laurie Monahan

Mirzaei, Mohammadreza, "'The Maximum Out of the Minimum Freedom of Speech': Bahman Mohassess’s Painting in the Context of Iranian Art During the 1960s" Dissertation Advisor: Laurie Monahan

Morris, Sara, "Clay Bodies: Figurative Ceramics and the Crafting of Identity in Postwar Sculpture" Dissertation Advisor: Jenni Sorkin

Smith, Elzabeth Driscoll, "Build/Live/Work: Artist-Built Environments and the Expanded Vernacular in the Twentieth Century" Dissertation Advisor: Jenni Sorkin

Winter, Rachel, "A Spectacle of Inclusion: The Rise of Contemporary Art from the Arab World, Iran, and Turkey in the United States and England, 1970-2020" Dissertation Advisor: Jenni Sorkin

Samira Fathi Re-Imagining the Royal City: Architectural Patronage and Urban Memory of Isfahan, 1694–1834 Faculty Chair: Nuha N. N. Khoury

Ben Jameson-Ellsmore Hackerspaces: The Architecture and Visual Culture of Public Life in Contemporary U.S. Cities Faculty Chair: Swati Chattopadhyay

Matthew Limb Dirt(y) Politics: Geological Primitivism and Land Use in the Ceramic Vessel Tradition of the American West, 1921-1994 Faculty Chair: Jenni Sorkin

Margaret Mansfield Image Reincarnation in Early Modern Dutch Illustrated Travelogues Faculty Chair: Ann Jensen Adams

Sarah Bane Join the Club: Regional Print Clubs in the United States Faculty Chair: E. Bruce Robertson

Holly Gore Reinventing Work: Modernist Wood and Skilled Trade, 1930-1965 Faculty Chair: Jenni Sorkin

Yun-Chen Lu A Left-Turn to Artistic Eccentricity: Gao Fenghan (1683–1749) and Disability Art in Eighteenth-Century Yangzhou Faculty Chair: Peter Sturman

Henning von Mirbach Local Landscapes: Fa Ruozhen (1613–1696) and the Making of Conquest Identities in Early Qing China Faculty Chair: Peter Sturman

Mary Okin Painting in Place: Wayne Thiebaud in Postwar American Art Faculty Chair: E. Bruce Robertson

Alexandra Schultz Living and Dying in Water: Fluid Infrastructure Disruptions in Urban Egypt (1870-1935) Faculty Chair: Nuha N. N. Khoury

Virginia Reynolds Badgett Representing Modern Women: Robert Henri, Portraiture, and Identity Faculty Chair: E. Bruce Robertson

John Vincent Decemvirale Knowing Your Place and Making Do: Radical Arts Activism in Black and Latino Los Angeles, 1968-1984 Faculty Chair: Jenni Sorkin

Thomas DePasquale Leonardo and the Commentators: Seeing Things Hidden in the Earliest Essay on the Work of Art, Naples, ca. 1562 Faculty Chair: Mark A. Meadow

Laura diZerega Beyond Berlin: Karl Friedrich Schinkel, Bureaucracy, and Rhenish Ecclesiastical Architecture, 1815–1840 Faculty Chair: Richard Wittman

Abelina Galustian Orienting the Politics of Images: The Armenian Role in Orientalizing Near Eastern Photography, 1850-1930 Faculty Chair: E. Bruce Robertson

History of Art & Architecture Ph.D. Dissertations 2020 - 1972

• USF Research
• USF Libraries

Digital Commons @ USF > College of The Arts > School of Art and Art History > Theses and Dissertations

Art and Art History Theses and Dissertations

Theses/dissertations from 2023 2023.

Fragmented Hours: The biography of a devotional book printed by Thielman Kerver , Stephanie R. Haas

Theses/Dissertations from 2022 2022

Assessing Environmental Sensitivity in San Diego County, California, for Bird Species of Special Concern , Eda Okan Kilic

Theses/Dissertations from 2021 2021

Empress Nur Jahan and Female Empowerment: A Critical Analysis of a Long-Forgotten Mughal Portrait , Angela N. Finkbeiner

Theses/Dissertations from 2019 2019

Seeing King Solomon through the Verses of Hafez: A Critical Study of Two Safavid Manuscript Paintings , Richard W. Ellis

Moving Away from The West or Taking Independent Positions: A Structural Analysis for The New Turkish Foreign Policy , Suleyman Senturk

A Quiet Valley at Roztoky : Testimony of Singularity in the Landscape Imagery of Zdenka Braunerová , Zdislava Ungrova

Theses/Dissertations from 2018 2018

Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites) , Jeanie Ambrosio

Theses/Dissertations from 2016 2016

Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain , Andrea Marie Johnson

An Alternative Ancien Régime? Elisabeth Vigée-Lebrun in Russia , Erin Elizabeth Wilson

Theses/Dissertations from 2015 2015

Sarah Sze's "Triple Point": Modeling a Phenomenological Experience of Contemporary Life , Amanda J. Preuss

Cross-Cultural Spaces in an Anonymously Painted Portrait of the Ottoman Sultan Mahmud II , Alison Paige Terndrup

Theses/Dissertations from 2013 2013

The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI , Maureen Elizabeth Cox

Theses/Dissertations from 2012 2012

Painting Puertorriqueñidad: The Jíbaro as a Symbol of Creole Nationalism in Puerto Rican Art before and after 1898 , Jeffrey L. Boe

Franz Marc as an Ethologist , Jean Carey

Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land" , Jennifer Danielle Mccall

Theses/Dissertations from 2010 2010

Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget , Sabrina Lynn Hughes

Theses/Dissertations from 2009 2009

Intervention in painting by Marlene Dumas with titles of engagement: Ryman's brides, Reinhardt's daughter and Stern , Susan King Klinkenberg

Self-fashioning, Consumption, and Japonisme : The Power of Collecting in Tissot’s Jeunes Femmes Regardant des Objets Japonais , 1869 , Catherine Elizabeth Turner

Theses/Dissertations from 2008 2008

Kandinsky’s Dissonance and a Schoenbergian View of Composition VI , Shannon M. Annis

Theses/Dissertations from 2007 2007

Re-Thinking the Myth of Perugino and the Umbrian School: A Closer Look at the Master of the Greenville's Jonas Nativity Panel , Carrie Denise Baker

I'm Not Who I Was Then, Now: Performing Identity in Girl Cams and Blogs , Katherine Bzura

Manifestations of Ebenezer Howard in Disneyland , Michelle M. Rowland

The assimilation of the marvelous other: Reading Christoph Weiditz's Trachtenbuch (1529) as an ethnographic document , Andrea McKenzie Satterfield

Theses/Dissertations from 2006 2006

Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996 , Devon P. Larsen

Vision and Disease in the Napoleonic Description de l’Egypte (1809-1828): The Constraints of French Intellectual Imperialism and the Roots of Egyptian Self-Definition , Elizabeth L. Oliver

Theses/Dissertations from 2005 2005

The articulate remedies of Dolores Lolita Rodriguez , Hyatt Kellim Brown

Negotiating Artistic Identity through Satire: subREAL 1989-1999 , Anca Izabel Galliera

From Chapel to Chamber: Liturgy and Devotion in Lucantonio Giunta’s Missale romanum , 1508 , Lesley T. Stone

Theses/Dissertations from 2004 2004

Ensenada , Julia DeArriba-Montgomery

Threatening Skies , Brandon Dunlap

Apocalypth pentagram , Matthew Alan Guest

African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo , 1598 , Laura Renee Herrmann

The Artist and Her Muse: a Romantic Tragedy about a Mediocre and Narcissistic Painter Named Rachel Hoffman , Rachel Gavronsky Hoffman

Procession: The Celebration of Birth and Continuity , I Made Jodog

The Thornton Biennial: The Kruszka Pavilion: The 29YR Apology , Ethan Kruszka

american folk , Preston Poe

A Simple Treatise on the Origins of Cracker Kung Fu Or Mai Violence , Mark Joseph Runge

"My Journey" , Douglas Smith

Twilight , Britzél Vásquez

Advanced Search

• Email Notifications and RSS
• All Collections
• USF Faculty Publications
• Open Access Journals
• Conferences and Events
• Theses and Dissertations
• Textbooks Collection

Useful Links

• School of Art and Art History Homepage
• Rights Information
• SelectedWorks
• Submit Research

Home | About | Help | My Account | Accessibility Statement | Language and Diversity Statements

Privacy Copyright

Guidelines For Writing A History Of Art Dissertation

Writing a history of art dissertation is a challenging task. It requires an in-depth understanding of the subject, as well as appropriate research skills and knowledge of writing conventions.

In order to assist students in crafting a successful dissertation, this article will provide guidelines for writing a history of art dissertation. These guidelines will focus on the structure, formatting, content and other aspects of the process.

By following the advice provided within, students can be sure that their work is meeting the necessary academic standards. The goal of this article is to help students create an effective history of art dissertation that meets all academic requirements while also demonstrating their passion for the topic.

Through comprehensive guidance and advice, readers will gain insight into how to effectively go about writing their own dissertations with confidence. With these helpful tips, students can be sure that they are producing a piece that accurately reflects their knowledge and interests in this field.

Creating A Dissertation Plan

Creating a dissertation plan is an essential part of the research process. It allows for refining ideas, constructing an outline and developing a timeline for the entire project. The planning stage also helps to identify any potential problems that may arise while conducting the research.

An effective dissertation plan should provide structure and clarity as it outlines what needs to be done in order to complete the project. It should include specific timelines for completing each task, such as researching, writing and editing each section.

Additionally, it should contain a detailed checklist of tasks that need to be completed before submitting the work.

The dissertation plan will be constantly revised throughout the research process as new ideas and information are uncovered. It is important to remember that there are no hard and fast rules when it comes to creating a successful dissertation plan, but having one in place can help pave the way towards successfully completing a research project.

Developing A Research Question

After creating a dissertation plan, the next step is to develop a research question. To start, it is important to understand the context of your project and examine any influences that may shape your research. Exploring this context can help you narrow down your options as far as what type of research question will best fit the scope of your project.

When developing a research question, there are a few key points to keep in mind:

• Clarifying the purpose of your project
• Defining who or what you are researching
• Assessing how you will go about conducting your research
• Exploring resources available to help with your research
• Thinking critically about potential outcomes and implications

It is also helpful to consider how much time and effort you are willing to dedicate to your dissertation. By evaluating these factors before formulating a research question, you can ensure that the scope of your project is achievable within the timeline given. Additionally, if necessary, it may be beneficial to consult with faculty members or peers for assistance throughout this process.

Selecting An Appropriate Research Methodology

When choosing an appropriate research methodology for a history of art dissertation, it is important to carefully consider the research question and the resources available.

A variety of methods can be used in order to explore the topic, such as analyzing primary sources or conducting interviews with experts. Each method has its own advantages and disadvantages, so it is important to weigh these factors before deciding upon the most suitable approach.

When selecting a methodology, it is also essential to consider what data will be collected and how it will be analyzed. This includes considering which techniques are best suited to interpreting findings, as well as any potential ethical implications of collecting and using data.

By taking these factors into consideration when selecting an appropriate research methodology, writers can ensure that their dissertation is both academically rigorous and ethically sound.

Conducting Research And Gathering Evidence

Having selected an appropriate research methodology, the next step for writing a history of art dissertation is to conduct research and gather evidence.

This involves evaluating and interpreting sources, such as documents, artifacts, and interviews. It also includes the analysis of data collected from primary and secondary sources.

In order to effectively evaluate sources, it is important to consider the author or creator’s bias or point of view. Additionally, one must analyze the text or material in terms of its context—the time period in which it was created—and its purpose.

Examining evidence with these critical eye can help uncover deeper meanings within the material. Similarly, when interpreting data, it is necessary to be aware of any potential implications that may arise from one’s interpretations or conclusions.

Overall, conducting research and gathering evidence are essential components in writing a history of art dissertation. Through analyzing primary and secondary sources from various perspectives, one can create a more comprehensive understanding of their topic so that they can craft an insightful piece of work.

Writing The Introduction

The introduction is a crucial part of any dissertation, as it serves to establish the context and analyze the influences that will shape the rest of the document.

To begin, it is important to identify key works and researchers in the relevant field before exploring their influence on the topic at hand. Once this foundation has been established, further research can be undertaken to build upon existing knowledge or challenge existing assumptions.

A thorough investigation of primary source material should be undertaken with an emphasis on contextualizing works within relevant art historical frameworks. In doing so, a strong argument can be made for why this particular dissertation topic is meaningful and worthy of further exploration.

Additionally, evidence should be provided demonstrating an understanding of how both current and past scholarship have contributed to our present understanding of this particular area of study.

By taking these steps, a dissertation provides readers with a clear framework for understanding the arguments being made throughout its pages.

Constructing The Literature Review

Compiling a literature review for a history of art dissertation is an essential step in the research process. It involves carefully selecting and analyzing a wide range of relevant sources to provide context, depth, and insight into the topic at hand.

When constructing a literature review, it is important to define standards for what sources are considered relevant and how they should be contextualized within the broader theories pertinent to the research topic. Additionally, it is essential to consider the quality of each source in terms of its trustworthiness and validity in order to ensure that only reliable information is included in the literature review.

When constructing their literature reviews, researchers should prioritize sources that are written by experts in the field or those who have direct experience with the subject under discussion. Furthermore, when analyzing these sources it is important to fully comprehend their content and make sure that they are accurately represented within your work.

