personal statement for history of art

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Art History Personal Statement Guide

The idea behind personal statements is to give universities a clear picture of candidates who are applying to study there. They want to be certain that whoever joins as a student will have the intellect and drive to be successful at that institution.

The aim of personal statements isn’t to tell experts what their subject is about, but rather how you have come to it, what your thoughts about it are, and what about it really fascinates you. It also serves to explain to admissions tutors why you want to study that subject over any other, but it cannot, of course, be designed around any one institution if you’re applying to more than one since each receives the same statement.

Finally, a personal statement helps tutors to decide who to admit onto their courses as they’re eager to have those who’ll benefit most as their students. With all this in mind, where do you begin? This guide will support you through the writing of the statement and address various points along the way, namely:

• Why are Personal Statements Important?
• What Should I Include in an Art History Personal Statement?  
• What Should I Avoid in an Art History Personal Statement?  

Advice on How to Start an Art History Personal Statement  

Advice on how to finish an art history personal statement  .

What Should I Avoid in an Art History Personal Statement ?  

Any personal statement that begins with a cliché like ‘What is art?’ or ‘Art is the apogee of human self-expression’ immediately turns the reader’s attention off. Avoid clichés, familiar language, quotations, and overly elaborate prose.

Also avoid talking too much about anything other than you, so it’s fine if you drop the name of your favourite painting or artist into the statement somewhere, but don’t begin an involved analysis of the painting.

It may sound obvious, but also don’t lie. If you’re called for an interview, you’ll be questioned in depth on what you put into the statement, so you need to be certain in your knowledge of it.

Finally, avoid being specific about universities if you’re applying to more than one, but be as specific as possible about yourself.

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Many people are tempted to begin an art history personal statement with a sweeping observation about art in general or with a quotation from a critic; we don't recommend this. Begin by expressing in captivating but simple and direct language how you came to be absorbed by the subject and why you wish to study it at university.

The opening line should be memorable, but for the right reasons . Don’t set out to shock or provoke as you want the universities to been intrigued by you in a positive way. Remember that you want them to want to meet you and, ultimately, teach you for the next three years a at least.

Sometimes the beginning of the statement is the hardest to write, so brainstorm all the reasons why you’re interested in it and go from there.

You’ve hopefully followed a good structure for your statement and each section has led seamlessly onto the next, so the conclusion should feel like it’s coming at the right time.

The purpose of the conclusion is to condense your motivation and interest for the reader once more, without sounding repetitive. It should reinforce the points you’ve made, and make it sound like the only reasonable next step would be for you to embark on an art history degree.

Remember that you’ll be leaving the reader with another impression along with the first one in the introduction, so ensure it paints you in the best light and makes the reader want to meet you.

• What are some Tips for Writing a Strong Art History Personal Statement?
• How Long Should my Art History Personal Statement Be?
• What Kind of Extracurricular Activities Should I Include in my Art History Personal Statement?
• How Can I Tailor my Art History Personal Statement to the Oxford/Cambridge Course?

The visual arts have a huge specialist lexicon all to themselves. Words like pentimento , chiaroscuro , and geoglyph are common currency in the world of art. It’s therefore good to show some knowledge of these terms, perhaps when describing some art which particularly enticed you, but don’t overuse them (more than two is probably too many) as it will sound like you're forcing them in for the sake of it.

Art history is also a multidisciplinary subject that borders many other disciplines from conventional history and literature to psychology and chemistry. If you can show you have derived skills from other subjects that you could put to use during your degree, then so much the better. If you haven’t such skills, then show a readiness to develop them. Universities like to see you won’t be limited by either your current skillset or your willingness to develop further skills along the way.

The UCAS personal statement is limited to 4000 characters, which includes spaces, or 47 lines of the UCAS form (it depends on which you reach soonest). In a way, it’s a bit of a test to see if you can condense your thoughts concisely and precisely to communicate your desired meaning effectively, but also to make it fair to all candidates writing them (and admissions tutors reading them!)

The most obvious activities are those that encourage you to think deeply about art. Nearly every art history personal statement will talk about gallery or museum visits, which is fine, but try to stand out through your unique observations and thoughts about what you saw. Perhaps you saw an unusual depiction on an elephant tusk or came across an icon you were enticed by for some reason.

Whatever you include, try to make it interesting. Other worthwhile activities could be volunteering in museums or galleries, where you’d be assisting with the public perception and consumption of art, or doing a course either in fine art or an aspect of art history.

The key is to think outside of the box, and for every activity you mention, clearly state how it links to important maths-related skills.   

Whilst you cannot tailor your statement to one university too closely (since it's the same statement for all options on your UCAS form), you can show Oxbridge that you're aiming high in your applications.

It probably comes as no surprise that Oxford and Cambridge put a great emphasis on reading around your subject, even before you’ve started the course. The first place to look are their websites to see if they’ve recommended any titles to start with; remember, though, that it’s not just enough to read the books – you have to think about them too, so write notes and develop views.

It would be beneficial for the Oxford and Cambridge courses if you could also read one or more European foreign language, like French, German or Italian, as much of the critical material for art history is published in these languages. If you can, then mention is briefly, perhaps by implication when referring to an article or book you read.

Book your Art History Personal Statement Package

You can contact our Oxbridge-graduate Consultants on +44 (0) 20 7499 2394 or email [email protected] to discuss our personal statement packages.  

If you’d like to know more about Art History, we have admissions test guidance and interview preparation readily available.  

Our Oxbridge-graduate consultants are available between 9.00 am – 5.00 pm from Monday to Friday, with additional evening availability when requested.

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History of Art

Author: maria, applied in: winter 2020, university offers: ucl, the courltaut institute of art, exeter, birmingham, sussex.

