1) The terms ‘Baroque’ and ‘Rococo’ are too broad to be of any real use for defining works of art, architecture or material culture in the long eighteenth century. Argue for or against this proposition in reference to no more than three buildings, images or objects produced between 1660 and 1790.
2) Gérard Sabatier argued that the Palace of Versailles is an elaborate portrait of Louis XIV. What does the architecture, gardens and decoration of Versailles tell us about Louis XIV, his politics and his Court? Answer this question in reference to no more than two major elements of the chateau and its grounds.
3) The Jesuits played an important role in cross-cultural exchange in the long eighteenth century. To what extent did their missionary agenda influence the art and architecture that Jesuits produced, designed or commissioned for non-Western contexts? Answer this question in reference to no more than three images, objects or buildings.
4) Art historians often give the impression that architecture, painting and sculpture – the high arts – are the most important cultural artifacts left to posterity. However, everyday items such as clothes and jewelry reveal more about the human experience of the past. Argue for or against this proposition in reference to no more than three buildings, objects (including clothes and jewelry), or images.
5) How can we explain the popularity of erotic art in eighteenth-century France? Does it reflect the moral decline of the aristocracy in this period, or is there more to it than that? Answer this question in reference to no more than three images or objects.
6) The long eighteenth century was an age of French cultural supremacy. Argue for or against this proposition in reference to no more than three buildings, objects or images produced outside of France between 1660 and 1815.
7) The art and architecture of ancient Greece and Rome inspired the artists and architects of the long eighteenth century across Europe, but their approach to the classical past differed from that of their Renaissance predecessors. How did European artists in the long eighteenth century draw upon the classical tradition to create modern and innovative architectural or visual forms? Answer this question in reference to no more than three buildings, images or objects.
8) Thomas Crow has demonstrated that the Salons of the Royal Academy of Painting and Sculpture provided a new space for the public critique of the ruling class. Why was the Salon such a fertile space for social and political critique? Answer this question in relation to no more than three works of art exhibited at the Paris Salon between 1740 and 1793.
9) Write your own question! If none of the questions above appeal to you, or if there is another aspect of the course that has particularly piqued your interest you can write your own question. You will need to limit your topic to something that can be achieved in 2,000 words, so you only have the space to write on two or three buildings, images or objects at the most. The course convener must approve the question before you submit your paper.
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