In this way, constructing a comprehensive and meaningful literature review not only takes time but also requires careful consideration of all aspects related to its contents.

Compiling The Methodology Chapter

When writing a methodology chapter for a history of art dissertation, it is essential to ensure that the analysis of data and structuring of ideas are both comprehensive and coherent. It is important to take time to properly plan out the structure, so that all elements are logically connected and the overall argument is clear.

This should include key components such as research design, data collection techniques, ethical considerations, and any limitations. The methodology section should provide an explanation of how the researcher will approach their topic and what methods they will use to collect and analyze data.

This could involve interviews, surveys, textual analyses or other methods. Additionally, it is important to explain why these methods were chosen over others and how they relate to the research questions being asked. The researcher must also consider ethical implications when collecting data from subjects or using existing sources.

Once this has been established, conclusions can be drawn from the collected data in order to support or refute any hypotheses or arguments made in the dissertation.

Describing The Results

When organizing the results of an art history dissertation, it is important to ensure that the structure is clear, logical and purposeful.

The results should be presented in an organized and structured manner, with a clear focus on the key points.

It is important to consider the various elements of the results, including visuals, facts, and analysis, and to make sure that they are presented in a way that is easy to understand.

When presenting the results, it is important to ensure that they are presented in a way that is accessible and engaging to the reader.

When interpreting the results, it is important to consider the implications of the data, and to provide a thoughtful and comprehensive analysis.

It is also important to draw conclusions from the results and to provide an accurate and comprehensive interpretation of the data.

Organizing The Results

Organizing the results of your history of art dissertation is a critical step in ensuring all your research and analysis is presented in a way that is clear and easy to understand.

As you explore and analyze trends, it is important to organize the data in a manner that makes sense for each section of the dissertation.

For example, when describing the results from an experiment, it can be beneficial to first present the raw data followed by organized tables or figures. This ensures that readers are able to view both the original information as well as any patterns or relationships that emerge from it.

Additionally, presenting organized data can help readers identify connections between two or more variables and draw conclusions based on their findings.

With careful organization, readers will be able to better appreciate how your results support your overall argument.

Ultimately, organizing the results of your dissertation will ensure that readers are able to understand your research easily and make sense of the findings in context.

Presenting The Results

Once the data has been organized, it is time to present the results of your research. Presenting the findings in a clear and concise manner will help readers understand the implications of your work.

When evaluating findings, it is important to consider both qualitative and quantitative aspects. For example, if a study was conducted on a particular artwork, researchers might evaluate its aesthetic value through interviews with viewers while also measuring physical characteristics such as size or dimensions. By synthesizing data from both qualitative and quantitative sources, researchers can draw more meaningful conclusions about their research topic.

Additionally, presenting results in multiple formats such as graphs or tables can help make complex information easier to interpret.

In order to ensure that readers are able to draw their own conclusions from your research, be sure to provide all relevant information about the study’s methodology and results. This includes any assumptions made during the process as well as any limitations encountered along the way. Doing so will ensure that readers have an accurate understanding of your work and its implications for future research in the field of art history.

Interpreting The Results

Once the data has been presented, it is important to analyze and evaluate the results. This includes looking for patterns or insights that can be drawn from the data.

Analyzing outcomes requires an understanding of both qualitative and quantitative aspects of the research process. For example, if a study was conducted on a particular artwork, researchers might evaluate its aesthetic value by interpreting viewer reactions while also measuring physical characteristics such as size or dimensions.

Evaluating data allows researchers to draw meaningful conclusions about their research topic. Furthermore, presenting results in multiple formats such as graphs or tables can help make complex information easier to interpret.

In order to ensure that readers are able to draw their own conclusions from your research, be sure to provide all relevant information about the study’s methodology and results. Doing so will ensure that readers have an accurate understanding of your work and its implications for future research in the field of art history.

Drawing Conclusions

The dissertation journey has been a long and arduous one, but the end is now in sight. Drawing conclusions from the data collected and integrating theory with practice can be a difficult task, yet it is an essential step in completing your dissertation.

This section offers you the chance to synthesize data within the context of your research question. There are various ways to approach this process, but it is important that your conclusions be supported by evidence found throughout your dissertation.

Furthermore, your conclusions should provide insight into how research findings can impact on wider society. As such, you must consider the implications of your work for future generations.

Ultimately, it is up to you to draw together the threads of your narrative and present them succinctly and coherently. Achieving this requires that you take time to reflect upon the significance of what lies ahead: making sense of all that has gone before and preparing a blueprint for what may come after.

Writing The Discussion

Having drawn conclusions, the next step is to discuss them in the context of the dissertation.

This will involve analyzing trends and evaluating data to assess their importance and relevance. Careful consideration must be given to the implications of any findings, as well as how they fit within a wider narrative or understanding of the topic.

In order to effectively communicate these conclusions, it is important to ensure that all arguments are expressed clearly and concisely. This should include evidence and examples for support, as well as an explanation of why certain conclusions have been reached.

Additionally, it is important to consider multiple perspectives on any given argument rather than relying on one source only. With this approach taken, it can then be confidently stated that a comprehensive discussion has been undertaken which adequately addresses the various facets of the research question posed.

Editing And Proofreading

The process of editing and proofreading is a fundamental part of ensuring that a dissertation is of the highest possible quality. It is essential to ensure that the content is accurate and well-structured, while also making sure that the writing style is appropriate, engaging and clear.

Here are some key points to consider when editing and proofreading:

Evaluating sources: When researching for your dissertation, it is important to make sure that you are using credible sources. Check the authority of any sources before you use them in your work.

Structuring arguments: Make sure that your arguments flow logically from one point to another. Consider how each point links together and provide evidence for your claims where necessary.

Grammar and spelling: Carefully read through each sentence to make sure there no errors in grammar or spelling. Use language tools such as spellcheckers where applicable.

Style: Ensure that the style of writing used throughout the dissertation is consistent, with appropriate academic language used at all times.

By following these steps during the editing and proofreading phase, you can be confident that your dissertation will be of a high standard when submitted.

Citing Sources

After the arduous process of editing and proofreading, it is time to move onto citing sources. Accurately referencing sources is essential for any academic paper, as it provides evidence of the credibility of the research and allows readers to verify the findings. It also enables readers to trace the origins of ideas and influences on a particular subject.

When evaluating accuracy in referencing sources, there are several factors to consider. Firstly, one should check that all references have been correctly cited according to the chosen referencing style (such as APA or MLA). Accuracy also extends to whether full details of authors’ names and dates have been included, particularly when citing books or journal articles. Additionally, one should make sure that all referenced works have actually been read and that they are relevant to their work; this includes double-checking URLs for online sources.

Frequently Asked Questions

How long should a history of art dissertation be.

When writing a history of art dissertation, the length of the dissertation is largely determined by the scope and complexity of the research topic.

Generally, dissertations should be around 10,000 words in length and should include art historical context as well as visual analysis.

The writer should also consider how much time they can dedicate to researching, writing and editing their dissertation.

It is important to carefully plan and manage your time to ensure that you are able to adequately address all aspects of your chosen topic within the allotted timeframe.

How Is A History Of Art Dissertation Marked?

A History of Art dissertation is marked on a variety of criteria, with the most important being the ability to choose an appropriate topic for research.

The student must demonstrate their knowledge and understanding of relevant research material, as well as their ability to present the findings in a critical and analytical manner.

Referencing styles used in the dissertation must be consistent, accurate and properly cited.

In addition, the writing style should be engaging and interesting to ensure that the reader understands their argument.

Finally, there should be evidence that the student has taken into consideration any ethical issues surrounding their research and has managed these appropriately.

What Is The Best Way To Approach The Writing Of A History Of Art Dissertation?

When writing a history of art dissertation, it is important to take an interdisciplinary approach that considers the cultural context of the subject matter. This means researching not only artistic movements and historical events, but also looking into the influences of politics, religion, and other social forces on art production.

A successful dissertation should be both informative and engaging, while offering original insights into the chosen topic. To ensure success in this endeavor, it is important to start with a clear research question or hypothesis that can be explored throughout the project.

Additionally, careful planning for each step of the research process is key in order to stay on track and avoid becoming overwhelmed by the task at hand.

How Should I Structure My History Of Art Dissertation?

When writing a history of art dissertation, it is important to carefully consider the structure as it will be essential in conveying your argument effectively.

It is recommended that you divide the dissertation into three main parts; introduction, body and conclusion.

The introduction should provide an overview of the topic along with a discussion of collaborative creation and artistic interpretation.

The body should include evidence to support your argument, such as literature reviews and primary research findings.

Finally, the conclusion should draw together all of the key points and reiterate why your arguments are valid.

How Much Time Should I Dedicate To Researching And Writing My History Of Art Dissertation?

Writing a history of art dissertation can be a very time consuming task.

It requires extensive research into the influences of art and careful analysis of exhibitions.

Depending on the scope and depth of the research, one should dedicate at least 6 months to researching and writing their dissertation.

Allocating enough time for this process is essential in order to ensure that all aspects are thoroughly explored and the highest quality work is produced.

The writing of a history of art dissertation is an important task that should be approached with care and consideration. It is essential to consider the length of the dissertation, the marking criteria and the structure of it when beginning to write.

The amount of time dedicated to researching and writing must also be taken into account. A successful history of art dissertation requires dedication, planning and focus in order to achieve the desired results.

By taking time to plan the dissertation, considering the guidelines for its structure and ensuring sufficient research has been conducted, it is possible to write a successful history of art dissertation that stands out from the rest.

Online Dissertations History of Art Tuition

Recommended articles for Dissertations History of Art

How To Choose The Best Dissertation Topic For History Of Art?

How To Create An Effective Outline For History Of Art Dissertations

Mastering History Of Art: Advice For Writing A Dissertation

Writing A History Of Art Dissertation: Tips And Tricks

A service you can depend on

The quickest way to talk with us

Email us at [email protected]

Our partners

We are proud partners of TheProfs and BitPaper

CUNY Academic Works

Home > Dissertations, Theses & Capstones Projects by Program > Art History Dissertations

Art History Dissertations

Dissertations from 2024 2024.

A Municipal Modernity: Women, Architecture, and Public Health in Working-Class New York, 1913–1950 , Jessica Fletcher

Without Us There Is No Britain: Black British Photography and Film Networks, 1950-1989 , Maria T. Quinata

Dissertations from 2023 2023

The Gilded Tropics: Winslow Homer and John Singer Sargent in Florida, 1886-1917 , Theodore W. Barrow

Flamboyant Abundance: Performing Queer Maximalism, 1960–1990 , Jack Owen Crawford

"A Decorator in the Best Sense": Ludwig Mies van der Rohe, Lilly Reich, the Fabric Curtain Partition, and the Articulation of the German Modern Interior , Marianne E. Eggler-Gerozissis

From Allegory to Revolution: The Inca Empire in the Eighteenth-Century French Imagination , Agnieszka A. Ficek

“Delicious Libation”: The Art of the Coffee Trade from Brazil to the United States, 1797-1888 , Caroline L. Gillaspie

Fifteenth-Century Sienese Art in Its International Setting: A Case Study of Cross-Cultural Exchange in Italy and Beyond , Maria Lucca

Creative Figures: Portraiture and the Making of the Modern American Artist, 1918-1930 , Sasha Nicholas

Raphael Montañez Ortiz and Alternative Art Spaces, 1966–1971: From Repulsion to Exaltation , Ana Cristina Perry

Styling Sweatshops: Seamstress Imagery, Industrial Capitalism, and Nationalist Agendas in Nineteenth-Century Europe and the United States , Alice J. Walkiewicz

Dissertations from 2022 2022

Pop/Art: The Birth of Underground Music and the British Art School, 1960–1980 , Andrew Cappetta

After the Renaissance: Art and Harlem in the 1960s , Maya Harakawa

Cultural Predicaments: Neorealism in The Netherlands, 1927–1945 , Stephanie Huber

Hellenikotita — Greekness: Constructing Greek Genre Painting, Visualizing National Identity, 1850–1900 , Olga Zaferatos Karras

Contextualizing Britain’s Holocaust Memorial and Museums: Form, Content, and Politics , Rebecca D. Pollack

The Beehive, the Favela, the Castle, and the Ministry: Race and Modern Architecture in Rio de Janeiro, 1811–1945 , Luisa Valle

Globalism and Identity in Taiwanese Contemporary Art, 1978–2009 , Chu-Chiun Wei

Dissertations from 2021 2021

Europ: Expanded Cinema, Projection and the Film Co-op in Western Europe, 1966–1979 , Drew E. Bucilla

Inevitable Associations: Art, Institution, and Cultural Intersection in Los Angeles, 1973–1988 , Liz Hirsch

Xanthus Smith: Marine Painting and Nationhood , Eva C. McGraw

Art After Dark: Economies of Performance, New York City 1978–1988 , Meredith Mowder

The Integration of Art, Architecture, and Identity: Alfred Kastner, Louis Kahn, and Ben Shahn at Jersey Homesteads , Daniel S. Palmer

The Making of Transpacific Video Art, 1966–1988 , Haeyun Park

The U.S.–Mexican War: Visualizing Contested Spaces from Parlor to Battlefield , Erika Pazian

After Abstract Expressionism: Reconsidering the “Death of Painting” at Midcentury , Natasha Roje

The Painter and His Poets: Paul Gauguin and Interartistic Exchange , Aaron Slodounik

Compromised Values: Charlotte Posenenske, 1966–Present , Ian Wallace

Dissertations from 2020 2020

Traditions and Transformations in the Work of Adál: Surrealism, El sainete , and Spanglish , Margarita J. Aguilar