"Alright, I'm here, so what's the big deal with this art thing?". Most people step into a museum and have no idea what they're doing. They are blissfully unaware of two things: one, art is not a concept exclusive to museums; and two, looking is easy, but seeing is the tricky part. So, they look around a few rooms for an hour or two, choose the "prettiest" of the bunch as their favorite piece, and might even try to read the information on signs nearby, but give up after realizing it does not explain the artwork at hand. This had been my own experience for as long as I could remember. I was always left frustrated and dissatisfied when as a kid, I would leave these supposedly legendary museums like El Prado or The Metropolitan feeling like I had been staring at computer desktop backgrounds for an hour. Nonetheless, I still wanted to go back and try again, to see if this time would be different because what I did understand was that there was something I was missing.

As it turns out, the key came in asking the right questions, the most basic and complex of which was simply "what is art?". It took me a while to realize that there was more to it than paintings and sculptures, and this epiphany came from film. Having watched anything from Hollywood classics to animated television shows from a young age, film had been an easier to digest version of fundamental concepts such as lighting, color, texture, and framing, and I quickly became fixated on video essays explaining the evolution and use of these techniques to better communicate story points to the viewer. I eventually applied them on my own to other works outside of film. It became particularly useful academically during an analysis of the film The King's Speech (2010), in which I compared its cinematography techniques to the style of french impressionist painters, and displayed the effects of context both in the creation of the film and the story itself.

However, music was my more immediate introduction to the importance of context. Within my household, you can find someone listening to baroque composers, rock and roll icons, or pop princesses at any given moment, and understanding the situation each artist found themselves in, both personally and historically, became the most interesting part of any conversation. It is expected to apply one's own emotions or perspective into their perception of anything, but knowing what led each artist to create a certain piece made it that much more intricate, as it now held an infinite amount of different meanings and interpretations. Even if the original intent was simply to create something aesthetically pleasing, or to pay the rent, this just makes grasping how it became something so important to other people that much more fascinating. It became a personal matter when I began to develop artistically and found myself with sincere empathy and appreciation of artists' need to feel seen, and awareness of the deep emotional impact art can have. It also drew my attention towards the techniques they used, and how they themselves found inspiration in their own idols.

I now find myself in their place, wanting to understand them better, to know the situation they created in, to see what they hid from the untrained eye and how they did so, in hopes of bringing the lessons they learned into my own work. Not only this, but I also hope to avoid that same sense of bewilderment that I had for so long in others, and to make the experience of interpretation something based on research and cultivated opinion rather than just a guessing game based on instinct.

Please note UCAS will detect any form of plagiarism. PSE and its contributors do not take any responsibility for the way in which personal statements are used.

History of Art Model Personal Statement

This is a model personal statement of a succesful oxbridge history of art applicant..

The Beheading of St John is the only painting Caravaggio signed; from the Baptist’s severed head, blood flows to form the name Michelangelo. This Baroque masterpiece hangs in St John’s Co-Cathedral, a place I often visited during my upbringing in Malta. While the Cathedral’s opulence intrigued me, I was overwhelmed by the painting’s gruesome content. I have, in recent years reassessed the painting, considering its aesthetic and cultural aspects anew. The Royal Academy recently paired Bill Viola's installations with Michelangelo’s drawings, I found this curatorial decision striking. Viewing the exhibition invited me to reflect on the transcendental aspects of existence. By studying History of Art, I aspire to engage with art on both an academic and spiritual level.

While my school doesn’t offer History of Art, my visual sensitivity drives me to explore it in other IB disciplines. The Theory of Knowledge course challenges me to question the relevance and impact of art while constructing balanced arguments that require acute critical thinking. In a recent presentation, I explored the extent to which a culture can be understood through its art, considering how aesthetic qualities are influenced by socio- cultural change. Reading Peter Burke’s ‘The Italian Renaissance’ inspired me to focus on Quattrocento Italy.

On a trip to Florence, I undertook independent research for my IB Extended Essay in which I analysed Masaccio’s use of illusion in ‘The Holy Trinity’. This exploration led me to contemplate the reliability of sources used to interpret art. Aesthetics is a branch of knowledge that enthrals me; I was recently challenged to consider Kant’s claim that disinterestedness is essential when experiencing art and making aesthetic judgements. On reflection - and reading John Berger’s ‘Ways of Seeing’ - I saw that an individual’s response to an image is influenced by personal differences.

Reading Berger also led me to consider the social presence of women in Western Art, as objects of vision. As an IB Psychology student, I find the dynamic social behaviour between male and female appearance relevant where, in our image- consumed culture, the iconic female nude becomes the image of contemporary advertising. During an internship with Space Marketing Agency, I experienced the way artworks have been creatively integrated into marketing to positively influence a brand’s image. I considered whether a distinction exists between art and marketing imagery.

Gallery visits fuel my ambition to develop my visual literacy through studying History of Art. Creativity drives me to contemplate what it is to be human; I find that art both holds and moves human emotion, forming an intimate vehicle of communication between creator and viewer that transcends space and time. As a Visual Art student, I have experienced both aspects of this relationship. I am currently working towards an exhibition, exploring the power of symbols using a range of mediums. On reading Nadia Choucha’s ‘Surrealism and The Occult’, I was thrilled to make connections between alchemical symbolism, Freudian psychology and Surrealist art: my Art coursework is an investigation of Dali’s ‘Les philosophies des Alchemise’.

Sharing my enthusiasm with others is extremely rewarding: I co-founded a school Art Club, inspiring students to respond to artwork. I attend History of Art Society where we interpret artworks in their cultural and historical contexts. As a member of my school’s Creative Writing Magazine editorial team, I was elected to design the front cover. My appreciation for literature led to me being chosen to travel to Ghana, where I volunteered for an NGO called Reading Spots which sets up libraries in rural villages. I am grateful to have experienced Ghanaian culture and the way creativity and education connect people. By studying History of Art I desire to gain knowledge that will enable me to creatively and intellectually navigate both our past and present visual cultures.

