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Visual Arts Theses and Dissertations

Theses/dissertations from 2014 2014.

A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo , Raquel Malia Andrus

Accumulation of Divine Service , Blaine Lee Atwood

Caroline Murat: Powerful Patron of Napoleonic France and Italy , Brittany Dahlin

.(In|Out)sider$ , Jarel M. Harwood

Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001 , Jacqueline Rose Hibner

Parallel and Allegory , Kody Keller

Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) , Trenton B. Olsen

Conscience and Context in Eastman Johnson's The Lord Is My Shepherd , Amanda Melanie Slater

The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner , Katie Janae White

Theses/Dissertations from 2013 2013

Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna , Caitlin J. Perkins Bahr

Cutting Into Relief , Matthew L. Bass

Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene , Hillary Anne Carman

The End of All Learning , Maddison Carole Colvin

Civitas: A Game-Based Approach to AP Art History , Anna Davis

What Crawls Beneath , Brent L. Gneiting

Blame Me for Your Bad Grade: Autonomy in the Basic Digital Photography Classroom as a Means to Combat Poor Student Performance , Erin Collette Johnson

Evolving Art in Junior High , Randal Charles Marsh

All Animals Will Get Along in Heaven , Camila Nagata

It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom , Molly Robertson Neves

Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess , Katelyn McKenzie Sheffield

Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop , Kathryn C. Smurthwaite

Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 , Vriean Diether Taggart

Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe , Rachel Anne Wise

Theses/Dissertations from 2012 2012

Rembrandt van Rijn's Jewish Bride : Depicting Female Power in the Dutch Republic Through the Notion of Nation Building , Nan T. Atwood

Portraits , Nicholas J. Bontorno

Where There Is Design , Elizabeth A. Crowe

George Dibble and the Struggle for Modern Art in Utah , Sarah Dibble

Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students , Bart Andrus Francis

Joseph as Father in Guido Reni's St. Joseph Images , Alec Teresa Gardner

Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom , Downi Griner

Aha'aina , Tali Alisa Hafoka

Fashionable Art , Lacey Kay

Effluvia and Aporia , Emily Ann Melander

Interactive Web Technology in the Art Classroom: Problems and Possibilities , Marie Lynne Aitken Oxborrow

Visual Storybooks: Connecting the Lives of Students to Core Knowledge , Keven Dell Proud

German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars , Allison Slingting

The Influence of the Roman Atrium-House's Architecture and Use of Space in Engendering the Power and Independence of the Materfamilias , Anne Elizabeth Stott

The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education , Angela Ames West

Theses/Dissertations from 2011 2011

The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork , Jethro D. Gillespie

The Movement Of An Object Through A Field Creates A Complex Situation , Jared Scott Greenleaf

Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading , Danielle Jean Hurd

A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art , Jordan Jensen

A Core Knowledge Based Curriculum Designed to Help Seventh and Eighth Graders Maintain Artistic Confidence , Debbie Ann Labrum

Traces of Existence , Jayna Brown Quinn

Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans , Kalisha Roberts

Without End , Amy M. Royer

Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class , Samuel E. Steadman

Preparing Young Children to Respond to Art in the Museum , Nancy L. Stewart

DAY JAW BOO, a re-collection , Rachel VanWagoner

The Tornado Tree: Drawing on Stories and Storybooks , Toni A. Wood

Theses/Dissertations from 2010 2010

IGolf: Contemporary Sculptures Exhibition 2009 , King Lun Kisslan Chan

24 Hour Portraits , Lee R. Cowan

Fabricating Womanhood , Emily Fox

Earth Forms , Janelle Marie Tullis Mock

Peregrinations , Sallie Clinton Poet

Leland F. Prince's Earth Divers , Leland Fred Prince

Theses/Dissertations from 2009 2009

Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain , Alison Daines

Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches , Mollie Elizabeth McVey

Beauty, Ugliness, and Meaning: A Study of Difficult Beauty , Christine Anne Palmer

Lantern's Diary , Wei Zhong Tan

Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes , Shelley Williams

Theses/Dissertations from 2008 2008

A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas , Monica Jayne Bowen

Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste" , Kiersten Claire Davis

Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy , Ashlee Whitaker

Theses/Dissertations from 2007 2007

Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum , Laura Paulsen Howe

And there were green tiles on the ceiling , Jean Catherine Richardson

Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition , K. Michelle Wimber

Theses/Dissertations from 2006 2006

The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour , Megan Marie Collins

Fix , Kathryn Williams

Theses/Dissertations from 2005 2005

Ideals and Realities , Pamela Bowman

Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland , John K. Derby

The Artistic and Architectural Patronage of Countess Urraca of Santa María de Cañas: A Powerful Aristocrat, Abbess, and Advocate , Julia Alice Jardine McMullin

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MFA Thesis: Finding a Balance

Writing an mfa thesis, thesis outlines, mind mapping.

