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With modules covering art from the medieval period to the present day, this MA provides a structured introduction to the postgraduate study of the history and philosophy of art. You share your year between our Canterbury campus and Kent’s Paris School of Arts and Culture
The programme offers particular focuses on contemporary art, photography, Renaissance art, medieval art, 18th-century British painting, 19th-century French painting, modernism, aesthetics and the philosophy of art and film. You may elect to take a Philosophy of Art & Aesthetics pathway, which draws on the expertise of our Aesthetics Research Group.
A cross-cultural, interdisciplinary programme, you spend your first term at our Canterbury campus with full access to its excellent academic and recreational facilities. In the spring term, you relocate to the Paris School of Arts and Culture where you study at the Columbia Global Center (known as Reid Hall) in a historic corner of Montparnasse. You visit Paris in the autumn term, where you meet our Paris staff and are taken on a tour of the city. We offer advice and support to help you relocate to Paris.
The programme is intended for graduates in art history, philosophy and cognate subjects, such as fine art. It gives you the opportunity to pursue your interest in visual art at advanced level, to develop a high level of expertise in topics in history and philosophy of art and to prepare for doctoral research in history of art or philosophy of art.
To find out more about History of Art at Kent, follow our blog, Artistry.
The Paris School of Arts and Culture is a specialist, postgraduate centre located in the heart of Paris. We offer interdisciplinary, flexible programmes, taught in English, which take full advantage of all the cultural resources Paris offers. Study trips to the city’s museums, art exhibitions, archives, cinemas and architectural riches are an integral part of your studies.
The interdisciplinary nature of the School means you can choose modules from outside your subject area, broadening your view of your subject. As part of our international community of students and staff, you can take part in regular seminars and talks, write for the student-run literary magazine or help to organise our annual student conference.
Dr Grant Pooke, Senior Lecturer in History of Art, discusses the work and legacy of Brij Mohan Anand. A trenchant critic of both British Imperium and Indian militarism, BM Anand fashioned an exceptional range of work, from scratchboards, sketches, genre scenes, pastoral images and starkly modernist figure compositions to a series of late, apocalyptic landscapes.
The History & Philosophy of Art Department within the School of Arts, provides opportunities for graduate study with well-established researchers in the fields of art history, philosophy of art and aesthetics. Staff research covers contemporary art and aesthetics, modernism, theories of art, the historiography of art and the Cold War; biographical monographs, the photograph (in its historical, contemporary and critical contexts), and the historical interplay of image, theory and institutions from the Renaissance to the present (especially European and North American).
Developing areas of interest include the cultural and historical significance of the print, and the role of performance and new media in contemporary art practices, which draw upon our links with other subjects within the School of Arts and the Faculty of Humanities. In particular, postgraduates have the opportunity to participate in the activities of the multidisciplinary Aesthetics Research Centre and the Art History and Visual Cultures Research Centre. There is also a full programme of visiting speakers from across the constituent subject areas within the School of Arts, which includes Film and Drama.
An upper second-class honours degree or better, usually in a relevant humanities subject. In certain circumstances, the School will consider candidates who have not followed a conventional education path or who may have relevant experience in the industry. These cases are assessed individually by the Director of Graduate Studies.
Your application should include a sample of your academic writing. Ideally this will be an essay, on a similar or related topic, that you have recently written as part of your undergraduate degree programme. Please upload this to your application portal.
All applicants are considered on an individual basis and additional qualifications, professional qualifications and relevant experience may also be taken into account when considering applications.
Please see our International Student website for entry requirements by country and other relevant information. Due to visa restrictions, students who require a student visa to study cannot study part-time unless undertaking a distance or blended-learning programme with no on-campus provision.
The University requires all non-native speakers of English to reach a minimum standard of proficiency in written and spoken English before beginning a postgraduate degree. Certain subjects require a higher level.
For detailed information see our English language requirements web pages.
Please note that if you are required to meet an English language condition, we offer a number of pre-sessional courses in English for Academic Purposes through Kent International Pathways.
Duration: 1 year full-time
The following modules are indicative of those offered on this programme. This list is based on the current curriculum and may change year to year in response to new curriculum developments and innovation. Most programmes will require you to study a combination of compulsory and optional modules. You may also have the option to take modules from other programmes so that you may customise your programme and explore other subject areas that interest you.