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What should I say in my personal statement?

Your personal statement is a critical component of your application because it allows us to better understand you, your interest in art history and understanding of the programme. But if you are reading this paragraph and contemplating an MA in art history we already know you love art. Do not start your essay with a statement to that effect. It is not necessary for you to tell us this or for you to repeat information in your CV or transcript outlining your qualifications (unless you wish to build on or explain this information in a specific way ). Be as specific as possible. If you took a class in something that inspired you, or made a trip somewhere that was transformative, explain why and how. The personal statement is not the place for grand sweeping statements about the importance of art in society or how meaningful it is to you. Use the personal statement instead to impress us about your knowledge about the discipline of art history, or, explain to us what you don’t know but wish to learn. If you don’t have a background in art history, explain why you still think you would make a good candidate.

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Sample Personal History Statement

by Talha Omer, M.Eng., Cornell Grad

In personal statement samples by field.

A personal history statement (PHS) provides an insight into your academic and professional endeavors. It should include your notable achievements as well as the challenges you have faced. The purpose of a PHS is to provide the admissions committee with a better understanding of your personality, your motivation, and how your prior experiences have prepared you for the future.

Here is a sample personal history statement of a student who applied to the anthropology program and got into several top schools like Columbia, Harvard, and Stanford.

Growing up in a family and society that strictly adhered to the traditional roles of a “proper conservative woman,” I have found pride in breaking free from these restrictive cultural expectations and in embracing my own identity and self-expression.

As the first female in my family to study arts, I remember feeling discouraged when, during a sixth-grade science class, I was lectured by my teacher on the importance of hard sciences and the perceived uselessness of arts. This came after she saw my notebook filled with a detailed sketch of the circulatory system of a frog. Her face betrayed her disdain. The muffled laughter of my classmates seemed to confirm her notions – as if to say that only the truly intelligent pursued careers in the hard sciences.

During my tenth-grade, my family pressured me to choose a science-based curriculum over one that focused on arts and humanities. But I refused to give in and instead found a way to combine my love of art with my disdain for science. When words failed me and I felt stifled by my circumstances, art became a reliable outlet for self-expression, full of vibrant colors and offering endless opportunities for creativity.

During my senior high school year, I finally took control of my own future and decided to study fine arts. This choice opened the doors to a whole new realm of possibilities, allowing me to pursue the future I had always dreamed of. In college, I approached my studies with a sense of exploration, as if I were an adventurer in uncharted territory. Each new topic and area of knowledge helped me to grow in objectivity, intellect, and wisdom.

My journey through the world of art and culture has been filled with magnificent pieces and spellbinding paintings, as well as the opportunity to learn about and appreciate the glorious civilizations that reached the pinnacle of trade, art, and culture. My coursework in the history of art piqued my interest in anthropology, and I was particularly fascinated by the ancient Egyptian civilization, whose artifacts, hieroglyphics, and art offered a window into its evolving languages, unique architecture, and transformative culture. Similarly, in Greek civilization, I discovered how art and politics intersected and shaped public opinion, and how philosophy and politics were intertwined.

Art is often thought of as an individual expression, but when considered as a collection, it can have a powerful impact on society. I am fascinated by the relationship between the arts and the evolution of social, political, cultural, and religious systems and constructs.

It has been difficult for me to come to terms with the fact that I have lived in two worlds that often seem incompatible. On a daily basis, I find myself immersed in a culture that imposes strict rules that limit my intellectual and expressive freedom. Whenever I had the opportunity, I immersed myself in the emotive world of curiosity, human expression, and perspective, where individuals create cultures that have outlasted even the most famous nations throughout history. Unfortunately, this parallel universe abruptly came to an end when I graduated.

Working as a professional graphic designer and photographer made it clear to me that I wanted to pursue a Master’s degree. Unfortunately, it took me over a year and a half to convince my family to allow me to do so, rather than simply getting engaged and becoming the first female in my family to pursue a graduate degree.

Attending the country’s premier National College of Arts allowed me to expand my education and skills across the fine arts. This broader exposure helped to refine my academic interests, and I was able to bring these interests together in my thesis on self-harm.

My experimental short film, “Pain of Disappointment,” and accompanying paper explored how the society cope with the expectations placed on them by their families to be successful. The film and paper highlighted the prevalence of self-harm in the society, and how it manifests itself physically, emotionally, and mentally. Through this project, I sought to educate people about self-harm and its impact on our society.

As the first woman in my family to pursue an advanced degree outside of the country, I hope to use the science of Anthropology to explore how individuals can transform negative energies into positive expressions that contribute to and benefit society. Additionally, as a woman growing up in a male-domindated society, I am interested in using Visual Anthropology to study suppressed issues and effectively inform all segments of society, including those who are illiterate, in order to empower everyone to reclaim their pride.

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Guidance for Applicants

The Department of the History of Art seeks, among other things:

• to promote in all its students verbal and visual skills that are transferable to a wide range of employment situations and life experiences.
• to provide challenging undergraduate courses that engage the critical intelligence, imagination and creativity of the students; that develop their independent thinking by drawing on technical skills in art historical investigation and exposition; that increase their sensitivity to the human issues at the heart of the analysis of past and present cultures.

