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"I chose this Research Master’s programme at Utrecht University primarily for its focus on global and transcultural art history, and my current supervisor, Prof. Thijs Weststeijn, is the author I referenced the most in my bachelor’s thesis – I feel very lucky that I can be his student now. So far, I'm very satisfied with this programme, and I don’t think I would have gotten similar experiences elsewhere. What I appreciate the most is the freedom and support provided in this programme. For example, in the Research Tutorials, we are free to choose the content, and the final evaluation is not limited to traditional formats such as academic papers or exams. I used this opportunity to learn how to craft a conference proposal – something I’ve always wanted to try but that is typically outside the regular bachelor’s and master’s curriculum. I also like the idea of turning our master’s thesis into an academic article, as I would like to pursue a PhD in Art History.

My internship at Landhuis Oud Amelisweerd was an unforgettable experience marked by numerous first times, such as presenting my research on the Chinese export wallpapers at the house to a group of artists who were commissioned to create ceramics inspired by the wallpaper designs, or giving advice to another museum with similar wallpapers upon my director’s recommendation. Throughout my time at the Landhuis, I have received so much trust, guidance, and support from both my colleagues and the volunteers there, which I cherish a lot."

"The highlight of my time in the programme was my internship at the at the Belgian Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels – the place to be for (and birthplace of) technical art historical research of Early Netherlandish painting, with ongoing projects as Closer to van Eyck and the restoration of the Ghent Altarpiece. There, I conducted research on Dieric Bouts, particularly his Descent from the Cross triptych from Granada’s Capilla Real which is currently being restored in the institute. In addition to historiographical work, I conducted innovative object-based research through a combination of archival, iconographical and technical research. I further had the opportunity to be part of the curatorial and scientific team organizing the exhibition at Museum M Leuven, which focused on material-technical research and restoration of Dieric Bouts’ paintings.

But most of all, my time in Brussels provided me with a rich international network of scholars in the field of Early Netherlandish painting, restorers, and heritage/conservation scientists – these relationships with both leading figures and fellow early-career scholars continue to shape my career. I am further currently writing two publications (to be published in a peer-reviewed journal) on my internship research together with my former supervisor and other specialists of the institute.

The freedom and support offered by the RMA programme at Utrecht University were invaluable. From shaping my research trajectory to connecting with an extensive international network, the program equipped me with the skills and knowledge to excel. These opportunities culminated in my Master’s thesis: the first technical art-historical overview of the 15th-century Bruges-based Master of the Legend of Saint Lucy. This thesis would not have been possible without the extensive options for (interdisciplinary) specialisation in the programme."

"My research focused on the representation of women makers in the Netherlands working during the 20th century. Through the program’s electives and numerous excursions, I connected with fellow students, professors, and other professionals working on similar topics, which greatly expanded my network. This ultimately led to a research internship at the Rijksmuseum’s Print Room, where I contributed to the "Women of the Rijksmuseum" project.

Thanks to this internship opportunity, I further developed my master’s thesis on the six inaugural all-women exhibitions during the first feminist wave in the Netherlands. After submitting my thesis, I soon began working as a scientific researcher on the "Women’s of the Rijksmuseum" project—an opportunity I would not have had without this master's program.”

"Meanwhile, I started as a PhD candidate at Utrecht University, looking at late medieval altarpieces and 3D reconstruction technology. What I liked about the Master's was that there was a lot of room to explore my own interests, and to decide for myself what kind of topics I found interesting."

"During my Master’s, I obtained experience in an international museum, through an internship at the curatorial department of the Gemäldegalerie der Staatliche Museen in Berlin. I was able to work together with the curator of Early Netherlandish and French Art, as well as the curator of Dutch and Flemish Seventeenth-Century Art. I assisted with exhibitions, conducted research on pieces from the permanent collection and familiarized myself with technical research. These skills and experiences proved invaluable for obtaining a position after the research Master’s programme.

After finishing the programme, I gained experience at the Netherlands Institute for Art History and Stedelijk Museum Alkmaar as a researcher, before obtaining a position as a doctoral researcher at the Ludwig-Maximilians-Universität in Munich. Here, I carried out research for my PhD as part of the ERC-funded project SACRIMA. In addition to writing my dissertation, I co-organized symposiums and workshops and assisted with both Bachelor and Master courses. The skills I obtained in Utrecht, such as setting up your own research projects, investigating primary and secondary sources, and conveying your findings in a comprehensive way, are all skills I still profit from daily, also in my current position as curator at Rijksmuseum Twente."

"During the RMA, I realized that I wanted to go further in research. Instead of focusing on traditional art historical methods, the programme made students aware of interdisciplinary approaches in art history such as technical art history, or research overlapping with other disciplines such as history of sciences, etc. I therefore acquired a large knowledge about different aspects of the early modern Dutch culture in a global context. Furthermore, I felt well-prepared to apply for PhD positions and to present my research in conferences.

The RMA Thesis was an amazing process and I felt well guided by my supervisor. I could develop excellent skills as a researcher as well as on the personal level (learning Dutch and academic English, being integrated in the Dutch culture, going to a large choice of cultural events, etc).

I did my internship at the museum Mayer van den Bergh in Antwerp. It is a small museum, which is an advantage because I was completely free to do what I wanted. I took this opportunity to research on their collection of still lives and to develop a concept for an exhibition about insects in still-life paintings. It was a great experience to examine so closely paintings while studying them. I could learn different facets of the museum world such as organizing small exhibitions, following the process of loans, researching in archives, meeting restorers, etc. I would recommend it to anyone who is interested into new adventures.

Right after my Master, I got a position in Germany and integrated an interdisciplinary Graduate Research Programme at the University of Konstanz in collaboration with the Stuttgart Academy. I am currently benefitting from the international network that I acquired during my time in Utrecht, as well as the research skills I could develop there.”