• Group 4 Research Tips

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Writing an MFA thesis is a delicate balance between maintaining focus on your process and your art, while also using research and citations to put your art into a larger context with evidence as support for your claims.

Think of two extremes.   People write completely narrative theses, like this one . Other people write long, well-researched art history theses, like this one .  In the Lesley program you're aiming for somewhere in the middle, but you all might vary in how close they are to one or the other.

• HOW TO WRITE YOUR MFA THESIS IN FINE ART (AND BEYOND) A professor's tips and suggested exercises to help with writing

If you aren't sure how you want to organize your thesis, try mind mapping your ideas to find connections (scroll down for videos!) or read other MFA theses to see how other people organize a thesis.

Abstract vs. Practical

Notice how all the examples below compare in their organization (check out their table of contents!), even when dealing with a similar topic or medium!

• Example: Practical Organization This MFA thesis, written by Robert Bradley at The University of Texas Rio Grande Valley, is organized practically, with a section for each medium, a section on process, and a section on influences.
• Example: Abstract Organization This MFA thesis, written by Jin Lee at Illinois State University, is broken up by abstract headings. Instead of practical headings like "Materials" "Process" "Influences" the artist uses abstract ideas as her organization, like "Beginnings" and "Being Seen".

Notice how the two theses below both center around art and trauma, but how they organize their thesis is different. 

• Ceramics MFA Thesis, written by Alex Bailey at Southern Illinois University This one has a more practical organization. It is organized based on the artist's life and the chronology of healing, with sections called "One: Lived Experience", "Two: Trauma, Damage", "Three: Mending, Coping", "Four: Restoration".
• Visual Arts MFA Thesis, written by Angel Estrella at Clemson University This thesis has a more abstract organization, with sections called 'Seeing Feeling", "The Body Remembers", and "Inside-Out". The more practical information, like clay recipes, is includes as an appendix.

Process-Based Art

If your art is very focused on your process, you may want to find a way to put more focus on that in your thesis. You can have a section of your thesis about your process but for some people their work is very process-based so they speak to process throughout the thesis.

• Digital Production Arts MFA Thesis, written by Thomas Scott Rapp at Clemson University This thesis has a very practical organization, but it's focused on the preparation and process of creating. There is a section for background, one for influences, and one for production, and the results aren't discussed until the end. This puts the focus on the process and technique while still designating space to discuss the final product.
• The Pain that Love Produced Moton, Barrymore A. Illinois State University Check out the section "MEANING OF MATERIALS & RELATIONSHIP BETWEEN FORM AND PROCESS"
• My Culture Art in Healing Action Chavarria, Fabian. The University of Texas Rio Grande Valley, Process is discussed thoroughly in specific sections like: PROCESS AND MEDIA, MIX MEDIA, SCULPTURE, & INK ON CANVAS
• Curating Memories; Art as a Collection of Loss and Nostalgia Feagin, Christle Dawn. Azusa Pacific University There are intrinsic relationships between artists, their collections, viewers, cultures, and nostalgic memories resulting from loss. This thesis probes these deep-rooted connections by examining how early traumatic experiences inform not only the objects an artist collects and uses in their art, but also how viewers and culture perceive these creations.

Mind mapping is a great way to organize your thoughts visually.  There are digital tools you can use ( check out this list of 5 ) but it's usually more effective to create one on paper by hand.  They can be used for:

Studying:   Map a textbook chapter or lecture notes to better understand, remember, and make connections

Writing Papers : Map out your thoughts to generate a topic or thesis question, outline your supporting research, and find connections to help you with transitions

Presentations : Present information visually, so that the audience can see how your ideas are organized and connected

See mind mapping in action:

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• Last Updated: Jan 12, 2024 10:49 AM
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Undergraduate Program - Writing a Thesis

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

Pursuing a Thesis

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

Department Timeline of Thesis Preparation 

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

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

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

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

Overview of Key Dates for Thesis Preparation

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

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

Spring Semester, Junior Year

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

Fall Semester, Senior Year

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

Spring Semester, Senior Year

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

Senior Thesis Adviser 

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

Faculty Thesis Adviser 

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

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

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

Program Director, Harvard Undergraduate Architecture Studies Track

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

Undergraduate Program Coordinator

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

Academic Requirements – Written Thesis

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

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

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

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

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

Academic Requirements: Design Thesis in the Architecture Track

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

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

Course Requirements for Honors Consideration with a Design Thesis

Senior year – fall term.