Norman Lewis: Linearity, Politics, and Pedagogy in His Abstract Expressionism, 1946–1964 , Andrianna T. Campbell-LaFleur

The Art of Opacity: Guy de Cointet in L.A. , Media Farzin

Northwest Coast Native Art Beyond Revival, 1962–1992 , Christopher T. Green

Staging the Modern, Building the Nation: Exhibiting Israeli Art, 1939–1965 , Chelsea Haines

Labor and the Picturesque: Photography, Propaganda, and the Tea Trade in Colonial India and Sri Lanka, 1880–1914 , Leila Anne Harris

The International Rise of Afro-Brazilian Modernism in the Age of African Decolonization and Black Power , Abigail Lapin Dardashti

Accomplices in Art: The Expansion of Authorship in the 1970s and '80s , Sydney Stutterheim

The “Olympiad of Photography”: FIAP and the Global Photo-Club Culture, 1950–1965 , Alise Tifentale

Dissertations from 2019 2019

A Series of Acts that Disappear: The Valparaíso School’s Ephemeral Architectures, 1952–1982 , Elizabeth Rose Donato

Added Interpretive Centers at U.S. War Memorials and the Reframing of National History , Jennifer K. Favorite

Stills of Passage: Photography and Migration in the US-Mexico Borderlands, 1978-1992 , Nadiah Rivera Fellah

Arts et Métiers PHOTO- Graphiques : The Quest for Identity in French Photography between the Two World Wars , Yusuke Isotani

Crossing the Atlantic: Italians in Argentina and the Making of a National Culture, 1880–1930 , Lauren A. Kaplan

The Evolution of the Centaur in Italian Renaissance Art: Monster, Healer, Mentor, and Constellation , Trinity Martinez

Weaving Modern Forms: Fiber Design in the United States, 1939–1959 , Sarah Mills

The "I" of the Artist-Curator , Natalie Musteata

Ray Johnson: Collage as Networked "Correspondance" , Gillian Pistell

Mechanical Kingdoms: Sound Technologies and the Avant-Garde, 1928–1933 , Lauren Rosati

Minor Forms, Dismantled Norms: Mediums of Modernism in Pakistan , Gemma Sharpe

Gendered Subjectivity and Resistance: Brazilian Women’s Performance-for-Camera, 1973–1982 , Gillian Sneed

Framing the City: Photography and the Construction of São Paulo, 1930–1955 , Danielle J. Stewart

Between the Cracks: From Squatting to Tactical Media Art in the Netherlands, 1979–1993 , Amanda S. Wasielewski

Dissertations from 2018 2018

Writing with Light: Cameraless Photography and Its Narrative in the 1920s , Karen K. Barber

Bloomsbury's Byzantium and the Writing of Modern Art , Elizabeth Sarah Berkowitz

The Labyrinth and the Cave: Archaic Forms in Art and Architecture of Europe, 1952–1972 , Paula Burleigh

The South Korean “Meta-Avant-Garde,” 1961–1993: Subterfuge as Radical Agency , Sooran Choi

Creating 1968: Art, Architecture, and the Afterlives of the Mexican Student Movement , Mya B. Dosch

Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman , Saisha Grayson

Modern Arts and Pueblo Traditions in Santa Fe, 1909–1931 , Elizabeth S. Hawley

Women’s Suffrage in American Art: Recovering Forgotten Contexts, 1900-1920 , Elsie Y. Heung

Rising Above the Faithful: Monumental Ceiling Crosses in Byzantine Cappadocia , Alice Lynn McMichael

Visualizing Knowledge in the Illuminated Manuscripts of the Breviari d’amor , Joy Partridge

Lauretta Vinciarelli in Context: Transatlantic Dialogues in Architecture, Art, Pedagogy, and Theory, 1968-2007 , Rebecca Siefert

Prints on Display: Exhibitions of Etching and Engraving in England, 1770s-1858 , Nicole Simpson

Dissertations from 2017 2017

Open Works: Between the Programmed and the Free, Art in Italy 1962 to 1972 , Lindsay A. Caplan

I. M. Pei, William Zeckendorf, and the Architecture of Urban Renewal , Marci M. Clark

Posthumanist Animals in Art: France and Belgium, 1972-87 , Arnaud Gerspacher

On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff , Lee Hallman

Joseph Beuys and Social Sculpture in the United States , Cara M. Jordan

Claude III Audran: Ornemaniste of the Rococo Style , Barbara Laux

Exhibitions of Outsider Art Since 1947 , Christina McCollum

Mónica Mayer: Translocality and the Development of Feminist Art in Contemporary Mexico , Alberto McKelligan Hernandez

Merchandise, Promotion, and Accessibility: Keith Haring’s Pop Shop , Amy L. Raffel

Ludic Conceptualism: Art and Play in the Netherlands, 1959 to 1975 , Janna Therese Schoenberger

Communicationists and Un-Artists: Pedagogical Experiments in California, 1966-1974 , Hallie Rose Scott

Foreign-Born Artists Making “American” Pictures: The Immigrant Experience and the Art of the United States, 1819–1893 , Whitney Thompson

Left and Right: Politics and Images of Motherhood in Weimar Germany , Michelle L. Vangen

From Design to Completion: The Transformation of U.S. War Memorials on the National Mall , Sara Jane Weintraub

Dissertations from 2016 2016

Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 , Raffaele Bedarida

The Emergence of the Bird in Andean Paracas Art. c. 900 BCE - 200 CE , Mary B. Brown

The Moving Image in Public Art: U.S. and U.K., 1980–Present , Annie Dell'Aria

Modernism with a Human Face: Synthesis of Art and Architecture in Eastern Europe, 1954-1958 , Nikolaos Drosos

Building in Public: Critical Reconstruction and the Rebuilding of Berlin after 1990 , Naraelle Hohensee

The Bauhaus Wall Painting Workshop: Mural Painting to Wallpapering, Art to Product , Morgan Ridler

Provisional Capital: National and Urban Identity in the Architecture and Planning of Bonn, 1949-1979 , Samuel L. Sadow

Developing Italy: Photography and National Identity during the Risorgimento, 1839-1859 , Beth Saunders

The Photographic Universe: Vilém Flusser’s Theories of Photography, Media, and Digital Culture , Martha Schwendener

Finish Fetish: Art, Artists, and Alter Egos in Los Angeles of the 1960s , Monica Steinberg

Nature and Nostalgia in the Art of Mary Nimmo Moran (1842-1899) , Shannon Vittoria

Dissertations from 2015 2015

A Merchant-Banker's Ascent by Design: Bartolomeo Bettini's Cycle of Paintings by Michelangelo, Pontormo, and Bronzino for His Florentine Camera , Richard Aste

On the Fringe of Italian Fascism: An Examination of the Relationship between Vinicio Paladini and the Soviet Avant-Garde , Christina Brungardt

Let The Record Show: Mapping Queer Art and Activism in New York City, 1986-1995 , Tara Jean-Kelly Burk

Maude I. Kerns: Overlapping Interpretations of Art and Pedagogy in the Northwest and Along the Pacific Coast, 1890–1932 , Mary Helen Burnham

Contemporary Art and Internationalism at the Solomon R. Guggenheim Museum, 1952–1988 , Rachel Chatalbash

Los Grupos and the Art of Intervention in 1960s and 1970s Mexico , Arden Decker

The Hall of Fame for Great Americans: The Evolution of a Forgotten Memorial , Sheila Gerami

Mobilizing The Collective: Helhesten And The Danish Avant-Garde, 1934-1946 , Kerry Greaves

Death and Photography in East Asia: Funerary Use of Portrait Photography , Jeehey Kim

Native American Chic: The Marketing Of Native Americans In New York Between The World Wars , Emily Schuchardt Navratil

The Print Portfolio and the Bourgeoisie in Fin-de-Siècle Paris , Britany Lane Salsbury

A Light in the Darkness: Argentinian Photography During the Military Dictatorship (1976-1983) , Ana Tallone

• Colleges, Schools, Centers
• Disciplines

Advanced Search

• Notify me via email or RSS

Author Corner

• Art History Program

Home | About | FAQ | My Account | Accessibility Statement

Privacy Copyright

• Departments and Units
• Majors and Minors
• LSA Course Guide
• LSA Gateway

Search: {{$root.lsaSearchQuery.q}}, Page {{$root.page}}

• News and Events
• Advising Appointments
• Course Descriptions
• XXIst Biennial Symposium of the American Council for Southern Asian Art
• Undergraduate Program
• Graduate Program
• Alumni and Friends
• Internships
• Equity in Art History

• 2024 ACSAA Symposium
• History of Art Major
• Helicon Undergraduate Student Group
• History of Art Minor
• History of Art Honors Program
• Transfer Policies
• Museum Studies Minor
• Career Guide and Resources
• Waitlist Policy
• Accelerated MA Program in Transcultural Studies
• Prospective Students
• Certificate in Museum Studies
• Current Graduate Students
• Certificates from U of M Interdepartmental Programs
• Dissertation Titles
• Fellowships
• Giving Opportunities
• Alumni Stories
• Alumni Video

Department of History of Art PhD Dissertations

2020 to present.

• 2022 Katharine Campbell: Creating the Composite: Combinatory Artistry and the Notion of Style in Antwerp, c. 1510-1585 (Directed by Celeste Brusati and Megan Holmes)
• 2022 Sean Kramer: Military Manhood: Visualizing the Common Soldier in French and British Art and Culture, 1871-1914 (Directed by Susan Siegfried and Elizabeth Sears)
• 2022 Jun Nakamura: Prints and Printedness: Mark Making, Meaning, and Perceptions of Print in the Seventeenth-Century Netherlands (Directed by Celeste Brusati and Megan Holmes)
• 2022 Gerui Wang: Landscape and the Representation of Public Spaces: Chinese Visual Culture from 10th-14th Centuries (Directed by Kevin Carr and Martin Powers) 
• 2021 Courtney Wilder:  Novel Impressions: Prints, Textiles, and the Visual Economy in Europe, 1815-1851  (Directed by Susan Siegfried)
• 2021 Susan Dine:  Seeing Speech, Reading Bodies: Manifestations of Language in Japanese Buddhist Visual Cultures of the Thirteenth Century  (Directed by Kevin Carr)
• 2021 Vishal Khandelwal:  Crafting Expertise: Art and Design Pedagogy and Professional Values at the National Institute of Design in India, 1955-1985  (Directed by Claire Zimmerman)
• 2020 Chanon Praepipatmongkol:  Postwar Abstraction and Practices of Knowledge: Fernando Zobel and Chang Saetang  (Directed by Joan Kee)
• 2020 Elizabeth Rauh:  An Islamic Cosmos: Artistic Engagements with Islamic Heritage in Iran and the Arab East, 1958-2018  (Directed by Christiane J. Gruber)
• 2020 Stephanie Triplett:  The Rise of Narrative Animal Painting in France and Germany, 1790- 1880  (Directed by Susan Siegfried)