Our admissions procedures are designed to select those students best fitted by ability and potential to benefit from the intensive, tutorially-based learning methods employed in the courses on offer to achieve these goals. While academic staff selecting students will be guided in their decision-making by the admissions criteria, it is important to remember that selection involves complex professional judgments and that selection for places at Oxford takes place in a highly competitive environment. On both counts, mere possession of the qualities identified in the admissions criteria does not guarantee a candidate the offer of a place.  For further guidance please follow the links below.

Qualifications

No specific A-levels are required, but students will be expected to receive scores of AAA or higher, including at least one examination that demonstrates essay-writing skills. If four A-levels are taken, conditions will only be set for three of them. Other equivalent qualifications are also accepted, please see the University International Qualifications Page.

Students do not have to take an A-level in Art History in order to apply to the course. Qualifications in Art or Art and Design are welcome, but students should note that at least one other examination involving essay-writing skills is also required. A-levels that demonstrate essay-writing skills include subjects such as Art History, History, English, Modern or Classical Languages, and some Social Science subjects. General Studies would normally not be accepted as an A-level subject. Please see the main undergraduate admissions page for further information.

Please contact the central University Admissions department with your specific admissions and qualification queries by asking a question using the online form here .

General guidance on writing your personal statement can be found at  http://www.ucas.com/how-it-all-works/undergraduate/filling-your-application/your-personal-statement

General guidance for your academic referee can be found at  http://www.ucas.com/how-it-all-works/advisers-and-referees/referees/undergraduate

General guidance for international applicants can be found at  http://www.ucas.com/how-it-all-works/international/how-apply

Guides for teachers and advisers at schools, colleges and other centres who advise potential applicants can be found at  https://www.ucas.com/advisers/guides-and-resources

Written Work

Applicants are asked to submit two pieces of written work. The first must be a marked essay from an A-level or equivalent course, no longer than 2,000 words. This will demonstrate the ability to construct a sustained written argument. 

The second must be an essay of no more than 750 words written in response to a piece of art, architecture or design. Applicants should have first-hand access to their chosen object so that they may examine it closely in person. In writing their response applicants may focus, as they wish, on whichever aspects of the object they consider to be most significant.  These might include the medium, the design or style, the technique, the subject matter, and/or the location. No special preparation or research is required for the 750 word analysis, which should be based on the applicant’s personal response to the object and should demonstrate curiosity and visual acuity and the ability to ground an argument in visual analysis.  I t should be a new piece of writing, not previously submitted for another programme.

Applicants should include a good quality reproduction of their chosen object.  Note : Although access to museums and galleries is currently restricted due to the COVID pandemic, candidates should bear in mind that suitable objects may still be accessible.  Candidates may wish to write about a local building or public sculpture or a work of art in those spaces to which they still have access.  However, if a candidate feels that it is impossible to access a suitable object first-hand, they may write about an object that they are able to view in good quality reproduction.

All written work must be submitted to the College Admissions Office by 10th November.   Please refer to your application college for guidance on how to submit your written work.

Students invited for interview will be given two interviews, normally one including a tutor from the college to which you apply, and the other with two further college tutors / other members of the Department.

One interview will normally focus on the candidate’s submitted work and personal statement.  In the second the candidate will be asked to discuss photographs of works of art, buildings, or other artefacts.  Candidates will not be expected to recognize the objects, which are generally not well known.  Candidates will be assessed on their ability to engage intelligently in visual analysis and to make connections where relevant between the objects and their historical and cultural context.

You may find the video available on the BA History of Art course and how to apply for it useful. Professor Geraldine Johnson covers the application process and what to expect in admissions interviews.

Selection Criteria

Admission to the degree for the fourteen students per year will be highly competitive.

The following criteria will be applied in the assessment of candidates for the B.A. (Hons) in the History of Art.

• Intellectual curiosity
• Conceptual clarity
• Flexibility (that is, the capacity to engage with alternative perspectives and/or new information)
• Accuracy and attention to detail
• Critical engagement
• Capacity for hard work
• Enthusiasm for the visual arts
• Evidence of the potential to develop an art historical imagination (that is, the ability to ground an argument in visual analysis and to make connections where relevant between art works and their historical context)   

Candidates will be assessed against these criteria on the basis of information derived from the following sources:

• UCAS forms, including in particular personal statements, school reports, qualifications achieved and qualifications predicted
• written work submitted by candidates (which will include a marked essay from one of their A-level or equivalent further education courses and a 750-word response to a piece of art, architecture or design, interpreted in the broadest sense, to which they have had first-hand access)
• performance in interviews
• comparison, in all these areas, with other candidates

Every effort will be made to take into account the special needs or particular circumstances of all candidates in making judgments on these matters. Within these general criteria, the assessment of written work and interviews is guided by more specific criteria.

Written Work Criteria

In assessing items of submitted written work, selectors will bear in mind the criteria listed below. Selectors will take into account the circumstances under which the work was written, in their best judgment, having regard for the information provided on any attached sheets and to comments made by teachers where these exist. Such circumstances might include the time allowed for the exercise, the level of the exercise and the resources made available to candidates.

• critical reading and critical looking, when applicable
• an analytical approach
• coherence of argument
• precision in the handling of concepts and in the evidence presented to support points
• precision, clarity and facility of writing
• relevance to the question, when applicable
• art historical imagination, when applicable (that is, the ability to ground an argument in visual analysis and to make connections between art works and their historical context)
• originality, when applicable

Interviewing Criteria

A general aim of interviews is to establish a sense of a candidate's potential for study at university level and to assess his or her aptitude for the small-group teaching that lies at the heart of Oxford’s tutorial-based system. Interviewers will assess the following abilities of candidates:

• clarity of thought and expression
• analytical ability
• flexibility (that is, the capacity to engage with alternative perspectives and/or new information in small-group discussions)
• enthusiasm and commitment
• the use of appropriate cultural and historical knowledge (that is, demonstration by candidates that they have understood well what they have studied and that they are able to deploy cultural and historical evidence in support of an interpretation)
• potential to develop an art historical imagination (that is, the ability to ground an argument in visual analysis and to make connections where appropriate between art works and their historical context)

Interviews will be designed to allow selectors to measure candidates against these criteria.