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

Senior Year – Spring Term

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

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

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

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

Grading of the Senior Thesis

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

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

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

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

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

Thesis Readers 

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

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

Grade Report and Honors Recommendation 

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

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

Discontinuance of a Thesis 

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

Examples of Past Theses 

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

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Home > FACULTIES > Visual Arts > VISUALARTS-ETD

Visual Arts Theses and Dissertations

This collection contains theses and dissertations from the Department of Visual Arts, collected from the Scholarship@Western Electronic Thesis and Dissertation Repository

Theses/Dissertations from 2023 2023

sweeping the forest floor of frequencies , Maria A. Kouznetsova

Achy Awfulness , Rylee J. Rumble

Nonstop Digital Flickerings; , Sam Wagter

Theses/Dissertations from 2022 2022

Credulous Escapism , Brianne C. Casey

At Dusk , Michelle Paterok

Theses/Dissertations from 2021 2021

Marvelous Monsters , Thomas Bourque

On Ground , Matthew Brown

Pharmakon: From Body to Being , Jérôme Y. C. Conquy

The Other Neighbour of El Otro Lado , Anahi Gonzalez Teran

Neoliberalism, Institutionalism, and Art , Declan Hoy

Strings of Sound and Sense: Towards a Feminine Sonic , Ellen N. Moffat

Cyber Souls and Second Selves , Yas Nikpour Khoshgrudi

The No No-Exit Closet: An Alternative to No-Exit Pathways , Faith I. Patrick

Fleet: Nuances of Time and Ephemera , Rebecca Sutherland

Theses/Dissertations from 2020 2020

The Hell of a Boiling Red , George Kubresli

still, unfolding , Ramolen Mencero Laruan

Theses/Dissertations from 2019 2019

Spanning , Mary Katherine Carder-Thompson

The Medieval Genesis of a Mythology of Painting , Colin Dorward

Philosophical Archeology in Theoretical and Artistic Practice , Ido Govrin

Bone Meal , Johnathan Onyschuk

Inventory , Lydia Elvira Santia

Collaborative Listening and Cultural Difference in Contemporary Art , Santiago Ulises Unda Lara

Absence and Proximity , Zhizi Wang

Theses/Dissertations from 2018 2018

Then Again, Maybe I Won't , Claire Bartleman

and where is the body? , Tyler Durbano

Next to a River: Mobility, Mapping, and Hand Embroidery , Sharmistha Kar

Interfaces of Nearness: Documentary Photography and the Representation of Technology , Mark Kasumovic

Buffer , Graham Macaulay

The English Landscapes in the Seventeenth Century , Helen Parkinson

SuperNova: Performing Race, Hybridity and Expanding the Geographical Imagination , Raheleh Saneie

Slower Than Time Itself , Matthew S. Trueman

Skim , Joy Wong

Theses/Dissertations from 2017 2017

Gardening at Arm's Length , Paul Chartrand

Lesser Than Greater Than Equal To: The Art Design Paradox , Charles Lee Franklin Harris

Skin Portraiture: Embodied Representations in Contemporary Art , Heidi Kellett

Midheaven , Samantha R. Noseworthy

Drum Voice , Quinn J. Smallboy

Theses/Dissertations from 2016 2016

Beyond the Look of Representation: Defamiliarization, Décor, and the Latin Feel , Juanita Lee Garcia

Emphatic Tension , Mina Moosavipour

Symbiotic: The Human Body and Constructs of Nature , Simone Sciascetti

Thin Skin , Jason Stovall

On Coming and Going , Quintin Teszeri

Theses/Dissertations from 2015 2015

Crowdsourcing , Sherry A. Czekus

From Dust to Dust , Lynette M. de Montreuil

Hand-Eye , Michael S. Pszczonak

Abstraction And Libidinal Nationalism In The Works Of John Boyle And Diana Thorneycroft , Matthew Purvis

Tangled Hair: Uncertain Fluid Identity , Niloufar Salimi

Liminal Space: Representations Of Modern Urbanity , Matthew Tarini

Theses/Dissertations from 2014 2014

Creative Interventions and Urban Revitalization , Nicole C. Borland

What Lies Behind: Speculations on the Real and the Willful , Barbara Hobot

Turning to see otherwise , Jennifer L. Martin

Come Together: An Exploration of Contemporary Participatory Art Practices , Karly A. McIntosh

A Photographic Ontology: Being Haunted Within The Blue Hour And Expanding Field , Colin E. Miner

Matters of Airing , Tegan Moore

Liquidation , Amanda A. Oppedisano

Just As It Should Be: Painting and the Discipline of Everyday Life , Jared R. Peters

Clyfford Still in the 1930s: The Formative Years of a Leading Abstract Expressionist , Emma Richan

From 'Means to Ends': Labour As Art Practice , Gabriella Solti

Across Boundaries , Diana A. Yoo

Theses/Dissertations from 2013 2013

Following the Turn: Mapping as Material Art Practice , Kyla Christine Brown

Queer(ing) Politics and Practices: Contemporary Art in Homonationalist Times , Cierra A. Webster

Some Theoretical Models for a Critical Art Practice , Giles Whitaker

Lines of Necessity , Thea A. Yabut

Theses/Dissertations from 2012 2012

Out of Order: Thinking Through Robin Collyer, Discontent and Affirmation (1973-1985) , Kevin A. Rodgers

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WHAT EXPERT RESEARCHERS KNOW

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

Find Dissertations & Theses at Yale

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

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

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

Find Dissertations & Theses Online

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• Last Updated: Aug 17, 2023 11:33 AM
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Art History MA Thesis: Thesis

View examples of in-progress and completed theses from School students and alumni.