2010 - 2019

• 2019 Ashley Dimmig:  Making Modernity in Fabric Architecture: Imperial Tents in the Late Ottoman Period  (Directed by Christiane J. Gruber)
• 2019 Ximena Gomez:  Nuestra Senora: Confraternal Art and Identity in Early Colonial Lima  (Directed by Megan Holmes and Stella Nair)
• 2018 Chun Wa Chan:  Framing a Foreign God: The Tamamushi Shrine and the Opportunities of Buddhism in Early Japan  (Directed by Kevin G. Carr)
• 2018 Alexanda Fraser: Art, Decoration, and the Texture of Modern Experience: The Interior Before 1900 (Directed by Alex D. Potts)
• 2018 Jennifer Gear: Visualizing the 1630-31 Plague Epidemic in Early Modern Venice and the Veneto  (Directed by Megan Holmes) 
• 2018 Tina Le: Material Conceptualisms: Philippine Art under Authoritarianism, 1968 – 1986  (Directed by Joan Kee) 
• 2018 Grant Mandarino: Seeing Class: Graphic Satire and the Cultivation of Radicalism in the Weimar Republic  (Directed by Matthew Biro)
• 2018 Allison Martino: Stamping History: Stories of Social Change in Ghana's Adinkra Cloth   (Directed by Raymond Silverman)
• 2018 Wendy Sepponen: Milanese Bronze, Spanish Stone, and Imperial Materials: Sculptural Interchange and the Leoni Workshops 1549-1608  (Directed by Megan Holmes and Alex D. Potts)
• 2017 Ashley Miller: Locating ‘Heritage’ in Morocco: Colonial Notions of Cultural Heritage and the Promotion of Morocco’s Decorative Arts under the French Protectorate (1912-1931)  (Directed by Raymond A. Silverman)
• 2017 Kristin Schroeder: How to Look Sachlich: Fashion and Objectivity in Weimar Germany  (Directed by Matthew Biro)
• 2017 Alice Sullivan: The Painted Fortified Monastic Churches of Moldavia: Bastions of Orthodoxy in a Post-Byzantine World   (Directed by Achim Timmermann)
• 2017 Emily Talbot: The Photographic Effect: Making Pictures After Photography, 1860-1895  (Directed by Susan L. Siegfried)
• 2016 Nicholas Hartigan:  The Purpose of Public Sculpture: Artistic, Institutional, and Cultural Motivations since 1965  (Directed by Alex D. Potts)
• 2016 Lehti Keelmann: Bachelors Bridging the Baltic: The Artistic Ambitions of the Tallinn Brotherhood of the Black Heads, c. 1400-1524  (Directed by Achim Timmermann)
• 2016 Kristine Ronan: Buffalo Dancer: The Biography of an Image  (Directed by David Doris)
• 2016 Anna Wieck:  Painting, Popular Culture, Putrefaction: Depicting Tradition on the Eve of the Spanish Civil War (1936-1939)  (Directed by Alex Potts)
• 2015 Antje K Gamble: National and International Modernism in Italian Sculpture from 1935-1959. (Directed by Alex Potts)
• 2015 Vivian Li:  Art's Public Lives: Sculpture in China after 1949. (Directed by Joan Kee)
• 2015 Megan C McNamee:  Picturing Number in the Central Middle Ages. (Directed by Elizabeth Sears)
• 2015 Pamela AV Stewart:  Devotion to the Passion in Milanese Confraternities, 1500-1630: Image, Ritual, Performance.  (Directed by Megan Holmes)
• 2014 Katherine Brion:  Decorative Painting and Politics in France, 1890-1914.  (Directed by Howard Lay)
• 2014 Monique Johnson:  An Insistent Subject: The Countess de Castiglione Facing the Lens. (Directed by Susan Seigfried)
• 2014 Melanie Sympson:  Experiment and Visual Transformation in Illuminated Manuscripts of the Roman de la rose, c. 1338 - c. 1405.  (Directed by Elizabeth Sears)
• 2014 Kathy Yusuf Zarur:  Self-Portraiture and the Rise of "Arab" Art: Tarek Al-Ghoussein, Hassan Musa and Walid Raad.  (Directed by Matthew Biro and Nadine Naber)
• 2013 Rebecca Bieberly:  "Seeing" the "Ordinary" at Lingyan Temple in Eleventh-Century China. (Directed by Kevin Carr and Martin Powers)
• 2013 Bridget Gilman:  Re-envisioning Everyday Spaces:  Photorealism in the San Francisco Bay Area.  (Directed by Matthew Biro)
• 2013 Elissa Park:  Negotiating the Discourse of the Modern in Art: Pan Yuliang (1895-1977) and the Transnational Modern.  (Directed by Martin Powers)
• 2013 Silvia Tita:  Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period.  (Directed by Megan Holmes and Thomas Willette)
• 2013 Heather Vinson:  Repetitions: Memory and Making Degas's Ballet Classroom Series. (Directed by Howard Lay)
• 2012 Nadia Baadj:   "Monstrous creatures and diverse strange things": The Curious Art of Jan van Kessel I, 1626-1679.  (Directed by Celeste Brusati)
• 2012 Jessica Fripp:  Portraits of Artists and the Social Commerce of Friendship in Eighteenth- Century France.  (Directed by Susan Siegfried)
• 2012 Lauren Graber:  Gruppe SPUR and Gruppe GEFLECHT: Art and Dissent in West Germany, 1957-1968.  (Directed by Matthew Biro)
• 2012 Philip Guilbeau:  El Paular: Anatomy of a Charterhouse.  (Directed by Elizabeth Sears and Achim Timmermann)
• 2012 Marin Sullivan:  Material Dispersions: Sculpture, Photography, and International Interventions in Italy, 1962-72.  (Directed by Alex Potts)
• 2011 Heather Badamo:  Image and Community: Representations of Military Saints in the Medieval Eastern Mediterranean.  (Directed by Elizabeth Sears and Thelma Thomas)
• 2011 Christopher Coltrin:  Apocalyptic Progress: The Politics of Catastrophe in the Art of John Martin, Francis Danby, and David Roberts.  (Directed by Susan Siegfried)
• 2011 Ksenya A Gurshtein:   TransStates:  Conceptual Art in Eastern Europe and the Limits of Utopia.  (Directed by Alex Potts)
• 2011 Katharine Raff:  Painted Decoration in the Apartments of Roman Ostia: Standardization, Social Status, and Visual Experience.  (Directed by Elaine Gazda)
• 2010 Monica Huerta:  Encountering Mimetic Realism: Sculptures by Duane Hanson Robert Gober  and Ron Mueck.  (Directed by Pat Simons and Rebecca Zurier)
• 2010 Christina Chang:   The End of Painting.   (Directed by Alex Potts)
• 2010 Kathie Hornstein:   Episodes in Political Illusion: The Proliferation of War Imagery in France (1804-1856).   (Directed by Susan Siegfried)
• 2010 Heidi Gearhart:   Theophilus' On Diverse Arts: the persona of the artist and the production of art in the twelfth century.   (Directed by Elizabeth Sears)

2000 - 2009

• 2009 Kirsten Olds:   Networked Collectivities:  North American Artists' Groups, 1968-1978. (Directed by Alexander Potts)
• 2009 Bo Liu:   Political Expression in Song Dynasty Fan Painting.  (Directed by Martin Powers)
• 2008 Christopher Bennett:   Boetti and Pascali, Two Case Studies (1965-70): Revisiting Arte Povera after the fall of the Berlin Wall.  (Directed by Alexander Potts)
• 2008 Jen Yi Lai:   Cultural Identity and the Making of Modern TaiwanesePainting During the Japanese Colonial Period (1895-1945).  (Directed by Celeste Brusati and Joel Isaacson)
• 2008 Min Yong Cho:   How Land Came into the Picture: Rendering History in Fourteenth-Century Iran.  (Directed by Martin Powers and Sussan Babaie)
• 2008 Diana Bullen-Prescuitti:  The Visual Culture of the Central Italian Foundling Hospital, 1400-1600.   (Directed by Megan Holmes)
• 2007 Jong Phil Park:   Ensnaring the Public Eye: Painting Manuals of Late Ming China (1550-1644) and the Negotiation of Taste.   (Directed by Martin Powers)
• 2007 Angela Ho:   Rethinking Repetition: Constructing Value in Dutch Genre Painting, 1650s to 1670s.  (Directed by Celeste Brusati)
• 2007 Joan Downs:   The Topography and Iconography of Death in Christian North Africa.  (Directed by Thelma Thomas)
• 2007 Jeffrey Lieber:   Pervasive Beauty: Modern Architecture and Mass Democracy at Mid-Century.   (Directed by Alexander Potts)
• 2006 Heather Flaherty:  The Place of the Speculum Humanae Salvationis in the Rise of Affective Piety in the Later Middle Ages . (Directed by Elizabeth Sears)
• 2006 Sean Roberts:   Cartography Between Cultures: Francesco Berlinghieri’s ‘Geographica’ of 1482.  (Directed by Patricia Simons)
• 2006 Timothy McCall:   Networks of Power: The Art of Patronage of Pier Maria Rossi of Parma. (Directed by Patricia Simons)
• 2005 Leela Wood:   The Buddha and the Shape of Belief: Indic Visual Jatakamalas.   (Directed by Luis Gomez and Martin Powers)
• 2005 Tatiana Senkevitch:   Printmaking's Perspectives Abraham Bosse and the Pedagogic Debates at the French Academy 1648 - 1661.   (Directed by Celeste Brusati)
• 2005 Sandra Seekins:   Stelarc: Peformance Art, Technology & Gender.  (Directed by Patricia Simons)
• 2005 Natsu Oyobe:   Materials that scream: Yoshihara Jiro and the Early Years of the Guai Art: Assoc. (1954-1970).   (Directed by Martin Powers and Kevin Carr)
• 2005 Carmenita Higgenbotham:   Saturday Night at the Savoy: Blacknes and Urban Spectacle in the Art of Reginald Marsh.   (Directed by Rebecca Zurier)
• 2005 Chris Defay:  Art, Enterprise, Collaboration: Richard Serra and the Art of Technology Program,   1966 – 1979.   (Directed by Alexander Potts)
• 2004 Yao-Fen You:   Import / Export:  A Case Study of Brabantine Alterpieces in the Rhineland, 1500 – 1530.   (Directed by Celeste Brusati)
• 2004 Alexandra Schwartz:   Designing Ed Ruscha: The Invention of the Los Angeles Artist, 1960 – 1980.  (Directed by Alexander Potts and Maria Gough)
• 2004 Julia Perlman:   Taking Aim at Amore: Michelangelo, Bronzino and the Lexico of Pictorial Ambiguity in Representations of Venus and Cupid.   (Directed by Patricia Simons)
• 2004 Catherine McCurrach:   The Veneration of St. Benedict in Medieval Rome: Parish Architecture, Monumental Imagery, and Popular Devotion.   (Directed by Caroline Bruzelius and Elizabeth Sears)
• 2004 Allison MacDuffee:   Camille Pissaro: Modernism, Anarchism, and the Representation of ‘The People’ 1888 – 1903.  (Directed by Howard Lay)
• 2004 Lisa Langlois:   Exhibiting Japan: Gender and National Identity at the World’s Columbian Exposition of 1893.   (Directed by Jonathan Reynolds and Patricia Simons)
• 2004 Douglas Hildebrecht:   Otto Marseus van Schrieck (1619 / 20 - 1678) and the Nature Piece: Art, Science, Religion, and the Seventeenth – Century Pursuit of Natural Knowledge.  (Directed by Celeste Brusati)
• 2004 Mariana D. Giovino:   Interpretations of the ‘Assyrian Sacred Tree,’ 1849-2004 .  (Directed by Margaret Root)
• 2004 Lisa Bessette:   Early Medieval Visualization of the Contents of the Psalms . (Directed by Elizabeth Sears)
• 2003 Elizabeth Otto:   Figuring Gender: Photomontage and Cultural Critique in Germany’s Weimar Republic . (Directed by Matthew Biro)
• 2003 Susan Jung Lee:   The Sooji Screens and Teinai Yurakuzu . (Directed by Martin Powers and Jonathan Reynolds)
• 2003 Wen-Chien Chang:   Images of Happy Farmers in Song China (960-1279): Drunks, Politics and Social Identity.  (Directed by Martin Powers)
• 2003 Laura Bassett:   The Paintings and Carreer of Cornelius De Man: Art and Mercantile Culture in Seventeenth-Century Delft.   (Directed by Celeste Brusati)
• 2002 Mary Louise Totton:   Weaving Flesh and Blood into Sacred Architecture: Ornamental Stories of Candi Loro Jonggrang.   (Directed by Walter Spink)
• 2002 George Kuwayama:  Chinese Ceramics in colonial Latin America . (Directed by Martin Powers)
• 2002 Roslyn Lee Hammers:  The Production of Good Government: Images of Agrarian Labor in Southern Song (1272 / 79 – 1368).   (Directed by Martin Powers)
• 2002 Jane H. Carpenter:  Conjure Woman:  Betye Saar and Rituals of Transformation, 1960-1990  (Directed by Jacqueline Francis and Richard Candida Smith)
• 2002 Nancy Anderson:  Observing Techniques: Images from Microscopial Life Sciences, 1850-1895 . (Directed by Celeste Brusati and Martin Pernick)
• 2001 Irene Leung:   The Frontier Imaginary in the Song Dynasty (960-1279):  Revisiting Cai Yan’s “Barbarian Captivity” and Return.   (Directed by Martin Powers)
• 2000 Christina Waugh:   Style-Consciousness in Fourteenth-Century Society and Visual Communication in the Moralized Bible of John the Good.   (Directed by Elizabeth Sears)
• 2000 Maureen Shanahan:   Forging Men and Manufacturing Women:  Fernan Leger’s Mechanical Arts. (Directed by Matthew Biro)
• 2000 Kathryn Selig-Brown:   Handprints and Footprints in Tibetan Painting.   (Directed by Walter Spink)
• 2000 Jonathan Perkins:   Klee and Eros.   (Directed by Diane Kirkpatrick)
• 2000 Jonathan Binstock:   Sam Gilliam:  The Making of a Career, 1962-1973.  (Directed by D. Kirkpatrick and S. Patton)