You may find the videos available on the BA History of Art course and how to apply for it useful. In one of these videos, Professor Geraldine Johnson covers the application process and what to expect in admissions interviews.

Mature Applicants

Mature applicants (aged 21 and over at the commencement of study) may choose to apply to  Harris Manchester College , an Oxford college dedicated solely to teaching mature students of both sexes. It is also possible to apply to another college offering History of Art.

Further guidance on applying through Harris Manchester, including qualifications, the application process and written work can be found at: How to Apply | Harris Manchester College (ox.ac.uk)

Mature applicants who are unable to provide marked coursework may submit an essay written specifically for the application, as long as it is submitted with an explanatory note on the cover sheet.

Suggested Reading

If you are considering the History of Art for study at university, you might like to look at an overview of the field, such as the anthology edited by Donald Preziosi, and sample some of the very diverse approaches to the subject taken by our own teaching staff:

Donald Preziosi ed., The Art of Art History: A critical anthology (Oxford University Press, 2009).

Geoffrey Batchen, ‘Natural Relief: Antoine Claudet and the stereoscopic daguerreotype,’ History of Photography, 44: 2-3 (2020), 94-110.

Cora Gilroy-Ware, ‘At Tate Modern,’ London Review of Books, 42: 3 (6 February 2020): https://www.lrb.co.uk/the-paper/v42/n03/cora-gilroy-ware/at-tate-modern. 

Geraldine Johnson, ‘(Un)richtige Aufnahme: Renaissance Sculpture and the Visual Historiography of Art History,’ Art History, vol. 36 (2013), 12-51.

J.P. Park, ‘Koreans are White?: Art, nation and post-globalization,’ Third Text, 27: 4 (2013), 510-534.

Gervase Rosser, ‘The transformative image’, with Jane Garnett, Art Bulletin, 94 (2012), 22-4.

Alastair Wright, ‘On the Origins of Abstraction: Seurat and the screening of history,’ Art History, 41: 1 (2018), 72-103.

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History personal statements: how to impress

What else to include in your history statement.

• Why you want to study history: this is an obvious one, but try and bring your love of history to life with evidence. The best statements are those that go straight into engaging with what currently inspires you about the subject, not simply 'as a child when my uncle took me to a castle...'.
• Relevant experiences: one way to show your engagement with the subject is to talk about an experience and – crucially – what it was you learned. This could be a museum or gallery visit, volunteering, wider reading you've undertaken – even a powerful documentary or insightful discussion with your grandparents. A tutor told us one of the best statements they've read opened with a short account of a conversation with a grandad about his experiences in World War II.
• How other subjects give you useful knowledge or skills: try to do this in an interesting way (rather than just listing out what else you're studying), giving a sense of your broader reading and intellectual interests.
• Career aspirations: if it's relevant, explain where you see yourself in future and how a history degree can help you get there. Don't forget to elaborate on why – many history students say they want to be teachers or journalists, for instance, so saying this alone won't help you to stand out.
• Relating it back to history: Dr Selina Todd from the University of Oxford told us she's looking for creative evidence of your engagement with history. That could be through work experience or creative writing, an interest in current affairs and how history helps us to understand them, or maybe something about how your hobbies and personal interests fit with history. For example, if you play in a band, are you also interested in music of the past?

Key skills for history students

Highlight any skills you've developed that would make you a strong candidate for studying the course at university level. These could include:

• Independent research: the University of Bristol is 'particularly eager to identify applicants whose interest in the subject extends beyond the A level syllabus and who are keen to engage in independent research', for example.
• Awareness of key historical concepts: Dr Pigney from Goldsmiths told us he's especially impressed with applicants whose statements engage with fundamental historiographical questions, such as the extent to which history is a collection of different stories told from different viewpoints, or whether there is a single true account of the past.
• Self-motivation: demonstrate how you can think coherently, analytically and critically, can research and write independently, and manage your time effectively.  

Things to avoid

The tutors we spoke to stressed the importance of researching your chosen courses to ensure that the content covered actually matches your interests. Your enthusiasm for Ancient Rome won't stand out in a good way if one of the courses you're applying for only covers historical periods after 1500 – so read the course content thoroughly (you can look up courses and read detailed descriptions with our search tool ).

Don't devote too much space in your statement to your extracurricular activities. Keep this section brief and relevant, using it to show how you're a well-rounded applicant. Dr Todd from Oxford told us she doesn’t want to see random hobbies or qualities which have nothing to do with the course or its selection criteria. Here are a few final pointers:

• Avoid using long quotations in your statement – 'we want to know what you think!'
• Don't just say: 'I have a passion for history' – demonstrate it.
• Misspelling and grammatical inaccuracies are a no-no. History is a literate subject, so it needs to be well written.  

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Money blog: Tipping rule changes begin tomorrow - what you need to know

Restaurants will be banned from withholding tips from staff under new rules coming into force tomorrow. Read this plus all today's consumer and personal finance news and tips below - and leave your thoughts in the comments box.

Monday 30 September 2024 15:59, UK

• New tipping rules begin tomorrow - what you need to know
• Oasis won't use dynamic pricing for US shows - and fans who bought UK tickets aren't happy 
• House prices grew fastest in two years in September

Essential reads

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Oasis have abandoned the use of dynamic pricing on tickets for their upcoming North America tour dates.

The band earlier announced five shows in Canada, the US and Mexico in August and September next year, saying America had "one last chance to prove that you loved us all along".

