ART HISTORY BOOK PDF

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The Getty Center for the History of Art and the Humanities. Distributed by . is surely an odd, if not a perverse, way to introduce a book that seeks to reconnoiter . Free site book and epub digitized and proofread by Project Gutenberg. A History of Art for Beginners and Students: Painting, Sculpture. Art History: The Basics has been written as a concise and accessible introduc- tion for the A catalogue record for this book is available from the British Library.


Art History Book Pdf

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some modification of critical opinion in individual cases. Art history grows with the years and the books that record it are in need of frequent revision. The s tudyof. even busy people care about making art history more inclusive. Both of these individuals Introduction. The book you are holding is not a history of art and architecture. It is a guide pensugetheatcie.cf Marsh, J. William Morris and. Published on the occasion of the opening of the East Building at the National Gallery of Art, this book provides a history of the building, the reasons for its.

As a result, the Second Vienna School gained a reputation for unrestrained and irresponsible formalism , and was furthermore colored by Sedlmayr's overt racism and membership in the Nazi party. Panofsky and iconography[ edit ] Photographer unknown, Aby Warburg c.

Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. Today art historians sometimes use these terms interchangeably. Panofsky, in his early work, also developed the theories of Riegl, but became eventually more preoccupied with iconography, and in particular with the transmission of themes related to classical antiquity in the Middle Ages and Renaissance. In this respect his interests coincided with those of Warburg, the son of a wealthy family who had assembled an impressive library in Hamburg devoted to the study of the classical tradition in later art and culture.

Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg , where Panofsky taught. Warburg died in , and in the s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute.

Panofsky settled in Princeton at the Institute for Advanced Study. In this respect they were part of an extraordinary influx of German art historians into the English-speaking academy in the s. These scholars were largely responsible for establishing art history as a legitimate field of study in the English-speaking world, and the influence of Panofsky's methodology, in particular, determined the course of American art history for a generation.

Psychoanalyst Sigmund Freud wrote a book on the artist Leonardo da Vinci , in which he used Leonardo's paintings to interrogate the artist's psyche and sexual orientation. Freud inferred from his analysis that Leonardo was probably homosexual. Group photo in front of Clark University.

One of the best-known psychoanalytic scholars is Laurie Schneider Adams, who wrote a popular textbook, Art Across Time, and a book Art and Psychoanalysis. An unsuspecting turn for the history of art criticism came in when Sigmund Freud published a psychoanalytical interpretation of Michelangelo's Moses titled Der Moses des Michelangelo as one of the first psychology based analyses on a work of art.

For unknown purposes, Freud originally published the article anonymously. Jung and archetypes[ edit ] Carl Jung also applied psychoanalytic theory to art. Jung was a Swiss psychiatrist , an influential thinker, and founder of analytical psychology. Jung's approach to psychology emphasized understanding the psyche through exploring the worlds of dreams , art, mythology , world religion and philosophy.

Much of his life's work was spent exploring Eastern and Western philosophy, alchemy , astrology , sociology , as well as literature and the arts. His most notable contributions include his concept of the psychological archetype , the collective unconscious , and his theory of synchronicity. Jung believed that many experiences perceived as coincidence were not merely due to chance but, instead, suggested the manifestation of parallel events or circumstances reflecting this governing dynamic.

His ideas were particularly popular among American Abstract expressionists in the s and s. Jung emphasized the importance of balance and harmony.

He cautioned that modern humans rely too heavily on science and logic and would benefit from integrating spirituality and appreciation of the unconscious realm. His work not only triggered analytical work by art historians, but it became an integral part of art-making.

Jackson Pollock , for example, famously created a series of drawings to accompany his psychoanalytic sessions with his Jungian psychoanalyst, Dr. Joseph Henderson.