This module will introduce you to key concepts that are central to understand fundamental debates in history and philosophy of art as well as art criticism. Some examples of key concepts are the notion of originality, influence, race, the aesthetic, fiction, beauty, gender and taste. The key concepts discussed in the seminars are subject to change.
The module will focus on Paris as a centre of artistic experimentation. The city served as the launch pad for key artistic movements from the mid-19th century through to the period after the Second World War (Impressionism, Cubism, Surrealism, etc.), and as a magnet for budding and established artists from all around the world. The module will take advantage of the great museum collections that encapsulate such developments (Musées d'Arte Moderne and d’Orsay, Rodin and Picasso Museums, Beaubourg, Quai Branly, etc.) and also of the major exhibitions on show in Paris in any given year.
'Paris: Portfolio' contributes to the MA in Creative Writing in Paris. The objective of ‘Paris: Portfolio’ is to produce work inspired by the cultural, historical and aesthetic location of the city, taking regular writing exercises, field trips and prompts as a starting point. This module aims to enable students to develop their practice of writing through both the study of a range of contemporary examples and practices, and constructive feedback on their own work. Each week, students read a selection of work, in a variety of forms (fiction, non-fiction, poetry, prose poetry, hybrid texts; as well as artworks, TV, film and other media). Students will work on a specific exercise and submit it for workshopping each week, which they will draw upon to produce a portfolio of creative work for the main assessment. They will be encouraged to read as independent writers, to apply appropriate writing techniques to their own practice and to experiment with voice, form and content. The approach to the exemplary texts will be technical as well as historical. At every point in the module, priority will be given to students’ own development as writers. It is an assumption of the module that students will already have a basic competence in the writing of poetry or prose, including a grasp of essential craft and techniques. The purpose of this module will be to stimulate students towards development and honing of their emerging voices and styles through engaging with various literary texts and techniques, and to consider how their work can develop with large chunks of time for independent study, reflection and exploration of a city like Paris.
Among the various paradigms from which diasporic writing should be distinguished is the literature of exile. Exile is often the consequence of political pressure or disaffection with a society rather than the result of the larger and often spatially and chronologically extended migratory movements which led to the emergence of diasporic communities. While both paradigms may intersect, the concerns and motivations of diasporic and exilic literatures usually differ.
A historically and culturally significant geographical, and frequently also imaginary, point of intersection between the diasporic and the exilic paradigms is the metropolis of Paris. In this module, our comparative focus will be on diasporic and exilic literatures and on the significance of the diasporic or exilic space of the French metropolis, both as production context and as informing literary production. Writers to consider include: American expatriates in 1920 (like Gertrude Stein, Ernest Hemingway, Henry Miller, F. Scott Fitzgerald and Djuna Barnes), in the Post World War II era (like Richard Wright and James Baldwin), and other writers who chose exile in Paris (like Heinrich Heine, Oscar Wilde, Rainer Maria Rilke, Samuel Beckett)
In this module students will focus on generating material, understanding their own writing process through practice and identifying their strengths and interests (literary and otherwise), with an emphasis on workshopping each week. They will work towards a fully realised and developed piece of writing, which may be self-contained or a part of a longer project. They may be continuing to work on an existing project, or starting something new. In seminar/workshops, they will give and receive constructive criticism, and work on editorial exercises to revise and refine their writing. Seminars will focus on reading selected extracts, process- and craft-focused texts, and reflective essays as a basis for class discussion. Seminar leaders will identify recommended reading tailored to individual students' interests and development.
The module is conceived as open to all Humanities MA students in Paris. It examines the medium of film, considering its specific qualities as an art and industrial form and the particular ways in which it is influenced by and influences other artistic and cultural forms in turn of the 20th century Paris. The emphasis of the course varies from year to year, responding to current research and scholarship, but it maintains as its focus the aesthetic strategies of film in contrast with other arts, technological developments, and historical change, particularly as they are developed in the growth of Paris as a city. The course also addresses the strategies used by the cinema to communicate with its historical audience. The course explores both the historical place of the cinema within the development of twentieth-century urban culture in Paris as well as how this historical definition informs the development of the cinema.