Before beginning work on a master’s thesis, the student must receive the Supervisory Committee's approval of a written proposal. The thesis may be an extension of a seminar paper, and it must demonstrate the student's ability to conduct rigorous research, indicate familiarity with bibliographical and reference materials, and show a capacity for the synthesis and critical evaluation of the material under consideration. A complete draft of the thesis approved by the Chair of the Supervisory Committee must be delivered to each member of the committee at least 30 days before the date of the Final Examination.

Supervisory Committees

Students should consult with the Graduate Program Coordinator and the faculty member of the field in which the student wishes to write a thesis to determine the appropriate chair of the Supervisory Committee. In consultation with the committee chair, the student forms a Supervisory Committee consisting of three faculty members, two of whom must be current members of the Art History faculty, including the committee chair. Adjunct or Emeritus faculty may serve on committees if the committee also includes two regular members of the Art History faculty. One or more members of the committee may be selected from a field other than art history if appropriate to the subject. The Supervisory Committee will be available for consultation with the student and will be responsible for final evaluation of the thesis. The Graduate School does not require notification of the membership of this committee. The committee chair shall keep written records concerning any formal agreements or stipulations regarding the student’s program of study and thesis.

Final Examination

The final examination is an oral defense of the candidate's thesis conducted by the Supervisory Committee. The Supervisory Committee must certify the results of the final examination. At the final examination, the graduate student and at least one Art History faculty member from their committee (or a substitute from the Art History faculty, if necessary) should be physically present when any members participate through audio or electronic conferencing.

Degree Application

Students must apply online to the Graduate School for a master’s degree in the quarter in which they expect to graduate; check the Graduate School website for deadlines . The filing of the online application (warrant) is the responsibility solely of the student, who must be registered for the quarter in which the degree is expected. Master's degree applications are valid for one quarter only; if requirements for the degree are not completed during this quarter the student must file a new application. The thesis must be submitted electronically to the Graduate School by the last day of final examinations of the quarter in which degree requirements are completed. Students will need to apply online in MyGrad for their degree updates and forms and to schedule their defense date. The application for graduation must be completed at least three weeks prior to the defense. The Master’s Supervisory Committee Approval Form and the warrant, generated by the online application, need to be submitted with original ink signatures of all committee members; when this is not possible, email approvals are permitted by the Graduate School. For further instructions, see the Graduate School website .

*Art & Art History*

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What are dissertations and theses?

American dissertations, international dissertations, haverford, swarthmore, and bryn mawr senior theses.

A dissertation is a book-length work prepared by a graduate student as a requirement for a doctoral degree (usually a Ph.D.)

A thesis is an in-depth essay prepared by a student as part of the requirements for a master's degree (usually M.A.) or for an undergraduate degree. 

• Networked Digital Library of Theses and Dissertations An international library of open access electronic theses and dissertations.
• Dissertations in Bryn Mawr's repository May include dissertations not yet available through the Proquest database (above). As of 2021, all Bryn Mawr dissertations will be open access within two years of degree. Download of older (non-open access) dissertations possible at Bryn Mawr.
• DART-Europe E-theses portal For searching across digital collections of theses in several different European countries, including the UK, France, Germany, Italy, Greece. Full text.
• Open Access Theses and Dissertations Masters' theses and dissertations from around the world that are available for download.
• British Library EThOS Electronic Theses Online Service Provides free access to theses from participating UK institutions of higher education. Service provided by the British Library.
• DiVA Theses from Swedish universities
• Greek Doctoral Dissertations (Εθνικό Αρχείο Διδακτορικών Διατριβών)
• TESIUNAM Full text access to dissertations written at the National Autonomous University of Mexico.
• Theses Canada Some available full-text, but others require borrowing or purchase.
• theses.fr French theses; some available full-text.
• Haverford College Senior Thesis Archive This link opens in a new window The library collects senior projects, including musical performances and creative writing as well as critical theses. This link provides catalogs and listings including all senior projects (in both paper and digital form), digital-only theses, prize-winning theses, and the oldest theses (1897-1918). Note that some senior work is available only in paper copies for use in Magill Library.
• Haverford Digital Senior Thesis Archive Students, with advice from faculty, determine the access level for their thesis, music composition, artwork, or other senior capstone project. User choices include open to all, trico, bico, Haverford only or dark archive with access only for department faculty. If you find a thesis that you cannot access, please write Krista Oldham . She will contact the author to ask for permission on your behalf.
• Selected Bryn Mawr Senior Theses A few senior honors theses nominated by faculty advisers.
• Swarthmore Digital Senior Thesis Archive Students, with advice from faculty, determine the access level for their thesis. User choices include open to all, trico, Swarthmore only or dark archive with access for department faculty. If you find a thesis that you cannot access, please contact [email protected] for assistance.
• Swarthmore College Print Senior Thesis Archive Kept in the McCabe Library Rare Book Room. Use this link to browse all titles from 1891-2002, or search Tripod by title.
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Art History Dissertations and Theses