Henderson who later published the drawings in a text devoted to Pollock's sessions realized how powerful the drawings were as a therapeutic tool. The prominent feminist art historian Griselda Pollock, for example, draws upon psychoanalysis both in her reading into contemporary art and in her rereading of modernist art. Marx and ideology[ edit ] During the midth century, art historians embraced social history by using critical approaches. The goal was to show how art interacts with power structures in society.

One critical approach that art historians[ who? Marxist art history attempted to show how art was tied to specific classes, how images contain information about the economy, and how images can make the status quo seem natural ideology.

Various artist did not want to create artwork that everyone was conforming to at the time.

These two movements helped other artist to create pieces that were not viewed as traditional art. Some examples of styles that branched off the anti-art movement would be Neo-Dadaism, Surrealism, and Constructivism.

These styles and artist did not want to surrender to traditional ways of art. This way of thinking provoked political movements such as the Russian Revolution and the communist ideals.

This piece of art can be analysed to show the internal troubles Soviet Russia was experiencing at the time. Perhaps the best-known Marxist was Clement Greenberg , who came to prominence during the late s with his essay " Avant-Garde and Kitsch ".

Greenberg further claimed that avant-garde and Modernist art was a means to resist the leveling of culture produced by capitalist propaganda.

Greenberg appropriated the German word ' kitsch ' to describe this consumerism, although its connotations have since changed to a more affirmative notion of leftover materials of capitalist culture. Greenberg later[ when?

Although he wrote about numerous time periods and themes in art, he is best remembered for his commentary on sculpture from the late Middle Ages and early Renaissance , at which time he saw evidence of capitalism emerging and feudalism declining. He attempted to show how class consciousness was reflected in major art periods. The book was controversial when published during the s since it makes generalizations about entire eras, a strategy now called " vulgar Marxism ".

Clark, O. Werckmeister, David Kunzle, Theodor W. Adorno, and Max Horkheimer. Clark was the first art historian writing from a Marxist perspective to abandon vulgar Marxism. These books focused closely on the political and economic climates in which the art was created. Within a decade, scores of papers, articles, and essays sustained a growing momentum, fueled by the Second-wave feminist movement , of critical discourse surrounding women's interactions with the arts as both artists and subjects.

In her pioneering essay, Nochlin applies a feminist critical framework to show systematic exclusion of women from art training, arguing that exclusion from practicing art as well as the canonical history of art was the consequence of cultural conditions which curtailed and restricted women from art producing fields.

Griselda Pollock is another prominent feminist art historian, whose use of psychoanalytic theory is described above. While feminist art history can focus on any time period and location, much attention has been given to the Modern era. Some of this scholarship centers on the feminist art movement , which referred specifically to the experience of women. Often, feminist art history offers a critical "re-reading" of the Western art canon, such as Carol Duncan's re-interpretation of Les Demoiselles d'Avignon.

Two pioneers of the field are Mary Garrard and Norma Broude. The pair also co-founded the Feminist Art History Conference. Barthes and semiotics[ edit ] As opposed to iconography which seeks to identify meaning, semiotics is concerned with how meaning is created.

In any particular work of art, an interpretation depends on the identification of denoted meaning —the recognition of a visual sign, and the connoted meaning —the instant cultural associations that come with recognition. The main concern of the semiotic art historian is to come up with ways to navigate and interpret connoted meaning.

Schapiro combined this method with the work of Charles Sanders Peirce whose object, sign, and interpretant provided a structure for his approach. By seeing the Mona Lisa, for example, as something beyond its materiality is to identify it as a sign. It is then recognized as referring to an object outside of itself, a woman, or Mona Lisa. The image does not seem to denote religious meaning and can therefore be assumed to be a portrait. This interpretation leads to a chain of possible interpretations: who was the sitter in relation to Leonardo da Vinci?

What significance did she have to him? Or, maybe she is an icon for all of womankind. The artist is supplanted by the viewer as the purveyor of meaning, even to the extent that an interpretation is still valid regardless of whether the creator had intended it. Mieke Bal argued similarly that meaning does not even exist until the image is observed by the viewer.