But in an official statement shortly after the new dates were announced, Oasis said Ticketmaster's dynamic pricing model where prices vary based on demand - which caused chaos for fans in the UK and Ireland recently - will not be used in the sale of tickets.

They said that while the model "remains a useful tool to combat ticket touting", an "unprecedented ticket demand" mixed with "technology that cannot cope with that demand" makes the system less effective and causes issues for fans.

"We have made this decision for the North America tour to hopefully avoid a repeat of the issues fans in the UK and Ireland experienced recently," Oasis said.

There's been no suggestion that fans who bought tickets at inflated prices during the 31 August sale will be offered refunds.

Many have reacted angrily on social media, demanding that the difference between the higher priced tickets and their original face value be refunded.

"Do the decent thing," said one user.

"If you were truly sorry about it, you would refund the difference between original face value and what your fans paid. Otherwise statements like this are empty platitudes," said another fan.

Others questioned the statement by the band that dynamic pricing was reducing ticket touting.

Fans suffered various problems with ticket websites after Oasis announced their reunion, from being kicked out of the queue because they were labelled bots, to some ending up paying as much as £355 for tickets originally advertised for £148.

In the UK, the Competition and Markets Authority (CMA) has launched an investigation into Ticketmaster, looking at how dynamic pricing may have been used, and whether the sale by Ticketmaster may have breached consumer protection law.

Ticketmaster says it doesn't set concert prices and they are down to the "event organiser" who "has priced these tickets according to their market value".

Every week we ask one of the best chefs in the country to pick their Cheap Eats where they live and at home.

We've talked to chefs across the UK, from Northern Ireland to Norfolk - and every day this week our focus will be on London.

This afternoon, in our second chef interview of the day, we speak to  Gary Foulkes, executive chef at Cornus  in Belgravia, and formerly of one Michelin-starred Angler.

Hi Gary, can you tell us your favourite places in London where you can get a meal for two for less than £40?

Living in central London, we're very lucky to have lots of great places to eat on our doorstep. I often go to Master Wei in Holborn. Really tasty hand-pulled Xian noodles and the beef pao mo soup is particularly good. My son always goes for the tomato and egg hand-pulled noodles served in soup. It's just really tasty food served in a friendly, bustling environment. 

Diwana Bhel Poori House on Drummond Street, Euston, is another favourite - delicious Southern Indian vegetarian food. I normally go for the bhel poori, samosa chaat and masala dosa - also don't miss the gulab jamun for dessert. It's amazing value for the quality of the food you receive. 

Roti King , also in Euston, does some of - if not the - best Malaysian food in London in my opinion. Roti canai is my pick when I go here, but the beef rendang is also very tasty. Be prepared to queue, but it's worth the wait! 

What is your go-to cheap eat to cook at home when you have a night in?

When I cook at home, it's always something simple and the general go-to is chicken katsu curry and rice. I use chicken thighs instead of the breast as they have more flavour. 

I also gently beat the thighs using a meat mallet or rolling pin to pound it to an even thickness before I breadcrumb and cook - this helps ensure even cooking and helps to slightly tenderise the meat. 

I do cheat a bit though and use katsu curry cubes for the sauce! 

How did you get into cheffing?

There was never any romance behind it - it started off as a work experience placement when I was at school.

At the end of the week the chef offered me a job, which I took, and it just progressed from there. I loved the atmosphere in the kitchen - people were having a laugh while doing their work and some great banter flying around and that's what I enjoyed about it in the beginning. 

We've spoken to lots of top chefs - check out their cheap eats from around the country here...

If you have an HSBC credit card, you may be able to earn up to £150 in cashback on groceries, fuel and transport over the next three months - but you have just a few hours to opt in.

It could be a great way of getting free money on purchases you are already making (but just make sure to pay your card off in full each month or risk wiping out any potential cashback gains).

HSBC says just under a million people are eligible for the deal, with no minimum period on how long you must have had your credit card.

How it works

You need to opt in before midnight tonight (Monday 30 September) - failing to do so means you won't get any cashback.

Once opted in you'll earn up to 10% cashback (max £50 a month) on most grocery, fuel and transport spending for three months. When you apply, you will be told how many purchases you must make each month to qualify for any cashback - you'll be given your own personal threshold.

A few exclusions

Groceries include online food shopping, bakeries and corner shops but excludes Amazon fresh, department stores and takeaways.

Fuel includes any purchased at UK service stations and electric vehicle charging.

Transport includes most public transport in the UK but none abroad.

September saw the fastest annual house price growth in two years, according to the Nationwide Building Society housing index.

UK house prices increased by 0.7% in September, it said. This resulted in the annual price growth rate accelerating from 2.4% in August to 3.2% in September, the fastest pace since November 2022 when there was a 4.4% rise.

The average UK house price in September was £266,094.

Property values in Northern Ireland performed the most strongly for annual growth in the third quarter of this year, with prices up by 8.6% year-on-year, Nationwide said.

East Anglia was the weakest-performing region, with prices down by 0.8% over the year.

Robert Gardner, Nationwide's chief economist, said prices now remain around 2% below the all-time highs seen in summer 2022. 

Tom Bill, head of UK residential research at Knight Frank, sounded a note of caution.

"Falling mortgage rates led to an increase in house price growth in September, with demand also boosted by buyers putting off decisions until after the election," he said.

"However, the mood has since turned more cautious ahead of the budget following suggestions by the government it will be painful. We think prices will end the year a few percent higher but sellers should be aware that buyer exuberance will be in short supply in the final months of the year."

Restaurants will be banned from withholding tips from staff under new rules coming into force tomorrow. 

The rules will apply across the hospitality industry and to any business that allows tipping. 