1990 - 1999

• 1999 Melanie Holcomb:   The Function and Status of Carved Ivory in Carolingian Culture Metropolitan Museum.  (Directed by Elizabeth Sears and Ilene Forsyth) 
• 1999 Andrew Campbell:   Negotiating the Archive: Photography, Authority and Cultural Memory, 1861-1876.   (Directed by Diane Kirkpatrick)
• 1999 Kirsten Buick:   The Sentimental Education of Mary Edmonia Lewis:  Identity, Culture and Ideal Works.   (Directed by S. Patton and Diane Kirkpatrick)
• 1999 Tamara Bentley:   Authenticity in a New Key:  Chen Hongshou’s Figurative Oevre, “Authentic Emotion,” and the Late Ming Market.   (Directed by Martin Powers)
• 1999 Jasmine Alinder:   Out of Site:  Photographic Representations of Japanese American Internment.  (Directed by Diane Kirkpatrick)
• 1999 Kirk Ambrose:   Romanesque Vezeley:  The Art of Monastic Contemplation.   (Directed by Ilene Forsyth and Elizabeth Sears)
• 1998 Jane Chung-Apley:   The Illustrated Vie et Miracles de Saint Louis of Guillame de Saint-Pathus (Paris, B.N., ms. fr. 5716).   (Directed by Elizabeth Sears)
• 1997 Monika Schmitter:   The Display of Distinction:  Art Collecting and Social Status in Early Sixteen Century Venice.   (Directed by Patricia Simons)
• 1997 Rebecca Price-Wilkin:   The Late Gothic Abbey Church of Saint-Riquier:  An Investigation of Historical Consciousness.   (Directed by Ilene Forsyth and Neagley)
• 1997 Marcelle Hourt Pour:   Charles Blanc and the Gazette des Beaux-Arts: 1859-1870. (Directed by J. Isaacson and Celeste Brusati)
• 1997 Leslie Cavall:   Social and Symbolic Functions of the Romanesque Façade: The Example of Maeacon’s Last Judgement Gailee.   (Directed by Ilene Forsythe)
• 1996 Lisa J. De Boer:   Martial Arts:  Military Themes and Images in Dutch Art of the Golden Age. (Directed by Celeste Brusati)
• 1996 Mayra V. Rodriguez:   Austere Late Gothic:  The Architecture of the Collegiate Church of the Notre-Dame at Clery-Saint-Andre.  (Directed by Ward Bissell and Linda E. Neagley)
• 1996 Molly M. M. Lindner:   The Vestal Virgins and Their Imperial Patrons:  Sculptures and Inscriptions from the Atrium Vestae in the Roman Forum.  (Directed by Elaine Gazda)
• 1996 Rita S. Goodman:   Theodore Gericault's Portraits of the Insane:  Art, Psychiatry and the Politics of Philanthropy.  (Directed by Thomas Crow and Joel  Isaacson)
• 1995 Katharine Persis Burnett:   The Landscapes of Wu Bin (C. 1543-C. 1626) and a Seventeenth-Century Discourse of Originality.   (Directed by Richard Edwards & Martin Powers)
• 1995 Charlene Marianna Villasenor Black:   Saints and Social Welfare in Golden Age Spain: The Imagery of the Cult of Saint Joseph   (Directed by R. Ward Bissell)
• 1995 Carmen Belen Lord:   Point and Counterpoint:  Ramon Casas in Paris and Barcelona, 1866-1908  (Directed by Joel Isaacson)
• 1995 S. Richard Rand:   Representing the Picturesque Garden:  The Landscapes of Fragonard (Directed Hood Museum of Art by T. Crow and J. Isaacson)
• 1995 David J. O'Brien:   The Art of War:  Antoine-Jean Gros and French Military Painting, 1795-1804  (Directed by J. Isaacson and T. Crow)
• 1995 John Andrew Listopad:   The Art and Architecture of the Reign of Somdet Phra Narai (Directed by Walter Spink)
• 1995 Natalija Natasha Kuzmanovic:   John Paul Cooper (1869-1933), Designer and Craftsman (Directed by William Hennessey and Marvin Eisenberg)
• 1994 Derrick Randall Cartwright:   Reading Rooms:  Interpreting the American Public Library 1890-1930  (Directed by J. Isaacson)
• 1994 Todd Philip Olson:   Nicolas Poussin, His French Clientele and the Social Construction of  Style  (Directed by T. Crow and P. Simons)
• 1994 Masuyo Tokita Darling :   The Romanesque Architecture and Sculpture of Perrecy-Les-Forges  (Directed by Ilene H. Forsyth)
• 1994 Elizabeth Horton Sharf:   Abaku Zen Portrait Painting:  A Revisionist Analysis (Directed by Karen L. Brock and Walter Spink)
• 1994 John Tadao Teramoto:   The Yamai No Soshi:  A Critical Reevaluation of Its Importance to Japanese Secular Painting of the Twelfth Century  (Directed by Paul Berry and Jonathan Reynolds)
• 1994 Masumi Iriye:   Le Vau's Menagerie and the Rise of the Animalier: Enclosing, Dissecting, and Representing Animal in Early ModernFrance  (Directed by Nathan T. Whitman and Graham Smith)
• 1994 John Siewert:  Whisler's Nocturnes and the Aesthetic Subject  (Directed by J. Isaacson)
• 1994 David Acton:   Hendrik Goltzius and Rudolfine Mannerism in the Graphic Arts (Directed by Graham Smith)
• 1993 Timothy A. Motz:   The Roman Freestanding Portrait Bust:  Origins, Context, and Early History  (Directed by E. Gazda)
• 1993 Giovanna D Costantini:  Maesta: Humanism and the Art of Francisco Zuniga (Directed by D. Kirkpatrick)
• 1993 Bille Wickre:   Collaboration in the Work of Margaret Macdonald, Frances Macdonald, Charles Rennie Mackintosh and J. Herbert MacNair  (Directed by J. Isaacson and D. Kirkpatrick)
• 1993 Nathan P. Griffith:   Richard Serra and Robert Irwin:  Phenomenology in the Age of Art and Objecthood  (Directed by D. Kirkpatrick)
• 1993 Barbara Lee Tannenbaum:   The Paintings of Seymour Rosofsky  (Directed by D.Kirkpatrick)
• 1993 Robert E. Haywood:   Revolution of the Ordinary:  Allan Kaprow Invention of Happenings (Directed by Joel Isaacson and Thomas Crow)
• 1992 Susan Elizabeth Ryan:   Figures of Speech:  The Art of Robert Indiana, 1958-73  (Directed by Diane Kirkpatrick)
• 1992 Eun-wha Park:   The World of Idealized Reclusion:  Landscape Painting of Hsiang Sheng-Mo (1597-1658)  (Directed by Richard Edwards and Walter Spink)
• 1992 Gabrielle Langdon:   Decorum in Portraits of Medici Women at the Court of Cosimo, 1537-1574  (Directed by R. W. Bissell and G. Smith)
• 1992 Jean Ann Dabb:   The Church of St. Nicolas at Civrey: The Facade and its Sculptural Mary Decoration  (Directed by I. H. Forsyth)
• 1991 Martha J. McClintock:   Okuhara Seiko (1837-1913):  The Life and Arts of a Period Literati Artist  (Directed by Paul Berry)
• 1991 Victoria L. Weston:   Modernization in Japanese-Style Painting:  Yokoyama Taikan (1868-1958) and the Morotai Style  (Directed by Paul Berry)
• 1991 Jasmin W. Cyril:   The Imagery of San Bernardino Da Siena, 1440-1500:  An Iconographic Study  (Directed by M. Eisenberg & R. W. Bissell)
• 1991 Chuhui Judy Lai:   The Han Representation of exemplary Women:  Context and  Interpretation  (Directed by Martin J. Powers)
• 1991 Carolyn Marie Carty:   Dreams in Early Medieval Art  (Directed by Ilene Forsyth)
• 1990 Janice Simon:   The Crayon, 1855-1861:  The Voice of Nature in Criticism, Poetry, and the Fine Arts  (Directed by David Huntington)
• 1990 Woodard Openo:   The Summer Colony at Little Harbor in Portsmouth, New Hampshire and Its Relation to the Colonial Revival Movement  (Directed by David Huntington)
• 1990 Elizabeth Higashi:   Conical Glass Vessels from Karanis:  Function and Meaning in a Pagan/Christian Context in Rural Egypt  (Directed by Margaret Root)

1980 - 1989

• 1989 Joan O'Mara:   The Haiga Genre and the Art of Yosa Buson  (1716-84) (Directed by W. Spink)
• 1989 Elizabeth Pilliod:   Studies on the Early Career of Alessandro Allori  (Directed by Graham Smith)
• 1989 Stephen A. Markel:   The Origin and Early Development of the Nine Planetary Deities Mus\Art (Navagraha)  (Directed by Walter Spink)
• 1989 Marshall Wu:  Chin Nung:   An Artist with a Wintry Heart  (Directed by Richard Edwards and Paul Berry)
• 1989 M. Carol Morland:   Watanabe Kazan 1793-1841:  Tradition and Innovation in Japanese Painting  (Directed by Paul Berry)
• 1989 Karen Kleinfelder:   The Theme of the Artist and Model in Picasso's Late Graphics  (Directed by R. Arnheim & Victor Miesel)
• 1989 Diane Tepfer:   Edith Gregor Halpert and the Downtown Gallery Downtown: 1926-1940; A Study in American Art Patronage  (Directed by Diane Kirkpatrick)
• 1988 Laurie Taylor-Kelley (Mitchell):   The Horizontal Tuscan Panel, 1200-1365:  Frame Format and Pictorial Composition  (Directed by R. Arnheim & Marvin Eisenberg)
• 1988 Kathleen A. Pyne:   Immanence, Transcendence, and Impressionism in Late Nineteenth- Century American Painting  (Directed by David C. Huntington)
• 1987 Beverly Orlove Held:   "To Instruct and Improve...To Entertain and Please" American Civic Protests and Pageants 1765-1784  (Directed by David C. Huntington)
• 1987 Linda J. Wolk:   Studies in Perino Del Vaga's Early Career  (Directed by Graham Smith)
• 1987 Erica Susanna Trimpi:   Matteo Di Giovanni:  Documents and a Critical Catalogue of His Panel Paintings   (Directed by Marvin Eisenberg)
• 1987 Barbara K. Schnitzer:   The 16th Century French Ceramic Ware called Saint-Porchaire (Directed by Nathan Whitman)
• 1987 Robert Alan Benson:   Douglas Putnam Haskell (1899-1979) The Early Critical Writings (Directed by Leonard Eaton)
• 1986 Christine M. Nelson Ruby:   Art for the People:  Art in Michigan Sponsored by the Treasury Section of Fine Arts, 1934-1943  (Directed by D. Kirkpatrick)
• 1986 Catherine Elna Fruhan:   Trends in Roman Sculpture Circa 1600  (Directed by R. Ward Bissell)
• 1986 Pearson M. Macek:   The Westminster Retable: A Study in English Gothic Panel Painting  (Directed by Marvin Eisenberg & Christine Verzar Bornstein)
• 1985 Paul A. Berry:   Tanomura Chikuden 1777-1835: Man Amidst the Mountains Japan F'97 (Directed by Cal French)
• 1985 Marjorie L. Harth:   Robert Hudson Tannahill (1893-1969) Patron and Collector (Directed by M. Eisenberg & Charles Sawyer)
• 1985 Marion E. Jackson:   Baker Lake Inuit Drawings:  A Study in the Evolution of Artistic Self-Consciousness  (Directed by Evan M. Maurer)
• 1985 Michael A. Marlais:   Anti-Naturalism, Idealism and Symbolism in French Art Criticism, 1880-1895  (Directed by Joel Isaacson)
• 1985 Frank I. Heckes:   Supernatural Themes in the Art of Francisco De Goya  (Directed by Joel Isaacson & H. E. Wethey)
• 1985 Eleanor Mannikka:   Angkor Wat:  Meaning Through Measurement  (Directed by W. Spink & H. Woodward, Jr.)
• 1985 Sung-woo Kim:   History and Design of the Early Buddhist Architecture in Korea  (Directed by Leonard Eaton & Richard Edwards)
• 1984 Sadako Ohki:   Ike Taiga's "Karayo Calligraphy  (Directed by Cal French)
• 1984 Matthew L. Rohn:   Visual Dynamics in Jackson Pollock's Abstractions  (Directed by Rudolf Arnheim & Diane Kirkpatrick)
• 1984 Marjorie J. Panadero (Hall):   The Labors of the Months and the Signs of the Zodiac in 12th-Century French Facades  (Directed by I. H. Forsyth)
• 1984 Vishakha N. Desai:   Connoisseur's Delights:  Early "Rasikapriya" Paintings in India (Directed by Walter M. Spink)
• 1984 Shelley K. Perlove:   Gianlorenzo Bernini's Blessed Lodovica Albertoni and Baroque Devotion  (Directed by R. Ward Bissell)
• 1984 Beth E. Genne:   The Film Musicals of Vincente Minnelli and the Team of Gene Kelly and Stanley Donen: 1944-1958  (Directed by Diane Kirkpatrick)
• 1984 James J. Robinson:   The Vitality of Style:  Aspects of Flower and Bird Painting During the Yuan Dynasty (1279-1368)  (Directed by Richard Edwards)
• 1983 Phylis A. Floyd:   Japonisme in Context:  Documentation, Criticism, Aesthetic Reactions (Directed by Joel Isaacson)
• 1983 Ellen A. Plummer:   The Eighteenth-Century Rebuilding of S. Croce in Gerusalemme, Rome (Directed by N. T. Whitman)
• 1983 Marilyn E. Leese:  The Traikutaka Dynasty and Kanheri's Second Phase of Buddhist Cave Excavation  (Directed by Richard Edwards)
• 1983 Maribeth Graybill:   Kasen-e An Investigation into the Origins of the Tradition of Poet Pictures in Japan  (Directed by Cal French)
• 1983 Barbara J. Haeger:   The Religious Significance of Rembrandt's "Return of the Prodigal Son":  An Examination of the Picture in the Context of the Visual and Iconographic Tradition  (Directed by N. T. Whitman)
• 1983 William R. Levin:   Studies in the Imagery of Mercy in Late Medieval Italian Art (Directed by Christine Bornstein & M. Eisenberg)
• 1983 John B. Hunter III:   The Life and Work of Girolamo Siciolante da Sermoneta  (Directed by G. Smith & R. Ward Bissell)
• 1983 Elizabeth M. B. Gosling:   The History of Sukhothai as a Ceremonial Center: A Study of Early Siamese Architecture and Society  (Directed by H. W. Woodward, Jr. and Walter M. Spink)
• 1983 Daniel E. O'Leary:   Harmony and Ritualistic Allusion in the Tornabuoni Chapel in Santa Maria Novella  (Directed by Graham Smith)
• 1983 Leonard B. Darling, Jr.:   The Transformation of Pure Land Thought and the Development of Shinto Shrine Mandala Paintings:    Kasuga and Kumano  (Directed by Cal French)
• 1983 Harry Murutes:   Lorenzo Lotto's Major Altarpieces of the "Enthroned" Madonna with Saints":  Doctoral Meaning, Sources, and Expression  (Directed by H. E. Wethey and R. Ward Bissell)
• 1982 Kenneth A. Breisch:   Small Public Libraries in America 1850-1890:  The Invention and Evolution of a Building Type  (Directed by Leonard K. Eaton)
• 1982 Jacquelynn Baas:   Auguste Lepere and the Artistic Revival of the Woodcut in France, 1875-1895  (Directed by J. Isaacson)
• 1981 Alice R. Merrill (Hyland):   Wen Chia (1501-1583), Derivation and Innovation  (Directed by R. Edwards)
• 1981 David M. Kowal:   The Life and Art of Francisco Ribalta  (Directed by R. W. Bissell)
• 1981 Stephanie Spencer:   O. G. Rijlander--Art Photographer  (Directed by D. C. Huntington)
• 1981 Jeremy Adamson:   Frederic Edwin Church's "Niagara":  The Sublime as Transcendence (Directed by D. Huntington)
• 1981 Dennis Costanzo:   Cityscape and the Transformation of Paris During the Second Empire (Directed by Joel Isaacson)
• 1981 Toh Sugimura:   The Chinese Impact on Certain 15th-Century Persian Miniature Paintings from the Albums (Hazine Library Nos. 2153, 2154, 2160) in the Topkapi of Ethnology, Sarayi Museum, Instanbul  (Directed by R. Edwards and C. French)
• 1981 Steve J. Goldberg:   Court Calligraphy in the Early T'ang Dynasty  (Directed by R. Edwards and C. French)
• 1981 Kathe B. Geist:   The Cinema of Wim Wenders 1967 to 1977  (Directed by D. Kirkpatrick)
• 1980 Carole Drachler:   The Gallery and Art Collection of Henry Clay Lewis  (Directed by D. Huntington)
• 1980 Janice Schimmelman:   The Spirit of Gothic:  The Gothic Revival House in Nineteenth- Century America  (Directed by D. Huntington)
• 1980 Ann T. Brown:   Non-Narrative Elements in Tuscan Gothic Frescoes  (Directed by M. Eisenberg)
• 1980 Chi-sheng Kuo:   The Paintings of Hung-Jen  (Directed by R. Edwards)
• 1980 Sewall Oertling:   Ting Yun-p'eng:  A Chinese Artist of the Late Ming Dynasty  (Directed by R. Edwards)
• 1980 Jane Block:   Les II and Belgiam Avant-gardism, 1868-1894  (Directed by V. Miesel)
• 1980 Sara Schastok:   6th-Century Indian Sculptures from Samalaji:  Style & Iconography (Directed by W. Spink)