The course begins with an analysis of Raphael's frescoes in the Stanza della Segnatura of the Vatican Palace, as a means of introducing the key themes which will be considered throughout: proportion in architecture, the body and the geometry of vision; rhetoric, both verbal and visual, and the related concepts of variety, decorum, and composition; poetic inspiration, emulation and imitation; and the revival of antiquity. These themes are then reviewed as they occur in the writings of Leon Battista Alberti, the most evolved theoretical texts on the visual arts of the period. Alberti’s works raises the question of whether he was describing current practice or setting out an ideal, and also whether he was writing principally for artists or for their patrons? Alberti’s elevated claims for painting, architecture and, to a lesser extent, sculpture as liberal arts, are then compared with the contemporary status of artists, whether operating from a workshop or employed at court. The course continues by looking in detail at the works of four key Italian artists – Leonardo da Vinci, Michelangelo, Raphael and Titian – to assess how far they engaged with, or departed from, the Albertian paradigm. Albrecht Dürer, a northern European artist excelling in the less "noble" medium of printmaking, but also profoundly interested in issues of perspective and proportion, is considered to provide a non-Italian point of view on the Renaissance. Interspersed with these studies of single artists lectures may consider in greater detail particular themes raised by these artists’ works, such as the extent of artists’ knowledge of anatomy, the influence of the ruins of Rome, the Renaissance ideal of love, the creation of new styles by transgressing architectural rules for playful effect or to achieve “grace”, and the development in Venice of the genre of pastoral landscape. Alternatively, the work of other major artists may be considered such as Correggio, Parmigianino, Bandinelli etc. Having, broadly speaking, covered the period 1470-1550 chronologically, the course concludes by looking at the mid sixteenth-century reassessment of these artistic achievements in the writings of Dolce, Varchi and Vasari.
This module will introduce students to the history and theory of curating through a series of detailed case studies from the early modern period to the present day. These will focus on how collections have been formed and maintained, the nature of key institutions in the art world like museums and galleries, and in particular it will examine the phenomenon of the exhibition. Different approaches to curating exhibitions will be examined, and the responsibilities of the curator towards artists, collections, and towards the public will be analysed. Broad themes in the theory of curating and museology will be examined. Wherever possible the case studies chosen will draw on the resources and expertise of partner organisations, such as Canterbury Museums and the Institute for Contemporary Art.
France is the setting and inspiration for many plays first written and performed for London's professional theatres, 1576-1642. Whether in the history cycles that depicted Anglo-French diplomacy and war, or in the comedies and tragedies that revealed the ebb and flow of life in England’s near-neighbour, France as a site and space held a vivid place in the English imagination. This module is oriented around trans-national exchange (of ideas, people, goods, services) in early modern plays by Marlowe, Shakespeare, and other dramatists. France, and Paris in particular, will be read as a site of political unrest and religious fervour and debate, with the plays analysed in parallel to historical studies of the French Wars of Religion and networks of Anglo-French exchange during this period. Analysing the literary and historical contexts to these plays, the module will encourage students to think deeply about the dramatists’ creative engagement with issues such as national and religious identity, trans-national intellectual exchange, and the politics of difference.
The dissertation module gives students the opportunity to write a dissertation of around 12,000-15,000 words on a topic of their choosing relating to history of art or philosophy of art and aesthetics. The process of developing a topic and writing the dissertation is closely supported through classes during terms 2 & 3, and individual meetings with the student's dissertation supervisor. Supervision is usually by staff with direct research expertise in the student's chosen topic.
Assessment is by two assignments per module and the dissertation.
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In the Research Excellence Framework (REF) 2014, Arts at Kent was ranked 1st for research power and in the top 20 in the UK for research quality.
An impressive 98% of our research was judged to be of international quality. The School’s environment was judged to be conducive to supporting the development of world-leading research.
The Department has a collective interest in developing interdisciplinary projects, including projects informed by art history, curation and the philosophy of art or aesthetics. Shared areas of research interest include: photography, art theory from the Renaissance onwards; modernism and contemporary art.