It is only after acknowledging this that meaning can become opened up to other possibilities such as feminism or psychoanalysis. Museum studies , including the history of museum collecting and display, is now a specialized field of study, as is the history of collecting. New materialism[ edit ] Scientific advances have made possible much more accurate investigation of the materials and techniques used to create works, especially infra-red and x-ray photographic techniques which have allowed many underdrawings of paintings to be seen again.

Proper analysis of pigments used in paint is now possible, which has upset many attributions. Dendrochronology for panel paintings and radio-carbon dating for old objects in organic materials have allowed scientific methods of dating objects to confirm or upset dates derived from stylistic analysis or documentary evidence. The text, however, largely emphasizes pre art. In fact, it seems only a handful of post artists are mentioned and very few supporting images are provided of post artwork.

To be fair, there are links provided, which will require upkeep. An instructor will need to find examples from other sources to expose students to contemporary art artists, media, themes, and modes of working. Sentences are easily understood and the use of art-specific vocabulary along with providing a glossary at the end of each chapters shows students appropriate use of target vocabulary.

Chapter topics are presented in clearly, accessibly, and with depth. Images are used effectively in supporting content.

The chapters are uniform in their organization; the writing is consistent. Each chapter starts with outcomes and an introduction.

Headings for chapter subsections are clear and specific. Target vocabulary is written in bold type and each chapter has a glossary. Each chapter ends with a summary and review questions to check for student comprehension. The text is divided in a way that supports teaching a foundation in visual literacy. In some cases, subsections from different chapters could be mixed and matched. One of the strengths is the use of imagery from various time periods within each chapters as opposed to the standard chronological approach to an art history course.

This could be further exploited by the addition more contemporary art by the instructor along side more historical examples the text provides. The chapters are consistently structured. The choice of chapter topics and their flow is appropriate and student-centered. The book starts with basic information what art is, its structure, media used and works toward greater complexity various ways art connects to and shapes our lives.

The supporting images are clear and high quality, allowing the reader to increase the size of the images without losing clarity. Some of the pages feel crowded and a few of the links were nonfunctional.

The book's font is easy to read with line hierarchy is unmistakable and consistent, and the use of bold lettering indicates target vocabulary for students.

The text will provide students with a solid foundation in visual literacy using historical artworks as examples. It includes work and architecture of non-Western cultures and women.

Describing Art, it would seem appropriate to have subsections on Modernism and Post Modernism. It would be helpful if were either more examples of contemporary art along side the more historical examples or if there was final chapter on art post Inclusion of more art post would: Nonetheless, this book would be an effective tool for an Intro to Art or Art Appreciation course.

A strength of the book is its thematic approach instead of the standard chronological approach. I did not find it culturally offensive or insensitive. This books is not an historical survey, but it offers a wide range of artworks from throughout history and the world to elucidate major themes and concepts. Even while it is non-linear or chronological, the text nonetheless covers terms and ideas Even while it is non-linear or chronological, the text nonetheless covers terms and ideas specific to historical moments, taking them as case studies to illustrate larger themes.

The end of each chapter includes questions to consider and a list of major terms with definitions. While the book references very contemporary technology, including 3D printing, etc. Both the imagery and the phrasing read easily. The images are very detailed and include helpful close ups.

The book is well divided up, and I appreciate the integration of both historical and formal terms throughout, to offer new historical information throughout without becoming dense.

The book lays out a great foundation for material and terms of analysis to get into deeper themes and modes of interpretation. While the text is non-linear, I think it's important for the dates to be readily available to understand the historical breadth of the works. I especially enjoyed the integration of works from throughout the world. Often in more conventional texts, art of the non-western world gets relegated to their own, atemporal chapters.