1940 - 1979

• 1979 Michael Browne:  Kawahara Keiga:   The Painter of Deshima  (Directed by C. French)
• 1979 Louise Yuhas:   The Landscape Painting of Lu Chih (1496-1576) An Analysis of the Style of a Sixteenth-Century Soochow Painter  (Directed by R. Edwards)
• 1979 Warren Tresidder:   The Classicism of the Early Works of Titian:  Its Sources and Character  (Directed by R. Ward Bissell)
• 1979 I. Job Thomas:   Painting in Tamil Nadu A.D. 1350-1650  (Directed by W. Spink)
• 1979 Melinda Takeuchi:   Visions of a Wanderer:  The True View Paintings of Ike Taiga (1723-1776)  (Directed by C. French)
• 1979 Susan Feinberg:   Sir John Soane's "Museum":  An Analysis of the Architect's House-Museum in Lincoln's Inn Fields, London  (Directed by David Huntington)
• 1979 Michael Davis:   The Cathedral of Clermont-Ferrand  (Directed by C. Olds)
• 1979 Vicky Clark:   The Illustrated "Abridged Astrological Treatises of Albumasar" (Directed by C. Olds and C. Bornstein)
• 1979 Ghazi Bisheh:   The Mosque of the Prophet at Madinah Throughout the First Century A. H., with Special Emphasis on the Umayyad Mosque  (Directed by P. Soucek)
• 1979 Ali El Ballush:   A History of Libyan Mosque Architecture During the Ottoman and Libya Karmanli Period (1551-1911) Evolution, Development and Typology  (Directed by Pricilla Soucek)
• 1978 Robert Neuman:   Robert De Cotte, Architect of the Late Baroque  (Directed by N. T. Whitman)
• 1978 William Jensen:   The Sculptures of the Tomb of the Haterii  (Directed by C. Olds)
• 1978 Mona Kathryn Horste:   The Capitals of the Second Workshop from the Romanesque Law School Cloister of La Daurade, Toulouse  (Directed by I. H. Forsyth)
• 1978 Mary Faith Mitchell Grizzard:   Bernardo Martorell:  15th-Century Catalan Artist  (Directed by C. Olds)
• 1978 Dan Ewing:   The Paintings & Drawings of Jan de Beer  (Directed by C. Olds)
• 1978 Robert Del Bonta:   The  Hoysala Style: Architectural Development & Artists, 12th & 13th Centuries A.D.  (Directed by W. Spink)
• 1978 Wichit Charernbhak:   Architectural Criticism as Reflected in Publication on Chicago Commercial Architecture in the 1880s and 1890s  (Directed by David Huntington)
• 1978 Penelope Brownell:   The Venetian Painter, Francesco Maffei (1620-1660)  (Directed by H. E. Wethey)
• 1978 Doris Birmingham:   Andre Masson in America:  The Artist's Achievement in Exile, 1941-1945  (Directed by V. Miesel)
• 1978 Julie Badiee:   An Islamic Cosmography:  The Illustrations of the Sarre Qazwini  (Directed by P. Soucek)
• 1977 Jean Weir:   Timberline Lodge:  A WPA Experiment in Architecture and Crafts  (Directed by D. Huntington)
• 1977 Charles Walters:   Hiram Powers and William Rimmer:   A Study in the Concept of Expression  (Directed by D. Huntington)
• 1977 Walter Thompson:   The Domed Entry Pavilion in French Classical Architecture: Its Origin, Evolution and Interpretation  (Directed by N. T. Whitman)
• 1977 Richard Swain:  “ Le Jardin de Plaisir” in Tudor and Stuart England  (Directed by D. Huntington)
• 1977 Edwin L. Rifkin:   Antonioni's Mise-En-Scene:  Elements of a Visual Language  (Directed by D. Kirkpatrick)
• 1977 Margaret Rajam:   The Fresco Cycle by Spinello Arentino in the Sala Di Balia, Siena: Imagery of Pope and Emperor  (Directed by M. Eisenberg)
• 1977 Dorothy Habel (Metzger):   Piazza S. Ignazio, Rome in the 17th and 18th Centuries (Directed by N. T. Whitman)
• 1977 Forest McGill:   The Art and Architecture of the Reign of King Prasatthong of Ayutthaya (1629-1656)  (Directed by W. Spink & H. Woodward)
• 1977 Martha Agnew (Fader):   Sculpture in the Piazza della Signoria as Emblem of the Florentine Republic  (Directed by M. Eisenberg)
• 1977 Roger Berkowitz:   Benjamin Smith, Sr., Regency Silversmith  (Directed by M. Eisenberg)
• 1977 Susan Barnes:   Giacomo Balla: His Life and Work 1871 to 1912  (Directed by V. Miesel)
• 1977 Stephen Addiss:   Uragami Gyokudo:  The Complete Literati Artist  (Directed by Cal French)
• 1976 Gail Weigl:   Foundations of a Momoyama Theme:  Birds & Flowers of the Four Seasons in a Landscape  (Directed by Cal French)
• 1976 Law Watkins:   The Brancacci Chapel Frescoes:  Meaning and Use  (Directed by R. Ward Bissell)
• 1976 Grace Vlam:   Western-Style Secular Painting in Momoyama Japan  (Directed by C. French)
• 1976 Duncan Kinkead:   Juan de Valdes Leal (1622-1690):  His Life and Work  (Directed by H. E. Wethey)
• 1976 Diane Upright (Headley):   Morris Louis:  The Mature Paintings 1954-1962  (Directed by Diane Kirkpatrick)
• 1976 Billie Thompson Fischer:   The Sculpture of Valerio Cioli 1529-1599  (Directed by Graham Smith)
• 1976 Gerald Carr:   The Commissioners' Churches of London, 1818-1837:  A Study of Religious Art, Architecture & Patronage in Britain from the Formation of the Commission to the Accession of Victoria  (Directed by D. Huntington)
• 1976 Katherine R. Bateman:   St. Albans, Its Ivory and Manuscripts Workshops: A Solution to the St. Albans Bury, St. Edmunds Dilemma  (Directed by C. Olds)
• 1975 Kathleen Raben Castiello:   The Italian Sculptors of the United States Capitol: 1806-1834 (Directed by D. Huntington)
• 1975 Ryan Howard:   Pedro Duque de Cornejo, Andalusian Sculpture 1678-1757  (Directed by H. E. Wethey)
• 1975 Sharon Rich Harrison:   A Catalogue of the Etchings of Odilon Redon  (Directed by J. Isaacson)
• 1975 James Collier:   Linear Perspective in Flemish Painting and the Art of Petrus   Christus and Dirk Bouts  (Directed by C. Olds)
• 1974 Joanne Winjum:   The Canterbury Roundels  (Directed by C. Olds)
• 1974 John Steyaert:   The Sculpture of St. Martin's in Halle and Related Netherlandish Works (Directed by C. Olds)
• 1974 Charles Rosenberg:   Art in Ferrara During the Reign of Borso d'Este, 1450-1471 (Directed by E. Verheyen)
• 1974 Milan Mihal:  Sakai Hoitsu:   A Catalogue Raisonne of Selected Works  (Directed by C. French)
• 1974 Deborah C. Brown (Levine):  The Victoria and Albert Museum Akbar-Nama:  A Study in History, Myth and Image  (Directed by W. Spink)
• 1974 Bernard Bonario:  Marco Basaiti:   A Study of the Venetian Painter and a Catalogue of his Works  (Directed by H. E. Wethey)
• 1974 Sister Johanna Becker:   The Karatsu Ceramics of Japan:  Origins, Fabrications, and Types (Directed by C. French)
• 1974 Richard Axsom:   Parade:  Cubism as Theatre  (Directed by J. Isaacson)
• 1974 Leila Avrin:   The Illumination of the Moshe Ben-Asher Codex of 895 C.E.  (Directed by C. Olds)
• 1973 Victoria Thorson:   The Drawings of Rodin in America  (Directed by V. Miesel)
• 1973 Michael Stoughton:   The Paintings of Giovanni Battista Caracciolo  (Directed by H. E. Wethey)
• 1973 Barbara Carlisle (Rutledge):   The Theatrical Art of the Italian Renaissance: Interchangeable Conventions in Painting and Theatre in the Late 15th & Early 16th Centuries  (Directed by N. Whitman)
• 1973 Betty Monroe:   Okada Beisanjin (1744-1820):  Transitional Bunjinga  (Directed by R. Edwards)
• 1973 Richard Janke:   Janin Lomme and Late Gothic Sculpture in Navarre  (Directed by H . E. Wethey)
• 1973 Annemarie Weyl Carr:   The Rockefeller-McCormick New Testament  (Gregory 2400) (Directed by I. H. Forsyth)
• 1973 Laurel Blank Andrew:   19th Century Mormon Architecture  (Directed by D. Huntington)
• 1972 Peter Bermingham:   Importation and Influence on the School in America  (Directed by D. Huntington)
• 1971 Lois Drewer:   The Carved Wooden Beams of the Church of Justinian, Monastery of St. Catherine at Mount Sinai  (Directed by I. H. Forsyth)
• 1971 Jeannie Chenault (Porter):   Bradley Walker Tomlin Abstract Expressionist  (Directed by V. Miesel)
• 1971 Mary Cazort (Taylor):   The Drawings and Paintings of Ubaldo Gandolfi  (Directed by H. E. Wethey)
• 1971 Donald Kuspit:   Durer and the Northern Critics (1502-72)  (Directed by C. Olds)
• 1971 Fay Frick:   A Typology of Fustat Ceramics  (Directed by O. Grabar)
• 1970 John Varriano:   The Roman Church Commissions of Martino Longhi the Younger  (Directed by N. T. Whitman)
• 1970 Margret Pond Rothman:   A Sculpture Record of the Age of the Tetrarchies  (Directed by I. H. Forsyth)
• 1970 Robert Mode:   Famous Men and Women Illustration in 15th Century Italian Manuscripts  (Directed by M. Eisenberg)
• 1970 Edward Keall:   Significance of Parthian Nippur  (Directed by D. White)
• 1970 Beverly Heisner:   Aspects of Ecclesiastical Architecture of Viscardi  (Directed by N. T. Whitman)
• 1970 Geraldine Fowle:   The Biblical Paintings of Sebastian Bourdon  (1611-1671) (Directed by N. T. Whitman)
• 1970 James Caswell:   Early Cave Sculptures in Yun-Kang  (Directed by O. Grabar)
• 1970 Ulku Bates:   The Anatolian Mausoleum of the 12th, 13th and 14th Centuries  (Directed by O. Grabar)
• 1970 Janet Anderson:   Pedro de Mena:  Spanish Sculptor  (1628-1688) (Directed by H. E. Wethey)
• 1970 Mohamed Abd El Wahab:   Decorated Woodwork from Egyptian-American Collections (Directed by O. Grabar)
• 1969 David Wilkins:   Maso di Banco  (Directed by Marvin Eisenberg)
• 1969 Diane Kirkpatrick:   Edoardo Paolozzi  (Directed by V. H. Miesel)
• 1969 Esin Atil:   The illustration of the Sur-Nameh of Ahmet, the Third  (Directed by O. Grabar)
• 1968 Lisa Beth Golombeck:   Timurid Shrine at Gazur Gah: An Iconographical Interpretation of Timurid Architecture 1360-1506  (Directed by O. Grabar)
• 1968 Stanislaw Czuma:   The Brahmanical Rashtrakuta Monuments at Ellora  (Directed by Walter M. Spink)
• 1967 William Trousdale:   Sword-Scabbard Slides  (Directed by O. Grabar)
• 1967 Charles Meyer:   The Staircase of the Residenz at Wurzburg  (Directed by N. T. Whitman) 
• 1967 Ellen Johnston Laing:   The Theme of the Scholars Meeting in Chinese Painting  (Directed by R. Edwards)
• 1966 Theodore Turak:   William Le Baron Jenney  (Directed by Leonard Eaton)
• 1966 Margaret Damm Rolland:   The Mythological Paintings of Van Dyck  (Directed by H. E. Wethey)
• 1966 R. Ward Bissell:   Orazio Gentileschi  (Directed by H. E. Wethey)
• 1965 Gunar Inal:   The Fourteenth-Century Miniatures of the Jami Al-Tayarika in Returned to the Topkapi Museum in Instanbul  (Directed by O. Grabar & R. Edwards)
• 1964 Suzanne Edwards Lewis:   Early Christian Architecture in Milan  (Directed by G. H. Forsyth)
• 1963 John Williams:   The Bible of Leon of 960  (Directed by J. E. Snyder)
• 1961 Antanas Melnikas:   The Early Works of Gentile de Fabriano  (Directed by Marvin J. Eisenberg)
• 1961 Rosemary A. Marzolf:   The Life and Works of Juan Carreno de Miranda (1614-1685) (Directed by H. E. Wethey)
• 1960 H. Phillip Stern:   Ukiyoe Paintings  (Directed by J. M. Plumer)
• 1960 Mojmir Frinta:   The Master of the Beautiful Madonnas  (Late Gothic Sculpture in Bohemia) (Directed by J. E. Snyder)
• 1959 Victor Miesel:   The Classical Elements in the Paintings of Rubens  (Directed by  H. E. Wethey)
• 1959 Bernard Goldman:   The Oriental Background of Etruscan Culture  (Directed by Clark Hopkins)
• 1958 Glenn N. Patton:   Antonio Guerro y Torres and Mexican Architecture of the 18th Century (Directed by H. E. Wethey)
• 1958 James Cahill:   Wu Chen, His Life Paintings and Ideas  (Directed by Max Loehr)
• 1957 Marilyn Stokstad:   The Romanesque Sculpture of the Portico de la Gloria at Santiago de Compostela  (Directed by H. E. Wethey)
• 1957 Sister Mary Angelina Filipiak:   The Plans of the Convents of the Poor Clares in Central Italy in the 13th & 14th Centuries  (Directed by H. E. Wethey)
• 1956 Emma Mellencamp:   Renaissance Costume in Italian Painting 1450-1500  (Directed by H. E. Wethey and completed under M. Eisenberg)
• 1953 Robert Enggass:   The Religious Paintings of Giovanni Battista Gaulli  (Directed by H. E. Wethey)
• 1946 Harry A. Broad:   Contemporary American Lithography  (Begun under Bruce Donaldson & finished with J. G. Winter)
• 1940 Aloysius G. Weimer:   The Munich Period in American Art  (Directed by Bruce Donaldson & J. G. Winter)
• 1940 Paul McPharlin:   Puppets in American Life  (Directed by J. G. Winter)
• 1940 Florence Day:   Mesopotamian Pottery:  Parthian, Sassanian and Early Islamic (Begun under M. Aga-Oglu & finished with R. Ettinghausen)