The Aesthetics Research Centre coordinates, enables and promotes research in philosophy of art and aesthetics at the University of Kent. Its focus is on the dynamic and growing field of philosophy of art and aesthetics in the analytic tradition, and it is deeply committed to making connections and exploring synergies between that tradition and other approaches to thinking about art and culture, including those from other philosophical traditions, the humanities more broadly, the sciences, and all forms of art making and cultural production. ARC comprises a vibrant community of staff and postgraduate students across the School of Arts and Philosophy, and its activities include an annual programme of research seminars, workshops, symposia and conferences.
The Histories Research Group promotes and co-ordinates research amongst the growing community of staff and PG students active at Kent in the field of Visual and Cultural Histories. The Histories research culture brings together staff and post-graduate students from across the School of Arts whose research involves a cultural historical approach to their field. Whether it is in theatre, film or art history, the Histories group promotes and enables cultural historical research by holding a regular research seminar and supporting student-led initiatives, such as organizing conferences. For the range of world-leading research carried out by members of the Histories research group - from Raphael to Doris Day.
Other Research Centres within the School:
The Performance and Theatre Research Group’s mission is to create a warm and dynamic research community, welcoming everybody from fresher to professor. We are a delightfully broad church, with well-established expertise in a very broad range of subjects, including theatre history, performance and health, theatre and cognition, physical acting, applied theatre, performance and philosophy, performance and politics, European theatre, Greek theatre, Modernist theatre (especially the Bauhaus), theatre and adaptation, audience studies, cultural industries, variety theatre, puppetry, dance theatre, popular performance and stand-up comedy. As well as traditional academic research, we have led the field in creative practice-based research – and continue to do so.
The Group’s main objective is to support and produce cutting-edge research in the areas of film, media and culture. A broad and welcoming church for the manifold approaches to our subject, we specialise in research that is collaborative, of high impact, international and interdisciplinary in scope. We recognise film, media and cultural activity is best understood comprehensively in terms of aesthetic shapes, social roles, discursive formations, cultural meanings, psychological effects and/or economic realities, and best explained through attention to both institutional imperatives and individual agencies. Drawing together scholars from across the University – including Arts, European Culture and Languages, Digital Arts and Engineering, History, English and American Studies, Law, Sociology and beyond – the Group furnishes a lively, member-led research culture that serves as a forum for Kent-based researchers and as a beacon for the international community. Through our journal Film Studies and pioneering research projects and outputs we actively seek to shape the field, open lines of communication with the local community and engage with colleagues worldwide.
Full details of staff research interests can be found on the School's website.
Arts postgraduates have gone on to work in a range of professions, from museum positions and teaching roles to marketing and gallery assistants. Our graduates have found work with Tate Britain, the V&A, Museum of Childhood and other arts, culture and heritage-related organisations.
There is a large and wide-ranging library holding for History & Philosophy of Art, covering the fields of painting, sculpture, architecture, photography, aesthetics and contemporary visual communications. There is a substantial stock of periodicals, online access to e-journals and a slide library with well over 100,000 images, covering areas such as contemporary art, visual cultures, garden history and the film still, as well as traditional media. Kent is ideally located for access to galleries in London and on the continent.
In 2010, we moved into the purpose-built, and RIBA award-winning, Jarman Building located at the centre of the Canterbury campus. The new building is home to the Studio 3 Gallery and a range of teaching and social spaces as well as a dedicated postgraduate centre.
All postgraduate students are offered research skills training and the opportunity to take part in reading groups and research seminars at departmental, school and faculty level. Research students have the added opportunity for funded conference attendance. There is also a dedicated student support office at our Canterbury campus, which can offer support and guidance throughout your studies, in addition to an office in Paris.
In recent years, several members of the History & Philosophy of Art Department, both full-time and part-time, have been awarded University prizes for excellence in student support, curriculum innovation and research-based teaching – an ethos which we seek to extend to the postgraduate community.
Staff publish regularly and widely in journals, conference proceedings and books. Among others, they have recently contributed to: British Journal of Aesthetics; Art History; History of Photography; Journal of Aesthetics and Art Criticism; Journal of Visual Arts Practice; and The Philosophical Quarterly.
All students registered for a taught Master's programme are eligible to apply for a place on our Global Skills Award Programme. The programme is designed to broaden your understanding of global issues and current affairs as well as to develop personal skills which will enhance your employability.
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