This format allows for thematic comparisons that helps to breakdown the hierarchies of the canon. For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective. This textbook does cover some core areas for this discipline: I thought that the treatment of the elements and principles and of the media was cursory. Beyond that the textbook is thematic, with the choices of themes being somewhat idiosyncratic.

The treatment of the subject was constrained by the authors' focus primarily on the traditional media associated with fine arts, such as painting, sculpture, and architecture.

Other current art appreciation textbooks also include more modern media, such as film and design. The scope was also hampered, in part, by the distinction the authors' drew between art and craft.

The focus of the textbook is mostly on art made before , with most of it produced long before that. There is a dearth of examples of contemporary art being made by artists in the last 20 years. An exception to this is the chapter on Art and Ethics, which addresses recent controversies in the field. The textbook does not include an index or a comprehensive glossary. Terms are defined at the end of each chapter. The table of contents is not sufficient to function as an index.

The content of the textbook is generally error free. There are some opinions expressed that I do not agree with, but these are debates that are not settled within the art history community. The authors do not seem completely up to date on recent scholarship in some areas. For example, the "Snake Goddess" from Crete is included when modern scholarship has called into question the validity of its heavily reconstructed form.

Since much of the art covered in the textbook was made before , the content is up-to date and will not become obsolete quickly. The exceptions to this are the links to external web pages that will need to be maintained on a regular basis. Without this regular maintenance, these links could become obsolete quickly. This could pose a problem since the links are embedded in the content of the text. The textbook is written in prose that should be accessible for the average college freshman.

Specialized discipline-specific terminology is defined in the text and in a list of terms at the end of each chapter. The text does lack an comprehensive glossary of these terms..

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The textbook is internally consistent in organizational framework of each chapter and in the use of terminology. The textbook is divided into small reading sections with clear headings and subheadings. These could easily be reorganized and realigned. I found it difficult to follow the organization and structure of the text.

There seemed to be no clear logic to much of the distribution of the chapters and the chapter sections. Related content can be found in different chapters of the text. For example, both the chapter on Form in Architecture and on Art and Ritual Life contain extensive sections covering sacred architecture. Within the chapter sections, there is some organization based on chronology, although this is not consistent.

This creates a problem in which chronology is repeated without a larger, cohesive historical narrative. The interface of the textbook was effective overall with no significant issues that would distract or confuse the reader. Of necessity, the textbook provides links to works of art that are not reproducible in the textbook due to copyright issues. These links can be clunky and I would be concerned that students will not take the time to click on them all while reading the textbook.

Links need to be reviewed. At least one of the links within the text to external images was broken. For the most part the images included in the textbook are high quality, although I find their sourcing odd from random users on Wikimedia.

The textbook draws its examples primarily from Western European and American and Asian cultures. There is some inclusion of other cultures, races, and ethnicities, such as Native American or African, although this aspect of the textbook could be strengthened.

An instructor would need to bring in additional examples to make a course using this textbook truly inclusive. This textbook could be appropriate for usage in an Art Appreciation class, if the instructor of the course was comfortable with the somewhat idiosyncratic thematic choices of the authors.

For example, the inclusion of the chapter on the Significance of Materials is not typically included in an art appreciation textbook. The textbook would not work for an Art History course that is taught in a chronological framework. Specific dates are not provided for most of the objects discussed, although birth and death dates of artists are.

The historical context and timeline of the works covered by the text are subsumed within the thematic organization. While the text covers such a vast amount of visual art history, genres, meaning, symbolism, materials, etc. That said, the glossary of terms is thorough and appropriate. The 'learning outcomes' and 'test yourself' sections are also very well organized. It can help students understand the kinds of questions and testing done in art survey classes. In terms of studio art though the book can be a supplement only.

Textbooks can be excellent but still not substitutes for the instruction of the hands on manipulation of materials. The book is unbiased if there is any bias, it's very slightly European. But which comprehensive survey book is?!

The book suffers slightly from not discussing more contemporary artists and genres, especially performance, installation and public- art based works.