• Information For
• Current Students
• Faculty and Staff
• More about LSA
• How Do I Apply?
• LSA Magazine
• Student Resources
• Academic Advising
• Global Studies
• LSA Opportunity Hub
• Social Media
• Update Contact Info
• Privacy Statement
• Report Feedback

• How to format a science disertation
• Where to buy a thesis paper
• Structural engineering dissertation
• Creating a literature review
• Who can do my thesis?
• Writing on psychology of management
• Turning to a dissertation editing agency
• History thesis conclusion sample
• Linguistics dissertation writing guide
• Paying for a quality thesis
• Top tips for buying a dissertation
• Looking for a qualified writer
• Hiring a dissertation service
• Getting academic writing assistance
• Writing on bank bankruptcy
• Thesis paper proposal in nursing
• Instructions for completing a conclusion
• Composing an informatics dissertation
• Creating an abstract related to law
• Aims & objectives
• Postgraduate thesis in physics
• Real estate management thesis proposal
• Philosophy dissertation introduction
• Getting a Harvard style thesis sample
• Industrial engineering Master's thesis
• Getting a dissertation bibliography sample
• Completing an English literature thesis
• Art history thesis methods section
• Acknowledgements in the Turabian style
• Law dissertation body part
• Getting a defense presentation sample
• Completing a thesis about bullying
• Writing on psychiatric nursing
• Thesis topics on management
• Finding a skilled thesis writer
• Environmental science
• Film studies
• Linguistics
• Special education
• Clinical psychology
• German literature
• Ancient Greece
• Education leadership
• Health-care risk management
• Digital marketing
• Developmental psychology
• South Africa
• Anaesthesiology
• Social media
• Academic anxiety
• Events management
• Airline industry
• Graphic design
• Nuclear engineering
• Finance & banking
• Data mining
• Introduction

Art History Dissertation Methodology: 7 Things To Keep In Mind

The methodology section for an art history dissertation is shorter compared to counterparts in the sciences, but it’s still an integral part of the graduate project that requires your undivided attention. As it will likely be based on non-empirical information taken from literature that has already been published in the field, there are some really important things you need to keep in mind when writing it:

• Determine the appropriate methodology to employ

Art historians can use any of a number of methodologies to conduct their research study (e.g., chronological, logical, iconographical, critical analysis, etc.) so it’s important that you first identify the appropriate methodology and that you fully understand how you must frame your study within it.

• Make sure you address your advisor’s requests

If you are having any doubts about which methodology to use then you might benefit from brainstorming some ideas with your graduate advisor. Even though this is your personal academic study, it still must meet certain criteria. Discuss this to find out exactly what is expected from you by the committee.

• Provide a simple step by step explanation of approach

Don’t merely define the methodology you plan on using in your work; you should provide a step by step explanation of why you chose the approach as well as how you plan on going about conducting it. Remember to keep your personal opinions or findings out of this section. The content within should be straightforward.

• Don’t introduce complex approaches in methodologies

One of the things that trip students up is when they begin to introduce complex approaches in their methodologies. This can be both confusing to the reader and to you. The best approach is to think about the simplest method for finding something out and arriving to some definitive conclusion.

• Set your work aside for a few days before revising

The process of revision is very important in high academic writing. If you don’t give yourself plenty of time to revise you might not be taking full advantage of an exercise where the main purpose is to make your argument and presentation stronger. Start this with a clear mindset to reap all of its benefits.

• Thoroughly edit and Proofread the entire section

This piece of advice really does apply to every section and all types of written assignments. Edit for sentence and word clarity. Complex structures or multi-syllabic words can be confusing and much more difficult to understand. Also, make sure you have corrected all errors in grammar, punctuation and spelling. A document that is filled with errors will be poorly received.

• Always have a fresh set of eyes critique the section

You should constantly remind yourself that you want to keep your work interesting and understandable. Even though it will be reviewed by experts in the field, your work should be written and structured so that a person outside the field could also enjoy.

• Creating a Master's dissertation
• How to cite a Chicago thesis paper
• Hiring dissertation writers
• Dissertation in HR management
• Graduate thesis example online
• Doctoral physiology thesis abstract
• Writing on the Spanish Civil war
• How to recognize a reliable agency?
• Completing a biology dissertation
• International business thesis proposal

Useful sites

Get professional thesis writing and editing services at ThesisGeek - 24/7 online support.

2012-2024. idarts.org. All rights reserved. Updated: 05/11/2024

• How It Works
• PhD thesis writing
• Master thesis writing
• Bachelor thesis writing
• Dissertation writing service
• Dissertation abstract writing
• Thesis proposal writing
• Thesis editing service
• Thesis proofreading service
• Thesis formatting service
• Coursework writing service
• Research paper writing service
• Architecture thesis writing
• Computer science thesis writing
• Engineering thesis writing
• History thesis writing
• MBA thesis writing
• Nursing dissertation writing
• Psychology dissertation writing
• Sociology thesis writing
• Statistics dissertation writing
• Buy dissertation online
• Write my dissertation
• Cheap thesis
• Cheap dissertation
• Custom dissertation
• Dissertation help
• Pay for thesis
• Pay for dissertation
• Senior thesis
• Write my thesis

198 Art History Thesis Topics: Best Ideas

Did you know that on this page, you can find 198 original art history thesis topics that you can’t find anywhere else? Our art experts and professional writers have created this list over the last couple of months. In fact, we are updating the list periodically to make sure each student who visits our blog has the chance to find a unique topic that he or she can write a thesis on.

In addition to the exceptional topics, we also have some tips and tricks on how to write the perfect thesis without spending months working on it. This blog post includes the chapters you need to write (with a short explanation of each one), as well as some of the things you need to keep in mind when writing a thesis. Let’s get started!

Writing the Best Art History Thesis Paper

As you probably know already, finding some original art history thesis topics is just one part of the thesis writing process. Because we know most students don’t have any experience writing theses, we will briefly talk about some of the key characteristics of a good thesis paper. We will start with the structure. Here are the main chapters you should have in your paper:

Introduction:  This is the part where you will present your thesis statement, as well as discuss the significance of your thesis and present the research questions, limitations and assumptions. Review of Related Literature:  Use this chapter to discuss what you have learned from other works in your field that pertain to your chosen topic. Show your readers why your research is relevant to the topic. Design and Methodology:  In this chapter, you will need to present the design and discuss the methods you have used to gather the data or the evidence to support your thesis statement. A reader should be able to replicate your study after reading this chapter. Findings:  This is the part where you can discuss your findings and show your readers why and how they support your thesis. You can include a part where you make recommendations for further research, if necessary. Conclusion:  The final chapter of your paper, the Conclusion is the place where you summarize everything and reemphasize the main points of your paper. Refrain from introducing any new information here.

Apart from structuring your thesis correctly, you should keep a few other important things in mind. Here are some of the things that will help you get a better grade on your research paper, according to our expert academic writers:

Make sure you only gather data from reliable sources. Also, remember to cite and reference each source you use. Format your thesis correctly, in accordance with the guidelines in the style book. Each style (APA, MLA, Chicago, Turabian, etc.) has a style book that you can usually find online for free. Edit your work thoroughly and make sure your logic and clarity are perfect. Also make sure you are not using technical terms that you have not defined previously. Think about what examiners want to see or try to learn what they are looking for. After all, you want a top grade, don’t you? Do your best to come up with a unique, interesting thesis. Think long and hard about how you will write the thesis statement. Get feedback from your supervisor as early as possible. This can prevent some serious delays and rewrites. Find some original art history thesis topics and choose the one you think would thrill the evaluation committee.

Fortunately for you, the last tip is something we can help you with right now. We have 198 original art history thesis topics right here on this page. You can use any of them for free. No, you don’t even need to give us any credit. That is our thesis writing help to begin with going through these topics shouldn’t take you more than 5 minutes, so what are you waiting for?

Easy Thesis Topics in Art History

We’ll start our list with some easy thesis topics in art history. Choose any of these ideas if you want to spend as little time as possible writing your paper:

• Discuss the Gothic stained glass
• Compare ancient Egyptian and Roman art
• The important of Mona Lisa
• An in-depth look at the Romanesque style
• An in-depth look at Amarna Art
• Discuss art in the Golden Age
• Analyze the life of Claude Monet
• What is reformed naturalism?
• Peculiarities of the surrealist movement
• Discuss art in the Notre Dame
• Talk about sculptures in a cathedral of your choice
• Research the life of Picasso
• Talk about political views in sculpture
• The peculiarities of Gothic art
• How important are recurring subjects in art?

Art History Research Questions

The best way to come up with a great topic is to go through some art history research questions. To help you out, we have compiled a list of the best ones below:

• What is photogravure and why is it important?
• What are the peculiarities of Scandinavian weaving?
• What are some characteristics of Egyptian art?
• How important is art as part of the curriculum?
• What is the role of life in modern art?
• Which artist had the biggest influence on contemporary art?
• What makes Gothic paintings special?
• Can you talk about the Dadaist movement?
• What is real art?
• Can you talk about the history is symbols in Gothic paintings?
• How did art evolve in Ancient Rome?
• Why is Leonardo Da Vinci so popular?
• How important is nature in ancient art?
• When did Cubism first appear?
• How were ancient works of art preserved?

Art in the 19th Century Topics

In case you want to write a thesis on 19th century art, you have arrived at the right place. Here are some of the best art in the 19th century topics:

• Discuss European painting in the 19th century
• Modernism in the 19th century
• The history of surrealism
• Talk about the focus of 19th century art
• The history of cubism
• The history of symbolism
• Research the Industrial Revolution in art
• Compare symbolism and cubism
• Talk about the Enlightenment movement
• What influenced modern art in the 19th century?

