The MA in Art History, Curatorship and Renaissance Culture is offered by the Warburg Institute in collaboration with the National Gallery, London. The programme combines the study of artworks and their cultural contexts with high-level linguistic, archive and research skills for a new generation of academic art historians and museum curators. The art historical and scholarly traditions of the Warburg Institute are linked to the practical experience and skills of the National Gallery to provide an academic programme which will equip students either as academic art historians with serious insight into the behind the scenes workings of a great museum or as curators with the research skills necessary for high-level museum work.
This programme provides a solid grounding in:
Museum knowledge, which covers aspects of curatorship including the technical examination of paintings, connoisseurship, materials and conservation, attribution, provenance and issues relating to display.
Art history and Renaissance culture to increase students’ understanding of methods of analysing the subjects of works of art and their knowledge of Renaissance artworks and the conditions in which they were commissioned, produced and enjoyed.
Current scholarship and professional practice in these areas as well as new and emerging areas of research and scholarship.
The programme is taught through classes and supervision by members of the academic staff of The Warburg Institute and by National Gallery curatorial and archival experts. The teaching staffof the Warburg Institute are leading academics in their field who have published widely and are involved with research related to the topics they teach.
As a student at the Warburg Institute, you will have access to the best resources for the study of Renaissance art and culture in London. Unparalleled staff contact hours are combined with access to the Warburg Library, with its unique cataloguing system specifically designed to aid research, and the National Gallery’s collection and archives.
Through the Institute’s research projects, fellowship programmes and events, and its informal collegiate atmosphere, students have extensive opportunities for networking with an international community of scholars, which significantly enriches the learning experience and can provide ideal connections for the future careers.
Studying in Bloomsbury at the centre of an academic and cultural hub, students also benefit from visits and training sessions at neighbouring institutions including the British Museum, the Government Art Collection, the Wellcome Trust and the British Library, and further afield the V&A, the Dulwich Picture Gallery, the National Portrait Gallery and the Courtauld Gallery.
The Warburg Institute has a range of full fee bursaries available to both home/EU and international students. The Institute also has an excellent record in securing external funding and is happy to work with prospective students on funding applications.
Many Warburg alumni have gone on to pursue PhD study at the Institute or other Universities and cultural institutions across the globe including the Ashmolean Museum, Oxford, the Bayerische Akademie, the National Library, Argentina and Universities of Cambridge, Copenhagen, Notre Dame (US), Padua, UCL, La Sapienza (Rome), Warwick, York and Yeshiva (New York). Discover what some Warburg alumni have gone on to do on our blog.
The MA programme aims to provide mastery in:
The intellectual discipline of Art History for academic research and museum work, focusing primarily on the period 1300-1700, its objects of study and modes of interpretation
The intellectual and practical aspects of curatorship, with the opportunity to curate an online exhibition as part of degree coursework
Renaissance Culture, to enable critical evaluation of artworks and the conditions in which they were commissioned, produced and enjoyed
Primary source materials in original languages and translation for original research
Teaching, learning and assessment
Modules are taught by academics at the Warburg and museum professionals at the National Gallery, giving students the opportunity to blend their academic study with behind-the-scenes training on a range of curatorial practices.
All students take three core modules and two option modules. The programme is supported by an unassessed Methods and Techniques of Scholarship module that will introduce you to the nuts and bolts of the historiography and methods of scholarly work in early modern cultural history and prepare you, through a term of workshops, to choose, develop, and research the topic that forms the subject of your dissertation.
The core module on Language and Palaeographical Studies includes training at all levels in French, Italian or Latin, as well as palaeography training in one chosen language. Finally, students have the opportunity to conduct an independent research project through the dissertation which is completed in the summer term under the guidance of a supervisor from either the Warburg or the National Gallery.