Mid 20th century and before, the book is quite thorough. Because of this it is perhaps mildly more prone to obsolescence. The book is excellent in its prose. Very clear, easy to understand, many good images and illustrations. The book feels consistent overall. As described elsewhere, it may suffer a little from its lack of discussion of contemporary genres, artists, techniques, etc.

The modularity is the book's necessary natural feature since it cover so much.

The chapters are quick and concise. The 'Personal and Communal Need to Create' sections are so important. I appreciate that this was covered at length. Some sections are not elaborated on as much.

A History of Western Art

I believe the isolated discussion of different art materials a section on oil paint, a section on print, etc. The book is very well organized. Illustrations and pictures are appropriately shown. More images of 'artists at work' could improve the text. The book does a good job of being varied and unbiased, especially when describing art made in varying regions by peoples with different ethnic backgrounds. This text successfully manages the difficult task of synthesizing a plethora of approaches when studying art and its history.

It considers numerous ethical, philosophical, and thematic issues typically left out of traditional survey books. While these comprise a robust and welcome conversation about the reception, agency, epistemology, and meaning of art, it comes at the cost of a slightly anemic treatment of major historical developments along conventional lines.

No index is present or list of illustrations. The content incorporates relevant and informed perspectives on crucial art world debates, including issues of ethical circulation of cultural property and material culture.

Its content offers a broad appeal across the humanities and even social sciences, with relevance to students of philosophy and history as well archaeology and communication.

The prose tends to be clear and readable, though veers towards a somewhat overly conversational and colloquial tone. In places it seems imprecise and too rambling, needing much more concise and to the point verbiage.

Also, captions for images are not given information relating to date, medium, or dimensions--a crucial oversight! The text displays consistency throughout and does a good job of integrating key terms and concepts throughout its chapters. The bolded key terms that appear as a glossary at the close of each chapter is especially helpful, as well as the "test yourself" sections and introductory concepts that start each chapter.

Such stand-alone devices are a great boon to students and surely aid with comprehension. One keen advantage of this text is the authors' clever division of the material into cogent modules that mesh well with poignant themes currently driving the discipline of art history and also the best courses at colleges and universities.

In this way, the text serves as an indispensable resources in introductory design and art history courses, as well as upper-level seminars focused on interpretation, methodology, and philosophy of art. Overall the book is logically organized, particularly chapters and However, chapters are oddly placed and the section on architecture is not well integrated into the rest of the text. It is treated like a separate and outlying practice instead of being carefully woven into the rest of the chapters on form, production, materials, etc.

Likewise, chapter 7, though integral and vital, seems out of place. It would perhaps best be placed before the chapter on meaning, since it offers background on socio-cultural behavior as foundation through which to better understand art.

In general, the illustrations and figures are crisp and high resolution. However, they are not expandable or zoomable as is common in other electronic or digital textbook platforms currently available. Likewise, the internet hyperlinks could be replaced with embedded content to better increase the longevity of the text. Some odd spacing around the figures and illustrations is distracting as well.

See comment 4 above. In general, the discussions could be edited to offer a more precise and concise analysis that is less conversational and more direct. Right now it reads as if the authors are pandering a bit to a student audience by invoking memes, selfies, and other ostensibly trendy cultural phenomena.

Another great advantage of this text is its admixture of canonical and popular objects, drawing upon mainstays of art history as well as more of-the-moment visual culture. It is particularly adept at addressing themes that weave together global works in many media from makers of many backgrounds, thereby questioning the entrenched and monolithic canon. The text is organized thematically and covers some of the areas of Art.

Some of the content is overly simplified , and some important artistic movements are omitted. There is no index, which make it difficult for students to comprehend some key There is no index, which make it difficult for students to comprehend some key concepts. Content is accurate and error free. The text is current and few sections would need updating. Necessary updates will be relatively easy and straightforward to implement.