It means more than two million workers will be able to keep hold of an estimated £200m a year that is paid by customers in tips, gratuities and service charges.

It has been around eight years in the making, but there are fears some restaurants - who can now no longer rely on tips to supplement staff wages - will increase their prices. 

Saxon Moseley, head of leisure and hospitality at consultancy RSM, was quoted by The Guardian as saying: "Those that have been using the service charge to pay staff or to partly offset their wage bill are still going to have to pay their staff, but now won't be able to draw on this cash fund.

"And in that scenario, margins will be hit, in some cases fairly drastically."

Cash tips were already protected, but the new legislation extends this to cover card payments. The law was initially set to come into effect from July, but was delayed.

What does the new law say?

Employers must pass on tips to workers without any deductions and a draft statutory code of practice sets out how tips should be distributed to demonstrate fairness and transparency.

Employers should have a written policy on tips and record how they manage them. Workers will have rights to request information about an employer's tipping record – this will allow them to bring credible claims to an Employment Tribunal.

Employers also can't alter someone's salary or hourly rate - and tips don't count towards the minimum wage. 

Tips must also now be paid within one month.

By James Sillars , business reporter

Oil costs are on the rise again this morning given events in the Middle East.

Israeli operations against Hezbollah over the weekend have left a barrel of Brent crude 1% higher on Monday, at $72.

The price remains relatively depressed despite the fears of an escalating conflict.

That is being explained by plans among major oil-producing nations for increased production and continued evidence of weak demand.

Activity data out of China underlined that, though the report was compiled before the authorities in Beijing implemented stimulus measures last week designed to wake the sleeping giant.

The aid, including cuts to mortgage curbs and costs - coupled with promises of more to come - has helped Chinese stock markets to their best monthly performance since December 2014.

Not so bright across Europe today. The FTSE 100 is 0.4% down at 8,286, erasing Friday's gains.

While miners are faring well, Rightmove shares are down 3% after its board rejected a third takeover offer by Rupert Murdoch-linked REA Group.

The bid valued the UK property site at $6.1bn.

Its statement said: "The board has concluded that the latest proposal remains unattractive and continues to materially undervalue Rightmove and its future prospects and that the board cannot recommend the latest proposal to Rightmove shareholders."

Cath Kidston is set to return to the high street after falling into administration in 2020.

The British retailer was bought by Next in an £8.5m deal in 2023 and now appears to be re-opening its doors on 18 October in Westfield White City in London.

Posting on Instagram, the brand said: "Why yes. Yes, you guessed right."

"We have a new home opening soon," it added. "Can anyone tell where in London we'll be opening our doors?"

Designer Cath Kidston opened her first shop in London's Holland Park in 1994, selling hand-embroidered tea towels. But, by the early 2000s, it had become a high street fixture with scores of standalone shops.

But, like many retailers, its fortunes were hit by the pandemic, forcing it into insolvency three years ago with the loss of 1,000 jobs.

We've talked to chefs across the UK, from Northern Ireland to Norfolk - and this week our focus is on London.

The capital is home to 80 Michelin-starred restaurants, almost half the UK total, so instead of the usual Wednesday feature, we're stretching it across the week, with nine of the city's most celebrated chefs giving their recommendations before we round up all our London chefs from the year on Saturday.

Today we speak to two Michelin-starred Alex Dilling, of Alex Dilling at Hotel Cafe Royal on Regent Street.

Hi Alex, can you tell us your favourite places around London where you can get a meal for two for less than £40?

I love Bancone or Notto for great value and well-cooked pasta. Main courses are all under £20. Michelin-star chef Phil Howard is behind Notto and his cooking technique comes through even in these casual dishes. 

There's a falafel truck near Soho House on Portobello Road, it doesn't have a website. They do one with great tahini and fresh salad for £5. Very filling and a quick meal on the go for busy chefs.

Bao  in Soho, I love the specials, the fried chicken bao is my go-to. Such a well-defined concept. A great spot for a quick but satisfying lunch.

Speaking of fried chicken... that's my go-to cheap eat at home. Being half American I love the occasional indulgence in fast food. Some good seasoning makes all the difference. A tasty snack for under £5. 

Ingredients:

• Two boneless skinless chicken breasts
• 350g gluten-free flour
• 300g buttermilk
• 12g garlic powder
• 12g onion powder
• 10g smoked paprika
• Black pepper
• Oil for frying
• Cut the chicken breast lengthways to achieve three flat pieces per breast of even thickness.
• Add the flour in one bowl and buttermilk in another. Divide the seasonings evenly between the two bowls and mix well.
• Add the chicken to the buttermilk and leave to marinate for three hours.
• Take a few spoons of the buttermilk and add to the flour and whisk. This will help create the little crunchy bits.
• One by one, add a piece of chicken to the flour coating evenly and all over. 
• Once all has been coated fry in batches at 175C until deep golden and cooked through. Around three min. Drain on absorbent paper.

I got into cheffing because of my huge passion for food, growing up in a family who loves food. I love eating too, which for me is an important part of chef life. Even on my days off, food being part of that is something I look forward to - whether cooking for my family or going out for a meal I've been looking forward to. The toughest part of being a chef is of course the hours, followed by the fact you're never truly done. There's always a thought to tomorrow's service, events, ordering or service. Luckily for the new generation of chefs the hours are now more forgiving and employers care about work-life balance. 

That said, I'm in a slightly different position now as I own and run (with my partner) the restaurant too, so there's no escape. It's an incredibly rewarding career which takes me and my team all over the world as well as creating dishes we are so proud of here in London.

We've spoken to lots of top chefs  - check out their cheap eats from around the country here...

Every Monday we get an expert to answer your money problems or consumer disputes. Find out how to submit yours at the bottom of this post. Today's question is...

