Our final-arts programme is challenging and rewarding. It is designed to bring your knowledge and skills in the subject to a higher level, building on the foundations laid in the first and second years of study. The two core courses focus on broad questions within the discipline: HA3016 investigates art and gender from the Renaissance to the present, while HA3015 examines major matters relating to method, theory, and approach in Art History. The special-subject options — HA3005, HA3006, HA3020, HA3023, HA3027 and HA3028 — offer the freedom to shape your final-year programme to suit your individual interests and to investigate particular issues in the context of a skill-based, small-group learning environment. Buttressing the teaching are study tours in Ireland and abroad. Lastly, the supervised research project, HA3013, will provide the opportunity to undertake a significant piece of writing under the supervision of an art historian from the teaching team.
During the pontificates of Julius II (reg 1503-13) and Leo X (reg 1513-21), ideas about Rome’s majestic past were deliberately revived into an even more glorious present. This course investigates the volatile forces—social, political, cultural—that converged on the ‘Eternal City’, generating the heroic vision of the modern Rome of the popes and fuelling the creative endeavour of Raphael, Michelangelo, and Bramante, whose works in painting, sculpture, and architecture gave visual expression to Rome’s status as the capital of the Christian world and the intellectual centre of the West. More
This module examines the impact of the aesthetic theories of Winckelmann and Burke on the artistic practices of Neo-Classicism and Romanticism. The classes focus on such key political and social issues as the French Revolution, the Industrial Revolution, urbanization, and the emerging relationship between western and non-western cultures. The course also investigates the wide variety of responses made to these issues in the context of academic art. More
Semesters 1 & 2: Directed Study (Individual Consultation with Supervisor and Workshops)
The module provides you with the opportunity to develop a particular line of research within the visual arts and to extend your skills of interpretation and analysis. A member of staff will supervise your 8,000-word project, the title of which must be agreed prior to a notified date in the first semester, and which should be submitted to the Art History office at the end of the second semester on a day prescribed by the Department. More
A short training course will be held in Semester 1, from week 2, on Mondays, at 11:00-12:00, in 5 Elderwood, rm G01.
Location: Connolly Building J7 (09:00-10:00) and Connolly Building S2 (15:00-16:00)
This module offers a critical introduction to some of the more recent approaches to perception in art history and visual studies. Moving between the object of analysis and the human subject who analyses, we will explore the context, applications, and interconnections of these interpretive strategies. Among the thinkers we will discuss are Michel de Certeau, Maurice Merleau-Ponty, Roland Barthes, Louis Althusser, Kaja Silverman, Laura Mulvey, Judith Butler, and Brian Massumi. Although lectures will extrapolate upon a given theme, this is a text-based core module that requires active participation from students, including critical reading, class participation, and group discussion. More
Location: West Wing 5 (Tues) and Kane Building B10A* (Thurs)
In academic year 2018/19, this core course is devoted to women’s art and gender theories. In 1971 Linda Nochlin asked ‘Why have there been no great women artists?’ Nochlin’s seminal essay, among others, marked the beginning of an era which challenged the omission of women artists from the history of art. Today, scholarship on women’s art practices has developed considerably; however, many major public collections across the globe still have much work to do in their display of works by historic women artists. This module explores global women’s art and gender theories from the Renaissance to the present day. Paying close attention to the impact of different cultural traditions on the making and interpretation of art objects, we will explore the myriad ways in which women used art as a conduit to challenge and negotiate their global spaces, identities and political spheres. More
The module frames Italian art of the early modern era within the context of the tumultuous upheavals and reforms that took place in the church and state following the Council of Trent. Thematic in approach, the seminars focus on the work of key artists of the period, notably Michelangelo Merisi da Caravaggio, Annibale Carracci, and Gianlorenzo Bernini, vis-à-vis coeval theories of naturalism, the heroic ideal, and antiquarianism. We will also question the larger terms within which early-modern artists have been discussed, especially in recent scholarly approaches. More
The module examines the art of the Weimar Republic, beginning with Dada and Expressionism in the immediate postwar period and ending with the advent of National Socialism in 1933. We will consider a range of artistic practices and media in their localized historical contexts, including postwar Expressionist film, New Objectivity, the Bauhaus, left-wing photography and photomontage. Among the themes we will consider are capitalist consumer culture and aesthetics, the politics of technological mass reproduction, and representations of gender. More
In academic year 2018/19, this seminar is devoted to 'Framing the Ocean: From Romanticism to Early Abstraction'. Through a sequence of specific case studies, we explore key debates concerning the ways that artists have contextualised the sea from around 1800 to about 1914. In so doing, we trace artistic representations of mutiny, shipwreck, tempests and drownings. We also investigate how the sea eventually becomes a blank space primed for abstraction. More
HA3028 Global Artistic Interventions: (RE)Making Identities After 1945
This module explores global art history and theories from 1945 to the present. Via a series of specific case studies, we will investigate the concept of the ‘artistic intervention’ and its shifting agenda as it crosses time, cultures, traditions and geographical borders. Drawing on works of key theorists, we will explore discourses surrounding specific artists and scrutinise the social purpose of their works—considering important themes such as identity, human rights, self-agency, the body, space, nation, heritage and memory. More
History of Art
5 Perrott Avenue,
University College Cork,
Republic of Ireland.