Art History Thesis Topics on the Late Gothic Period

Our experienced writers managed to create a list of art history thesis topics on the late gothic period that you will absolutely love:

• Discuss the vaulted hall churches in Germany
• Major themes in late Gothic sculptures
• Differences between Renaissance and late Gothic art
• Talk about the British Perpendicular style
• Discuss the Flamboyant style
• Compare and contrast the Flamboyant and Perpendicular styles
• Major themes in late Gothic paintings
• The main symbols of Gothic art
• Research the late gothic era in France
• What is the tracery window?

Art History Senior Thesis Topics

Are you working on a senior thesis in art history and need some inspiration? All you have to do is pick one of our art history senior thesis topics for free and start writing:

• Talk about manuscripts in Modernist paintings
• A closer look at the Romanesque style
• The role of life in art
• The history of photography as an art
• An in-depth look at Neoclassicist sculptures
• Art on the Great Wall in China
• Discuss the importance of recurring subjects in art
• The role of nature in art
• An in-depth look at Christian symbols in art
• The first musical instruments

Undergraduate Art History Thesis Topics

Of course, our list of topics would not be complete without some ideas for undergrads. Here are the undergraduate art history thesis topics we think will perform best in 2023:

• Research the Statue of Zeus
• Famous impressionists
• Talk about stained glass windows
• Talk about 3 important Greek sculptures
• Discuss the film industry in Bollywood
• Research the history of pop art
• Primitivism: is it an art?
• Research the history of Venetian carnival masks
• Differences between modernism and cubism
• Discuss the Rococo movement

Art History Photography Thesis Topics

Interested in writing about photography? After all, it is art. Don’t worry about it; we’ve got your back. Here are some original art history photography thesis topics:

• Discuss the history of photography
• Are photographs works of art?
• Famous artworks that are photographs
• Latest advancements in photographic technology
• An in-depth look at lighting and its uses
• Research 3 artists that have made an art out of photography
• An in-depth look at the purpose of photography
• Research the first photo camera
• Famous photographs in art museums in your area
• The life and work of Ansel Adams
• The role of Jonas Leriche in photography
• Discuss the role of the background in photography
• How important is the camera for a photographer?
• What makes a good photographer?

Popular Art History Thesis Topics

If you’re looking for the most popular art history thesis topics, we have some great news for you. We have an entire list of them right here:

• Discuss the Art Nouveau style
• What makes Pablo Picasso’s paintings remarkable?
• An in-depth look at photorealism
• Discuss funerary art in ancient Egypt
• Research the history of Chinese art
• Discuss the role of the abstract in modern paintings
• Composite styles in ancient Rome paintings
• Discuss the rise of modern art in Europe
• An in-depth look at Biblical motifs in Leonardo Da Vinci’s art
• The first art fair in the world
• Discuss the La Tene Celtic art style
• Discuss art in the Feudal Era
• An in-depth look at the history of Japanese art
• Research Mayan paintings

Art History Thesis Topics Greek

Are you interested in talking about Greek art? Do you want some of the best topics for free? You’re in luck because we have some interesting art history thesis topics greek for you right here:

• Analyze the Kore statue in Greece
• Talk about the Mask of Agamemnon
• Research ancient Greek pottery
• Research the Hades abducting Persephone painting
• Discuss the Coloso de Rodas
• Roman sculptures in ancient Greece
• The history of ancient Greek art
• Research ancient Greek architecture
• Discuss the Geometric period
• Research metalwork art in Greece

Art History Thesis Topics Impressionism

Writing your thesis on a topic related to impressionism will surely impress the evaluation committee and your supervisor. Check out these art history thesis topics impressionism ideas:

• Discuss the Impression, Sunrise by Claude Monet
• Research the styles in The Fighting Temeraire
• The depiction of light in impressionism
• Research Pierre-Auguste Renoir’s Dance at Le Moulin de la Galette
• Discuss the embracement of modernity
• The history of the Impressionist movement
• The main ideas of impressionism
• Talk about the style of open composition
• Discuss unusual visual angles
• Talk about the first impressionist exhibition

Art History Research Topics

Your research paper will be memorable if you choose the right topic for it, guaranteed. Take a look at this brand new list of art history research topics and select the one you like the most:

• Talk about women in art
• The history of modernism
• Architecture as a form of art
• The role of the Trojan Horse
• Talk about art as a form of therapy
• The importance of Francisco de Goya’s paintings
• Dreams in works by Dali
• Discuss the rise of pop art
• Art and autism
• Discuss the Art Deco style

Famous Artists and Their Works

It has been demonstrated that finding new and interesting facts about famous artists can get students some bonus points. Here are some ideas related to famous artists and their works:

• The life and works of Leonardo Da Vinci
• The life and works of Pablo Picasso
• Discuss the most important Warhol sculpture
• Dorothea Lange’s contributions to photograph
• Discuss the works of Zeuxis
• The life and works of Michelangelo
• The life and works of Constantin Brancusi
• The life and works of Vincent Van Gogh
• The importance of Marie Tussaud
• An in-depth look at the history of the Mona Lisa
• The life and works of Alberto Giacometti
• Analyze the works of Apelles (370 BC)
• The life and works of Henry Moore
• The life and works of Rembrandt
• The life and photographs of Ansel Adams

Ancient Art History Research Paper Topics

Our experienced academic writers managed to come up with a nice list of ancient art history research paper topics for students looking to start working on their thesis:

• Talk about ancient art in Palestine
• Research primitive art
• Talk about ancient art in China
• Talk about ancient art in Greece
• Characteristics of ancient art
• Talk about ancient art in Rome
• The first work of art in the world
• Talk about ancient art in India
• Talk about ancient art in Mesopotamia
• Characteristics of Persian art

Compare and Contrast Topics in Art History

If you want to write a compare and contrast paper, you are in luck. We have just added these interesting compare and contrast topics:

• Echion and Polygnotus
• Salvador Dali and Michelangelo
• Modern and contemporary art
• Vincent Van Gogh and Raphael
• Compare and contrast two sculptures of your choice
• Impressionism and cubism
• Claude Monet and Leornardo da Vinci
• Compare and contrast two paintings of your choice
• Protogenes and Apollodorus
• Henri Matisse and Frida Kahlo
• Surrealism and modern art
• Rembrandt and Johannes Vermeer
• Compare and contrast two art styles of your choice
• Abstract expressionism and cubism
• Jackson Pollock and Pierre-Auguste Renoir

Controversial Art History Topics

Art history has, like many other fields, plenty of controversies. Why not write your research paper on one of them? Here are some interesting yet controversial art history topics:

• Research the Le Dejeuner sur l’Herbe by Édouard Manet
• An in-depth look at Marcel Duchamp’s Fountain
• Discuss the Campbell’s Soup Cans by Andy Warhol
• What makes an art piece controversial?
• Controversies surrounding Pablo Picasso’s Guernica mural
• Controversies in pop art
• Is graffiti an art?

Contemporary Art History Topics

Do you want to write your thesis on a topic in contemporary art? No problem, we’ve got you covered. Check out these awesome contemporary art history topics and choose one for free:

• The life and work of Takashi Murakami
• The importance of Jenny Saville’s work
• Major themes in contemporary paintings
• Talk about contemporary art motifs on jewelry
• The top 3 greatest contemporary artists
• Talk about contemporary music
• Talk about what makes contemporary art unique
• Contemporary art on ceramics

Renaissance and the Middle Ages topics

Stop wasting your time searching for topics and select one of these brand new (100% original) Renaissance and the Middle Ages topics:

• The life and work of Donatello
• Peculiarities of Sandro Botticelli’s paintings
• The history of the La Pieta
• Research the sculptures of Michelangelo
• The painting of the Sistine Chapel ceiling
• An in-depth look at The Last Judgment painting
• Styles in Caravaggio’s paintings
• The life and works of Matteo Civitali
• Research the Mona Lisa painting
• The importance of Titian’s painting styles
• Research the history of The Birth of Venus
• The Last Supper by Leonardo da Vinci
• Discuss a painting by Masaccio
• Discuss the David of Michelangelo sculpture
• Research the history of Lorenzo Ghiberti’s sculptures

Get Quality Thesis Writing Help

We know that most students are struggling with their first thesis. Don’t worry, you are certainly not the only one in this position. Truth be told, writing a thesis the right way can be extremely difficult for anyone who has not done it before. This is why, in addition to the exceptional thesis topics art history students are looking for, we are offering top quality custom dissertation help to students who want to get a top grade on their paper.

Get access to an expert online in a matter of minutes. All you have to do is tell us what you need and when you need it. We’ll pair you with one of our professional thesis writers in no time. Are you worried about the quality of our work? We know that the Internet can be a dangerous place, but you can certainly trust us and out experts. Just take a look at the feedback we have received from students like you over the years and decide if you need our services. Our art history thesis writers are ready to start working on your project right now.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Comment * Error message

Name * Error message

Email * Error message

Save my name, email, and website in this browser for the next time I comment.

As Putin continues killing civilians, bombing kindergartens, and threatening WWIII, Ukraine fights for the world's peaceful future.

Ukraine Live Updates

Skip to Content

Other ways to search:

• Events Calendar

Art & Art History News - May 7, 2024

Art & Art History Graduation

Friday, May 10 at 10:00am to 12:00pm Visual Arts Complex, Plaza — in front of the building 1085 18th Street, Boulder, CO 80309

Join us from 10 AM-12 Noon for the Art & Art History graduation on the Visual Arts Complex plaza. The ceremony is from 10-11 AM followed by morning refreshments served from 11AM-12PM. Seating is limited! Please consider 2-4 guests per student.

Masters of Fine Arts Thesis Exhibition: Round 2

On view at the CU Art Museum, Visual Arts Complex Exhibition closes: Saturday, May 11, 2024

Featured artists:  Natalie Thedford, Noa Fodrie, Aunna Moriarty, Cody Norton

CU Art Museum hours of operation: Tuesday - Saturday from 10am - 4pm 1085 18th Street, Boulder, CO 80309

Department Announcements

Enroll today in summer classes.

ARTS 1171 Section 100, Class Nbr 21301 Photography for Non-Majors MTWThF 12:30pm-3:30pm  Visual Arts Complex 1B23

ARTS 2126 Section 100, Class Nbr 21209 Digital Art 1 MTWThF 9am-12pm  Visual Arts Complex 1B23

Having issues enrolling? Contact: [email protected]

Seleny Bañuelos (BFA Ceramics/BA Spanish) awarded a Jacob Van Ek Scholarship

The College of Arts and Sciences has awarded the Jacob Van Ek Scholarship—one of the college’s highest honors—to 23 exceptional undergraduates.

The award is named for Jacob Van Ek (1896-1999), who arrived at CU as a young assistant professor shortly after earning his doctorate in 1925 at what is now known as Iowa State University. Within three years, he was a full professor and, by 1929, he was dean of the College of Liberal Arts, serving until 1959. 

Congratulations Seleny!

Jason Sanford

Jason has released a new album, Living Waters.  In support of the album he and his band will tour international, including 31 concerts in 9 countries. Link to summer tour information .

Check out the press coverage for the record!

Brittany Ashley, MA Student in Art History, Joins Engaged Arts and Humanities Scholars Cohort 2024-26

Brittany was accepted into the Center for Humanities and the Arts' Engaged Arts and Humanities Cohort for the 2024-2026 school year. Meet the cohort  here !

As part of the Engaged Arts and Humanities Scholar 2024-2025 cohort, they plan to create an interdisciplinary community project that brings together art history, health sciences, and other approaches for spreading essential information about Covid-19.

Congratulations, Brittany!

Congratulations to our Art & Art History faculty awarded RIO grants

The Research & Innovation Office (RIO) Arts & Humanities Grant Program announced  nearly $95,000 in combined funding  for  17 projects  exploring topics in disciplines from Asian languages and environmental design to composition and Classics.

About: The  RIO Arts & Humanities Grant Program  is inspired by recognition of the essential role of the arts and humanities at CU Boulder, including inspiring deeper connections with others, welcoming multiple and diverse perspectives, and contemplating what it means to be human.  

• Project : Intimacy Coordinator (Controlled Environment),  Awardee : Molly Valentine Dierks (Arts Practices)
• Project : The Audacity of Pleasure: Race, Aesthetics, and the Politics of Feeling Good,  Awardee : Crystal Nelson (Art History)
• Project : True Mirror,  Awardee : Jeanne Quinn (Arts Practices)

Kim Dickey, Professor, Ceramics

New and recent works by Kim Dickey are currently on view at Robischon Gallery in a solo exhibition titled "Enfolding"

Link to more information

Marina Kassianidou Assistant Professor, Painting & Drawing

Closing event for Marina’s solo exhibition  A Partial History Marina Kassianidou in Conversation with Mary Annunziata NARS Foundation, Brooklyn, NY May 15, 6:00 – 8:00 pm Artist talk, publication launch, and closing reception

Please join us for an artist talk, publication launch & closing reception with Marina Kassianidou in conversation with Mary Annunziata on May 15, at 6pm in the NARS Project Space. Marina Kassianidou will discuss her exhibition  A Partial History  in conversation with Mary Annunziata, and a publication corresponding to the exhibition will also be available.  A Partial History  unfolds histories/stories of touch, movement, language, and translation. The artist recreates books from her late grandmother’s library, focusing on marks of use and time on the books’ pages. She then makes drawings that magnify and superimpose the marks from the books, compressing time while potentially expanding space. The recreated books and drawings become alternative history books and maps, recording shared histories and spaces of handling and holding.