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Recent Submissions

Synaesthetic Dress: Episodes of Sensational Objects in Performance Art, 1955-1975 

The life and art of Ōtagaki Rengetsu 

Like Life: Royal Portraits of the Joseon Dynasty (1392-1910) in Ritual Context 

The Thun-Hohenstein Album: Constructing and Commemorating the Armored Body in the Holy Roman Empire 

Situating Contemporary Korean Art in the Age of Globalization 

The Kōfukuji Nan’endō and Its Buddhist Icons: Emplacing Family Memory and History of the Northern Fujiwara Clan, 800-1200 

Embracing Death and the Afterlife: Sculptures of Enma and His Entourage at Rokuharamitsuji 

Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture 

Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture 

Chu-lu : a northern Sung ceramic legacy 

KITAGAWA TAMIJI’S ART AND ART EDUCATION: TRANSLATING CULTURE IN POSTREVOLUTIONARY MEXICO AND MODERN JAPAN 

An American Jesuit Treasury of Religious Art: The Van Ackeren Collection in the Greenlease Gallery at Rockhurst University 

Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei 

Carved into the Living Rock: Japanese Stone Buddhist Sculpture and Site in the Heian and Kamakura Periods 

Re-Framing the American West: Contemporary Artists Engage History 

The Diamond Ordination Platform of Tongdosa: Buddhist Spaces and Imagery in 18th-century Korea 

A Parade of Pictures: An Examination of the Illustrated Evolution of Gion Matsuri Throughout Japanese History 

Bertram Hartman (1882-1960), an early modernist from Kansas 

The Exotic Gift and the Art of the Seventeenth-Century Dutch Republic 

Upending the Melting Pot: Photography, Performativity, and Immigration Re-Imagined in the Self-Portraits of Tseng Kwong Chi, Nikki S. Lee, and Annu Palakunnathu Matthew 

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Art History Resources

• Guidelines for Analysis of Art
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Guidelines for Writing Art History Research Papers

• Oral Report Guidelines
• Annual Arkansas College Art History Symposium

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

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

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

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

Paper Format

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

Documentation of Resources

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

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

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

But the BIBLIOGRAPHIC FORM for that same book is:

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

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

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

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

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

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

B. Non-Print

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

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

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

C. Visual Documentation (Illustrations)

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

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

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

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

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

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

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Thesis Helpers

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

80 Art History Thesis Topics To Skyrocket Your Grades

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

Art History Thesis Topics on the Late Gothic Period

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

Inspiring Thesis Topics Art History

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

Art History Senior Thesis Topics

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

Undergraduate Art History Thesis Topics

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

Impressive Thesis Topics in Art History

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

Art History Photography Thesis Topics

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

Popular Art History Thesis Topics

• How science has influenced Ancient Greek sculptures
• What led to the shift of the Roman artistic styles in the 4th century?
• The relationship between The Great Wall of China and art.
• The place and role of women and politics in Ancient Rome architecture.
• Representation of males in Ancient Art.
• How did art influence architectural structures in ancient times?
• Why ancient Rome is full of art

Art History Thesis Topics Greek

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

Art History Thesis Topics Impressionism

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

Modern Art History Topics For High School

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

Ancient Art History Research Paper Topics

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

Compare and Contrast Topics in Art History

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

Did you find a professional topic from the list above? If not, you can use our quality thesis writing help online and get your assignment sorted right away. It’s simple, fast, pocket friendly.

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Vital Condition: 2024 BFA Thesis Exhibition

Vital Condition 

April 30 - may 11, 2024, katherine e. nash gallery.

Thursday, May 2: Public Program | 6:00 - 7:00 PM  Reception | 7:00 - 9:00 PM Outdoors at the Regis Center for ArtGallery hours: Tuesday – Saturday, 11:00 AM – 5:00 PM

The Katherine E. Nash Gallery at the University of Minnesota is proud to present Vital Condition , the BFA thesis exhibition, featuring the work of Nafyar Abdullahi, Miram Anglin, Shalom Berhane, Yang Chen, Jacquelyn  Fay,   Ellise Fedor, Katja Johnson, Aenea  Keren, Nina Lund, Thea Lauren Pineda, Mia Schultz, Sam Steine, Camden Stevens, Frey Tolhame,  Anh Tran, and Natasha Warwick.