The text is easily dividable into smaller sections to fit with various topics of discussion throughout a term. The topics in the text are presented in a logical, clear fashion, but smoother transitions between the different chapters would help.

The text is free of significant interface issues, easy to navigate , with clear images. The text does not have many examples of non-western artist and is not overly inclusive of a variety of races, ethnicities, backgrounds, gender.

The text covers a broad survey of art including many art forms. Photography, digital media and relational aesthetics examples are lacking throughout the text. Chapters include examples of Western and non-Western art and architecture. More context More context could be fleshed out for how works of art were relevant in their own time. The text effectively references images and graphics that are either included in the text or linked on the web.

There is no index, and a list of images would benefit the reader by seeing examples listed in chronological order or by medium. Image captions in the text should include mediums, date and location information, which would help with quick reference and to classify a work illustrating an era.

The content of the book spans the ancient world through contemporary art and reflects current art-world values and attitudes in broad terms -- defining art and artists through a contemporary lens and recognizing the omission of women and marginalized groups throughout the canon of art. Though the recognition is valid, more modern and contemporary art examples could be used to reflect the contributions of a broader group of artists.

There are many links to outside sources for imagery, and it is unknown how often those may be checked for changes and errors. Text is written clearly using accessible language for students.

Adequate context is given for technical terms with minor exception. The questions at the end of each chapter to check for understanding reflect the text, though more attention could be aimed at mirroring the language and terms used in the chapter. The chapters are subdivided consistently. There are a few instances in which the title of a work in the text narrative does not match the title given in the caption for the image.

There are also some terms listed in the glossary that do not appear in the corresponding chapter. The chapters are clearly defined as are the concise, themed subsections. It could be easily reorganized to fit subunits of a course, though the text is jumbled chronologically due to classification by theme. The text flows logically by the outlined themes.

Without this context, a novice student may struggle to follow a somewhat disjointed selection of art and artifacts. Internal references to images are made sufficiently clear. Over time, the numerous links to other web material may need updating.

There is one reference in the text that is missing a link. A few links reveal images and are too small and low-resolution.

The handful of formatting mistakes and typos are somewhat distracting, as is the single column layout. The text is inclusive of a variety of races, ethnicities and backgrounds.

The balance of art examples still favors a white, male perspective.

Some general examples given to explain concepts lack universality, such as yoga as an example of art and science. This book would serve well as primer for beginning art students for its far-reaching historical scope and theme-based approach, though a student would need supplemental material to address contemporary art forms and the contributions of a broader group of artists.

The textbook thoroughly covers the topics of each chapter, and each chapter has enough range that it could easily be supplemented and ideas expanded upon. The "Key Concepts" and "Key Terms" sections after each chapter are very useful and would The "Key Concepts" and "Key Terms" sections after each chapter are very useful and would prove an effective study tool for students, as would the "Test Yourself" study questions.

However, the textbook should have a master glossary of terms at the end for ease of reference. This is a large omission, especially for students studying for midterms and finals, or working on papers or larger group projects. There are a small number of typos and usages of uncommon words when more simple words would suffice that are confusing and obscure meaning.

Iconoclasm" misspells the word "iconoclasm," which is particularly problematic as "iconoclasm" could easily be reenforced as a key vocabulary word. The text is relevant, and one of its strengths is the breadth and depth of the visual examples anchoring the chapters.

The text is fluid, and the language accessible in a way that would be suitable for different levels of students. While the text is generally well-organized, the organization of the chapters is somewhat confusing. The choice of chapter topics is also somewhat confusing. Certain major topics are omitted for example, a chapter dedicated to a more in-depth survey of major artistic media , for what are some interesting but less necessary topics e.

This will pose a challenge for instructors who might have to carefully weigh which chapters to teach. This might be especially problematic for instructors teaching in a week term system, or who would supplement the text with additional lessons focused on the history of art which is omitted from this volume.

