Curriculum

The BU/Courtauld program includes two required 4-unit seminar classes, one taken at the BU London Academic Center and one taken at the Courtauld Institute alongside second year BA History of Art students. More information about the Courtauld Institute and its offerings can be found on their “Studying at the Courtauld” page.

Required Courses

Elective Courses

Students then choose two four-unit, 400-level elective seminars to take at the Courtauld: one in histories and one in approaches. The histories electives focus on a particular theme, historical moment or geographical region, offering rich explorations of the individual artists, artworks and spaces produced within it. The approaches courses focus on a particular theoretical or methodological framework, or set of frameworks, for thinking about art history. Below is an illustrative list of possible offerings for histories and approaches courses. The final list of courses will be available closer to the beginning of the term.

Elective Histories Courses

American Art and American Landscape, 1800-1920 (4 units)

Art and the Crusades (4)

Art and Cold War Politics (4)

Art, Travel and Imagination in the Middle Ages (4)

A Transnational Renaissance: Rome, Mantua, Fontainebleau (4)

Beyond the Great Wall: Mapping Contemporary Art on the ‘New Silk Road’ (4)

Learning from Paris : War, Internationalism, Postmodernism (4)

Reality and Fantasy in French Art, 1863-97: From Haussmannisation to Enchanted Ground (4)

The Art of Contact between Africa South of the Sahara and Europe during the Early Modern Period (4)

Elective Approaches Courses

Art and Magic in the Pre-Modern World (4 units)

Art History and Social Justice (4)

Art and Writing in the Twentieth Century (4)

French Thinkers Write with Contemporary Art (4)

Monuments and Memory (4)

Renaissance Art in the Making: Materials and Techniques (4)

Renaissance Art Sexual Politics (4)

Sisters / Outsiders / Citizens: Black Feminisms as Praxis (4)

Theory from Cennini to Vasari (4)

Ways of Seeing and Being Seen: The Politics of Vision in Modern and Contemporary Art (4)