Thursday, May 2, 6:00-9:00 PM Public Program | 6:00 - 7:00 PM  Reception | 7:00 - 9:00 PM Outdoors at the Regis Center for Art

Join us for a joint program from 6:00-7:00 pm for the BFA and BA Spring Class of 2024, followed by a reception with light refreshments from 7:00-9:00 PM, rain or shine, outdoors at the Regis Center for Art. That same evening visit the student curated exhibition, Temporal Exchange , in the Quarter Gallery.

The Katherine E. Nash Gallery spans 5,000 square feet for the presentation of exhibitions and related programming that engage with a wide range of artists, scholars, and collaborative partners.

Location Regis Center for Art (East) 405 21st Avenue South Minneapolis, MN 55455

Gallery Hours Tuesday - Saturday, 11 am – 5 pm

The Regis Center for Art is locked to the public on Saturdays, with U-card access only. Visitors can call 612-624-7530 to gain entrance into the galleries and should plan to enter the building's main entrance located on 21st Avenue South directly across from the parking garage.

Contact Us [email protected] 612-624-7530

Parking & Public Transit Learn more about the parking options below : 21st Avenue South ramp 5th Street South lot 19th Avenue South ramp

Hourly metered parking is available nearby on 22nd Avenue South and Locust Street .  The gallery is accessible via Metro Transit buses and light rail lines. For your best route, visit  Metro Transit Trip Planner .

Accessibility  Regis Center for Art is accessible to visitors who use mobility devices or prefer to avoid stairs. Service animals are welcome in the gallery.

A fully accessible, gender neutral restroom is available on the 2nd floor of the Regis Center for Art (West). To access this restroom, take the elevator to the 2nd floor and proceed across the skyway towards Regis West. As you exit the skyway the restroom will be directly across from you. Fully accessible gendered restrooms are located directly to the left hand side when exiting the gallery on the first floor of Regis Center for Art (East).

Large bags and backpacks must be left at the gallery front desk with the attendant. In order to protect the art, no food or drink is allowed in the gallery.

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USF 2024 Art & Design Senior Thesis Exhibition Now Open

Photo caption: Exhibiting artists for USF’s 2024 2024 Art & Design Senior Thesis Exhibition include (left to right) Mazi Niezgoda, Jaclyn Duske, Meghan Grilli, Alvaro Robles and Vada Arndt.

Joliet, Ill. – The community is invited to enjoy the artwork of University of St. Francis (USF) seniors as part of the current exhibition at the USF Art Gallery. The 2024 Art & Design Senior Thesis exhibition, which runs through May 31, 2024, highlights work selected from the thesis projects of graduating seniors majoring in Studio Art, Photography, Graphic Design, and Art Education. The exhibition serves as a culmination of their undergraduate experience, celebrating their growth as artists and their commitment to the rigorous process of artistic production. The Senior Thesis exhibition is a testament to the dedication and creativity of the graduating seniors, who have demonstrated their ability to contribute meaningfully to the discourse of contemporary art.

The USF Art Gallery is open from 10 a.m. to 3 p.m. every Tuesday through Thursday and is located 25 E. Van Buren Street in downtown Joliet. For more information on the exhibition or the gallery, contact USF Art Gallery Director Jennifer Moore at [email protected] or visit stfrancis.edu/artgallery/ .

About the Exhibiting Artists

Vada Arndt – Vada has fallen in love with the landscape and environment all around her. From familiar and nostalgic scenes, to commentary on her family’s long lineage in the Midwest, Vada has been creating artwork (whether consciously or not) depicting scenes familiar or directly pulled from twenty-something years’ worth of observation and admiration.

Vada works mostly in oils, but is also interested in using mediums which most effectively evoke the desired goal of a piece. Vada loves to see what is present around her as if seeing it for the first time, to realize how amazing it all is. The main goal for this project was to challenge herself to share what she sees in a way that allows others a glimpse of the stunning beauty in the ordinary.

Stephanie Behland – Stephanie is a talented Graphic Design major whose journey into the world of graphic design began in high school when she reluctantly enrolled in a computer arts class. This newfound passion led her to switch majors from elementary education to graphic design.

Currently, Stephanie is honing her skills through a marketing internship at USF, where she has also worked on design projects for various companies and organizations. Some of her notable clients include South Side XP Volleyball Club, the USF Dance Team, and Blue Taco Restaurant.

When Stephanie is not immersed in the world of design, you can find her dancing or exploring new travel destinations.