The text would easily be divided, which is a strength as the organization of the chapters as it stands might not work for every instructor. The topics are generally presented in a logical, clear fashion. The structure of chapters is easy to read and flows well. The text cleverly utilizes open access images. The images are generally very compelling and of high-resolution, which is a big bonus in a visual arts textbook. There are only a few images that are grainy or fuzzy and would beed to be replaced e.

The interface is legible and pleasing to navigate. An array of images from different time periods, geographical locations, and cultures. This is a huge bonus, as visual arts fields are moving to make curricula more inclusive. It would have been useful to include more contemporary art, as this is an important topic to emphasize when teaching about visual culture, and is relevant to students' lives.

It is also important for instructors who might be teaching visual arts and studio students. I would have liked to see a glossary of terms at the end of the text.

It would also be useful to have a discussion of art history, and if not a chapter or more dedicated to art history, at least a timeline at the end of the text. The students are presented with an overwhelming number of artworks, so a general historical reference at the end of the text would be useful. Finally, there are some omissions of topics in favor of narrowing or less important topics that would necessitate some supplemental teaching materials or lessons.

The text covers information listed in the table of contents adequately. Content is arranged thematically as is common in art appreciation courses. Each chapter includes a glossary of terms covered at the end of the chapter. It does not include an It does not include an index at the end of the text. Readers must review the table of contents and guess where information may be found.

The historical information listed in the text was accurate.

The text included accurate information regarding styles and movements and theory associated with art. However, the text presents basic and surface level information and lacks in depth views on any one topic.

The content of the text is up-to-date particularly in the discussion of media types. Should updates be necessary it would be easy to implement them. The text clearly defines bolded terminology. Each chapter is divided into sections and information in each section is related to the theme of that content area. The language is clear and easy to read and follow. The language used, content presented, and organizational themes are consistent throughout the text.

The text follows a pattern of listing objectives, sectioning off each chapter, and following up with review concepts and terminology. Sections of the text can be assigned at different points within the course.

The text includes eleven chapters divided into sections. While each chapter and subsequent section is rich with information, heading and subheadings do not give a clear sense of what content will be present in a given area. Without an index it is not clear to readers when or where readers will find certain information.

When reading the text online I encountered an issue clicking on links to images. The link would bring me to the image in the same window as the text. I would then have to go back to the text and find my place. This would be a decent text to use in an art appreciation course but not in a survey art history course. The content is not arranged chronologically or by region. Rather it is divided thematically into broad sections. I was pleasantly surprised with the information listed in several portions of the text.

While it does not cover any area in depth it does a fair job of presenting a basic foundation for most of the major topics covered in an art appreciation course. Instructors will find they need to expand on most concepts and should plan on supplementing the text with readings and lectures.

Without an index it is difficult to gauge when and where readers will find specific content. Chapter titles and section sub heads are very broad and do not help with pinpointing the location of information.

The text is a bold work in terms of content coverage. It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of a foundation class.

Although it has semblances of existing studies, this is not your traditional introductory art textbook. Apart from the in-depth discussion of concepts, techniques, and terminologies, the authors have included learning outcomes at the beginning of each chapter, exercises review questions at the end plus key terms to help users review and affirm the content of every chapter.

I also find very instructive the discussion of ways of looking at and understanding works of art in chapter 4; the distinction between formal and critical analysis, and the distinction in analysis, description, interpretation and evaluation. These comprehensive discussion make the text a great resource.

The material is also reader friendly. I find that there is minimal references to non-western art especially African and African Diaspora Art. This is palpably obvious even under the discussion 4.

The illustrations in the text are also geared towards the examination of western art than other categories including Asian and African. In the discussion of two and three dimensional art with highlights on materials and techniques , almost all illustrations and examples are western art, with some minimal references to Chinese and Japanese preferred materials for art, and their processes.