I have £15,000 invested with Royal Mint in gold, silver and platinum bullion. I have accumulated this over years, adding £200 or so to my holding from time to time, but no records of my payments retained. How do I calculate if any increase in value attracts capital gains tax? Maid Marion

Sarah Paton , private client solicitor at Irwin Mitchell , says the first step is to identify the bullion type.

"Royal Mint coins (whether gold, silver or platinum) are exempt from capital gains tax (CGT) because they are considered to be legal tender within the UK. Other bullion such as gold bars are subject to CGT," she says.

"If your investment is in other bullion which is subject to CGT, and you want to calculate whether there is a gain on the investment currently, then you need to start by determining the gross sale price of your bullion now. You then need to estimate the base cost. Where you have an asset that you have added to over time, as in this case, this can be slightly more difficult to work out.

"I would start by asking the Royal Mint whether they have a statement of account or an investment schedule which shows the history of your account. If they do, you should be able to track back and work out when further investments were made and for how much."

If no such records exist, a copy of bank statements covering the last seven years can be requested, Sarah says. This is about as long as banks keep records, but if the investments have been held for longer, the statements can be used to inform a "best guess estimate" on earlier investments, she adds.

Sarah says: "The price of bullion fluctuates much like shares on the stock market, so you will have different base costs for each addition to the account. You will need to look back at the historic price of bullion on each day you made a purchase and that will be your base cost for that addition.

"To calculate your gain, you deduct the purchase price from the sale price and deduct any available allowances such as your annual CGT allowance (£3,000 for the tax year 2024-25). If your gain exceeds the available allowance then you will need to pay CGT on the excess. Depending on your individual tax rate and other income you receive, you will pay CGT at either 10% or 18%."

We explain more about CGT and when you'll need to pay it in our Basically  series...

Gains are typically reported via self-assessment tax return. 

You will need to set out your calculation to HM Revenue and Customers and potentially provide corroborating evidence, Sarah says, proving why "careful record keeping is absolutely essential". 

"Moving forward, I recommend that you track all your future investments into this account to make it easier in the future," she adds.

"CGT is only payable if you dispose of the asset, though, whether through a sale or by a gift. If you do not dispose of your bullion, whether or not there is a gain, there will not be any CGT to pay until such time as you choose to do so. As the law currently stands, if you hold onto the bullion until your death, any gains will be washed out and the assets will be rebased as at the date of your death meaning that your beneficiaries are able to inherit them free of gains. This could, of course, all change following the budget."

This feature is not intended as financial advice - the aim is to give an overview of the things you should think about.  Submit your dilemma or consumer dispute via:

• WhatsApp us  here
• The form above - you need to leave a phone number or email address so we can contact you for further details
• Email [email protected] with the subject line "Money blog"

By Jimmy Rice , Money blog editor

Welcome back to Money, your place for personal finance and consumer news, tips and analysis.

Here are five reasons to pop back today and over the coming days...

Every week we ask one of the best chefs in the country to pick their Cheap Eats where they live and at home. We've talked to chefs across the UK, from Northern Ireland to Norfolk - and this week our focus is on London.

The capital is home to 80 Michelin-starred restaurants, almost half of the UK total, so instead of the usual Wednesday feature, we're stretching it across the week, with nine of the city's most celebrated chefs giving their recommendations before we round up all our London chefs from the year in one place on Saturday.

The rise of 'forever games'

A "reckoning" is coming for the gaming industry, says Deejay Knight, a US Air Force veteran who swapped the rifle on his back for a virtual one.

The Texan Twitch streamer, who makes his living gaming, is among several experts paying close attention to the rise of "forever games" - an increasingly popular business model leading developers and publishers to abandon the traditional £60 price tag. But what's the true cost?

We'll be hearing from Deejay and others in our Saturday deep dive.

Maternity pay

Every Tuesday in our Basically... feature we explain everything you need to know about a different financial topic. This week we're looking at something that's popped up in the news these last few days: maternity pay.

Money Problem

Our Money Problem feature is published every Monday morning. This week, an expert answers a reader's capital gains tax query.

Savings and mortgages advice

Every Thursday, Savings Champion founder Anna Bowes offers advice for making the most of your spare cash and reveals the best rates on the market right now. On Fridays we do similarly with mortgages, hearing from industry experts on what anyone seeking to borrow needs to know at the minute before rounding up the best rates with the help of the guys from Moneyfacts.

We've got lots of others tips and features planned for this week, so bookmark  news.sky.com/money  and check back from 7am each weekday - or 8am on Saturday for our weekend feature.

The award-winning Money blog is produced by the Sky News live team, with contributions from  Bhvishya Patel, Jess Sharp, Katie Williams, Brad Young, Ollie Cooper and Mark Wyatt, with additional reporting from cost of living specialist Megan Baynes and sub-editing by Isobel Souster. It is edited by Jimmy Rice.

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History personal statements

Scroll down this page to find a collection of real personal statements written by students applying to study history and related courses at university.

Plus, over on The Uni Guide, we've also got advice from universities on what they want to see in a history personal statement . 

Among the tips shared by admissions experts: talk about the specific topics that fascinate you; focus on your personal skills and history; critique books you've read; think about history you've studied outside the classroom.

Examples of real history personal statements

These history personal statements are written by real students. Among them you will find personal statements that have formed part of successful applications to universities such as Birmingham, Cambridge and Exeter

Bear in mind, these personal statements are presented in exactly the way they were originally submitted to Ucas. Don't expect them all to be perfect! But by reading through a few of these samples, you'll be able to get some ideas and inspiration for your own personal statement. 

More help with your personal statement

You can find personal statement examples for other courses by using this subject list, or by returning to our personal statements by subject page.

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