Jaclyn Duske – Jaclyn works with both photography and graphic design. While she loves experimenting with many forms of photography, she has found her passion in sport and concert photography. Jaclyn has had her work shown on The Today Show, KTLA, Country Now Magazine, and countless local newspapers. For her senior thesis, Jaclyn is showcasing both her sport and concert photography and design with images, graphic design pieces, screen prints, book designs, and her own concert merchandise designs.

Meghan Grilli – Meghan is a K-12 Visual Arts Educator major. Her thesis project, Little Miss Lilly, is a book series that she has written and illustrated based on real-life experiences. The stories follow Lilly, a young girl of an unspecified age, through her adventures of spending time with animals. The books aim to inform children of how to care for these various animals while maintaining a light-hearted atmosphere. Meghan’s goal is to extend the series from animals and incorporate educational themes that enlighten young readers on basic visual arts ideas and concepts. The set-up that Meghan has created within the USF Gallery is meant to replicate a young child’s reading area, much like one would see in real-time as a child were truly reading the stories.

Mazi Niezgoda – Mazi’s journey with graphic design started when she graduated from Plainfield Central High School. While trying to decide what she was going to do with the rest of her life, she began interning at a wedding photography company where they suggested she take a photography and photoshop course. This led Mazi on a path that fostered her love of graphic design. Mazi received her associate in graphic design at Joliet Junior College and continued her education as a graphic design major at USF.

When Mazi isn’t working on her numerous photography and graphic design projects, you can find her attending rock concerts throughout the summer.

Alvaro Robles – Alvaro aims to innovate and inspire with his art. He has a strong work ethic and takes pride in doing his absolute best. He is always ready for a challenge and seeks to learn new lessons whenever possible. Alvaro does not like to contain himself to one skillset, as he enjoys venturing into different areas of fine art. His style is very detailed and intense. He incorporates his life into his work. Each big project is a piece of his artistic timeline.

The University of St. Francis, in Joliet, Ill., serves close to 3,300 students nationwide and offers undergraduate, graduate, doctoral and certificate programs in the arts and sciences, business, education, nursing and social work. There are over 53,000 USF alumni across the globe. For information, call 800-735-7500 or visit stfrancis.edu .

University of St. Francis: Bigger thinking. Brighter purpose.

Published by News

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Home > Theses and Dissertations

Art Therapy | Theses and Dissertations

As the only Master of Arts in Art Therapy program in Northern California, Dominican University of California offers an intimate on-campus learning environment designed to prepare students for successful careers in art therapy while encouraging the artistic and therapeutic process.

This site brings together a collection of master's theses and doctoral dissertations from the students of the Art Therapy program.

Theses/Capstones from 2024 2024

Fantasia on a Theme of Purpose: Using a Music-Guided Scribble Technique to Support Meaning-Making in Older Adult Retiree Musicians , Sophia R. Smith

My Body as a Journey Accessing Pre-colonial Identity for Healing Intergenerational Transgender Shame , Jennifer Lagman

Online Friendships and the Bird’s Nest Drawing in the Age of the Internet , Ian Wong

Theses/Capstones from 2023 2023

Altered Stories, Altered Lives: An Exploration of Post Traumatic Growth from A Narrative Perspective with a Strengths Based Focus , Andrea Jones

Clay Use as Mindfulness for Women in Early Substance Use Recovery , Cheryl Feldman

Complex Narratives of Individuals Living with Alpha-gal syndrome (AGS). A mixed-methods investigation: examined through self-reported data, in-person interviews, and a group body mapping art therapy intervention , Sylvan Streightiff

Cultural Identity of And Implications for Later Generational Hispanic and Latino Populations In The United States , Tara Bustamante

Evoking the Art of Nature , Tessa R. Evans Keime

Exploring the Connection between Social Media & Body-Image and the Impact of Art Therapy Interventions on a Woman’s Self-Esteem , Courtney Engelhardt

Exploring Whether a Collage Art Intervention Enhances Levels of Resilience in Asian Americans Who Have Experienced Emotional Suppression , Casey Galaura

In-Between Space: Latinas Sharing their Stories of Cultural Integration , Maria Elena Fuster

Memes to Cope and Communicate , Priscilla (Nox) Ngo

The Course of COVID: How Has the Pandemic Changed the Ways Therapists Use Art in Their Therapeutic Practice? , Deborah Sharpe

Theses/Capstones from 2022 2022

Art Making To Reduce Stress in First-Generation and Second-Generation Hispanic Immigrant Parents , Maria Zepeda

A Survey Measuring the Impact of a Silk-Screen Printing Art Therapy Session on Psychological Aspects in Mothers of Children with Cancer: A Pilot Study in Riyadh, Saudi Arabia , Maha Rashed