The course is examined as follows:
Art History and Renaissance Culture: Image to Action – 4,000 word essay
Curating at the National Gallery – 4,000 word catalogue entry on a painting held in the National Gallery's collection
Language, Palaeographical, Archive and Curatorial Research – examinations in palaeography and language
Two optional modules – assessed by two 4,000 word essays or, if you choose the Curating Renaissance Art and Exhibitions option, through the creation of an online exhibition, its presentation to an assessing panel and a position paper of 3,000 words
Dissertation - 15,000 words
Art History and Renaissance Culture: Image to Action
Curating at the National Gallery
Language and Palaeographical Studies
Methods and Techniques of Scholarship: Reading and Writing History (unassessed)
Option modules (two to be chosen)
Classical Disorders: Architecture, Painting and the Afterlives of the Renaissance
Cosmological Images: Representing the Universe
Renaissance Political Thought from Erasmus to Campanella
Religion and Society in Italy
Mapping Worlds: Medieval to Modern
Option modules are subject to change. Additional modules may be offered, depending on both student numbers (a minimum of three students required per option) and teaching staff availability.
Art History and Renaissance Culture - Image to Action (Core Module)
This course offers an introduction to the iconological study of Renaissance art. It focuses on figures, themes and narratives depicted in paintings, sculptures, prints and other visual media, and will unpack what these subjects tell us about social, political, cultural and religious attitudes from the thirteenth to seventeenth centuries. Classes are devoted to religious art, including the critical analysis of the lives of the saints and the cult of the saints, and secular art, with topics including portraiture, mythology, allegory and literature. Italy is the main storehouse of imagery but our paths of investigation will extend well beyond to the rest of Europe.
Curating at the National Gallery (Core Module)
This course will provide students with an understanding of the issues involved in curating, conserving and presenting paintings in a great art museum or gallery context including; the technical examination of paintings; how questions of attribution and style are debated; the materials and techniques of paintings; issues raised by the conservation of paintings; how to investigate and establish provenance; the History of Collecting and its impact on museums; the display of paintings, including framing, lighting and hanging; an understanding of how to write interpretative texts supporting the display of paintings, such as labels and audio and digital texts keyed to paintings on display and the art of writing a catalogue entry.
Language and Palaeographical Studies (Core Module)
The core module on Language and Palaeographical Studies includes training at all levels in European languages which includes Latin, as well as palaeography training in one chosen language.
Methods and Techniques of Scholarship: Reading and Writing History (Core Module)
During term one, (“Reading History”) students are introduced to a range of historiographical classics that are exemplary of different approaches to late medieval and early modern European cultures. They will read selections from works by prominent cultural and intellectual historians, and are encouraged to examine the ways in which these historians framed their research questions, selected and handled their evidence (be it textual, material, or visual), organised their arguments, and constructed their narratives. Students are gradually introduced to a number of theoretical questions involved in historical research, such as periodisation, scale, evidence, interpretation, generalisation, commensurability, translatability, canonicity, agency, and teleology. Students will also develop an overview of important trends in 20th- and 21st-century cultural and intellectual history-writing. Finally, students will develop critical-analytical skills that will allow them to become more careful readers of historical scholarship, and thus also more prepared to carry out their own historical research and writing when they begin working on their final dissertation in the second term.
During term two, “Writing History”, takes the form of a workshop guiding the students in choosing, developing, and researching a topic that will form the subject of their final dissertation. The workshop covers topics such as: “Tips for good academic writing”, “Identifying a research question”, “Identifying an ‘archive’”, “Compiling a bibliography” and “Writing an abstract & dissertation plan”.
Mapping Worlds: Medieval to Modern (Option Module)
Taught by Dr Alessandro Scafi
The aim of this course is to explore how maps have served to order and represent physical, social and imaginative worlds from around 1200 to 1700. The focus is on the iconographic character of maps and the complex relation between art and science that is found in mapmaking throughout history. Students will be introduced to a wide range of images from different time periods and made for a variety of purposes, with the intent of drawing together art history, literature, philosophy and visual culture. Theoretical issues will be approached concerning, for example, the association of word and image, the definition of maps and their difference from views and diagrams, but the background and purpose of individual examples will be also discussed. These include medieval world maps produced as independent artefacts or drawn as book illustrations, mural map cycles of the Italian Renaissance, early modern prints made to identify and describe lands mentioned in the Bible or the archaeological mapping of cities. The course will investigate the creative and projective power of maps and their value as historical testimonies. Mnemonic, thematic, allegorical and pilgrimage maps will be also approached. This module is supplemented by visits to London museums and galleries.