Does Attachment Predict Coping Strategies? An In-Depth Look At Millennials During COVID-19 , Clinton Johnson

Doodling as Self-Expression: Building Self-Efficacy in Normally Functioning Adults , Journey Coward

Failure: A Heuristic Inquiry of the Experience of Failure Through a Nature Based Art Therapy Process , Lisa Manthe

Healing Racial Trauma and Reframing the Miseducation of U.S. America: Altering Exclusionary Textbooks as a Therapeutic Experiential , Kamaria Erin Wells

Illuminating the Increase of Intentional Dating in the COVID-19 Pandemic and its Connection to Relationship Satisfaction through the Lens of Photography. , Caitlin Carnegie

Improving Cognitive Decline for Persons Living with Dementia: Art Therapy Assessment and Interventions Based on the Expressive Therapies Continuum (ETC) Framework , Jinnie Jeon

Putting the Pieces Back Together: Using a Kintsugi-Influenced Directive to Promote Self-Forgiveness and Resiliency in Young Adults with Shame and Guilt , Marieev Krista Princer

The Therapeutic Benefits of Children’s Literature: Responding Through Making Art and Writing Stories , Janae Dueck

ZAP: Zoom Art Program with Adults Living with Acquired Brain Injury The Effect of Using Videoconferencing to Deliver ACT Art Therapy Intervention , Shari Weiser

Theses/Capstones from 2021 2021

An Art-Based Heuristic Study: How a Male Student with Asperger’s Syndrome Completed an Art Therapy Master’s Program , Stephen David Robertson

COVID-19: Our Hopes and Dreams , Anna Bazis Christie

Individual versus Sequential: The Potential of Comic Creation in Art Therapy , Christine Phang

Perspectives of a Diasporan: A Heuristic, Arts-Based Inquiry of the Importance of Therapy in Armenia , Anna Nairi Muradyan

The Meeting of Two Minds in the Intermediate State: The Art Therapist as a Guide in the In-Between, Immersed and Assisted by Contemplative and Transpersonal Theory , Samantha Mach

Where the Glass Glows: Unpacking the Therapeutic Experiences of Adult Students in a Community-Based Open Glass Studio During a Pandemic , Shelly A. Palmer

Theses/Capstones from 2020 2020

Ambiguous Loss of Dementia: Identity Exploration through Narrative Inquiry and Collage , Kayla Ormandy

Exploring Pathways Toward Psychobiological Safety through Mindful Body-centered Art Making with Sheltered Homeless Women , Alicia L. Dabney

Focusing-Oriented Art Therapy and Connectedness: Art as a Means to Spiritual Care for Asian Seniors , Chia-Yun Chiang

Seeing Resilience: A Qualitative and Arts-Based Research Study to Understand Images Made in a Photography-Based Mentoring Program , Sarah E. Kremer

Theses/Capstones from 2019 2019

Art and Drumming: A Study on Affect, Attachment and Self-Esteem within the Older Adult Population , Deanna Mank

Art Based Communication for Individuals with Dissociative Spectrum Disorders , Cynthia Wilson

Cultural Wellness Trends Assessed with Art Therapy , Lara Juhasz

Empowering Korean Adolescent Girls Using Smartphones as a Stimulus for Creative Expression: Response Art and Dialogue , Jee Hyun Kim

Theses/Capstones from 2018 2018

Yoga, Flow and Art Therapy: An Investigation Into Yoga's Effects on the Creative Process , Megan E. Lear

Theses/Capstones from 2017 2017

A Heuristic and Qualitative Study Investigating the Mechanisms of Change in Art Therapy , Brooke J. Sevin

A Study of Art Therapy in Identity Exploration and Self-Efficacy , Christine Cavasinni

Theses/Capstones from 2016 2016

Acquiring New Knowledge Through Art Self-Exploration and Collective Journaling to Enhance Cultural Humility in Art Therapy , Louvenia Jackson

Addressing the Mental Health Needs of Chinese American Women Cancer Survivors Through Art Therapy , Judy Thai

Amplified Voices: Art-Based Inquiry Into Elder Communication , Erin Partridge

An art therapy approach to increase the self-esteem of Latina pre-adolescent girls using narrative therapy , Amy Barron

Art and recovery: Utilizing art therapy to promote progression within a 12-step porgram for adults recovering from alcoholism and alcohol abuse disorder , Leslie Mueller

Art Response to Confusion, Uncertainty, and Curiosity During Group Art Therapy Supervision , Gwen J. Sanders

Art Therapy as a Support: for the Acculturation of East Asian International Students in the United States , Ie Roon Jung

Combating self-objectification and nurturing self-concept: Art therapy interventions with adolescent girls , Susan Rothermel

Combating Self-Objectification and Nurutring Self-Concept: Art Therapy Interventions with Adolescent Girls , Susan Rothermel

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