Cosmological Images: Representing the Universe (Option Module)
Taught by Professor John Tresch
This course will study cosmograms: concrete objects which represent the universe as a whole. It will explore connections between art and science, including the intellectual function of images and the aesthetics of representing the cosmos and knowledge about it, in science, religion, and folk traditions. Students will be provided methods for studying such objects in action, as part of ritual practices and political programs.
One aim of the course will be to trace the changing form and content of cosmograms from the medieval through modern period, especially with regard to scientific images. The course will trace the gradual emergence of a cosmology said to be mechanical, materialist, and objective, and its interactions and oppositions with other views of the cosmos. The study of conflicts and controversies focused on cosmograms will ground these longstanding issues of intellectual history in concrete contexts and the making of objects and images.
Renaissance Political Thought from Erasmus to Campanella (Option Module)
Taught by Dr Sara Miglietti
This module will explore and discuss a wide range of aspects of Renaissance philosophy and intellectual history through the prism of one key area of cultural production, i.e., political thought. Renaissance political thinkers were both the heirs of a longstanding tradition (represented by classical and medieval works such as Plato’s Republic, Aristotle’s Politics, and Thomas Aquinas’ De regimine principum) and innovators who deeply transformed this tradition, partly in response to specific historical circumstances (e.g. movements of religious reform, the rise of nation-states, the ‘discovery’ of America and the beginnings of the colonial race) and partly as a result of new theoretical choices. While covering such major examples of sixteenth-century political thought as Machiavelli’s Principe, More’s Utopia, and Jean Bodin’s République, we shall also hunt for less familiar sources (both textual and visual) that can reveal unexpected forms and arenas of early modern political debate. Questions for discussion will vary on a weekly basis, but they will include issues such as: How do these texts embody the broader worldview of their authors? How do they reflect the historical and social contexts from which they originate? What impact did they have in their own time, and in what forms did they circulate? How did they appropriate and transform the classical tradition, and how (and why) have some of them been transformed into ‘classics’ in their own right?
Full time (one year)
Three core modules and two option modules chosen from a range of topics, plus a dissertation of 15,000 words.
Part time (two years)
Year 1: one core module, one option module, one of your chosen languages and palaeography;
Year 2: one core module and one option module, and your second chosen language.
You will work on your dissertation over both summers, with one-to-one supervision during each summer.
Part time plus (two years)
Year 1: one core module, one option module and your chosen languages. Part one of the unassessed Techniques of Scholarship core module;
Year 2: one core module, palaeography and techniques of scholarship part two. You will be allocated your dissertation supervisor and begin work on it;
Year 3: one option module and your dissertation. Students will work on the dissertation over the summers of Years 1 and 2, with one-to-one supervision during each summer.
If you graduated from SAS you will be eligible for an alumni discount. If you progress directly without a break, you will receive a 15% discount, otherwise you will receive a 10% discount. More details are available in the SAS Tuition Fee Policy.
The Warburg Institute has a range of full fee bursaries available to both home/EU and international students. The Institute also has an excellent record in securing external funding, and is happy to work with prospective students on funding applications. Find out more on our MA Funding page.
The normal minimum entry requirement is an upper second-class honours degree from a British university, or an equivalent qualification from a non-UK institution, in any discipline in the humanities which is related to the course. All students whose first language is not English must provide recent evidence that their written and spoken English is adequate for postgraduate study. Applications open on 1 November 2021.
For details of entry requirements, tuition fees, funding opportunities, English language requirements, disability support, accommodation and how to apply, please consult the School graduate study webpages. Detailed course descriptions and information about assessment are available here on the Institute’s graduate study webpages and on the School's graduate study webpages.
Please note the information in this guide is correct as of November 2018, but the School of Advanced Study, University of London reserves the right to alter or withdraw courses and amend other details without prior notice as required.