There are minor typos found in different pages of the text. For instance: Art Forms cat egories should read categories ii. It also does not appear in the list of terms of reference.

Consistency in reference to location: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page It is correctly referenced in previous pages.

Content is up-to-date. However, it may require updating in the next three years to expands coverage particularly the diversity of the subject matter covered, illustrations, and invariably to bring new content into the chapters. The text is ready friendly, written in straightforward accessible prose.

The definitions of terminologies accurate and simplified for readers to grasp the concepts quickly. A consistent template runs through the chapters. However, there is an issue with consistency when "iconoclasm" is used as a sub-heading but not mentioned again in the body of the text.

Consistency issue with the way a culture's location is referenced: It is somewhat appropriately referenced in previous pages. Consistency issue with the spelling of terracotta pages , and The interface appears many and a bit distracting. The links interspersed in the text forces the reader to go in and out of the text to check images being compared with those embedded in the text.

It would have been more effective if these were readily accessible in the text for immediate comparison. No evidence of overtly distorted images Perhaps Figure However, some of them could be improved for clarity Figure The text could do with some examples of ideas and images about diverse cultures that the learner in the introductory class can later build upon.

Reviewed by A. The text presents its themes in an order that is easy to follow. The examples provided are relevant and serve well to illustrate the concept. The prompts at the end of each chapter also present good starting points for class discussion. The content is current. The inclusion of "fourth dimensional" art is particularly helpful in discussing contemporary art.

The terminology used is easy to understand. The "key terms" section is also helpful in its definition of terms that are introduced in that chapter. The arrangement of sections allow for each to be taken separately as necessary.

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The chapters can be presented in different order or omitted altogether. The order of each chapter and its individual sections are easy to follow. Presenting basic concepts on the definition of art and the formal qualities that comprise an artwork in the first four chapters provides a good starting point for the context and meaning discussed further into the text.

The only issue with the "flow" would be the inclusion of the chapter on architecture. The images were presented within the appropriate text and were displayed clearly. The size of the PDF makes searching for a specific term or section a bit difficult, but otherwise there are no problems with the interface.

A broader cultural range of examples would be more helpful, however, this is something an instructor can easily amend within classroom lecture or discussion. This is an excellent introductory text to basic art elements and concepts. On its own, it provides a clear overview for students with no art history background. It can also be used to support other texts where more specific art movements are discussed.

The text covers Art in a thematic approach. It explains concepts in an easy to understand manner. The text is written is a manner that those who are new to art and art history can easily understand.

There are definitions for words that are new for the readers. The text is written with smaller rather than larger sections and is follow throughout the chapters of the book. It is culturally sensitive without bias. It could use more examples of art from the non-Western world for some sections to provide better balance. Content adequately covers the subjects it purports to include. However, there is no comprehensive index.

A brief list of Key Terms is included within each chapter. These lists are barely adequate and probably confusing to neophyte students with no These lists are barely adequate and probably confusing to neophyte students with no art background. For instance, in 1.

Illustrations appear to be consistent with the knowledge base of the written text. In other words, illustrations fit the need and are usually of good quality and reference the dialog effectively.

Missing are important notes about media, method, size, and date alongside the illustration. Non-art students are wont to go to the trouble of looking up this important information.

Art History

Perhaps it is because the editors wished to make definitions simple, too simple. Bias is toward pleasing everyone while skimming over important iconographic details of the art forms examined.

Dialog needs to be aimed at describing the iconographic content of art rather than ancillary historic events. Content appears to be current in a way that will not make the text out-of-date within a normal time period. Updates, except for items that need immediate attention, should be easy to implement.

This text is actually written in a student-oriented manner that makes a connection between current student populations and information required to cover the subject matter. Applause to the editors. This text is consistent with overall use of terms and organizational framework.

Iconographic statements should be revised so they are accurate and clearly defined to explain the focus, use, and understanding of the art. This text is divided into eleven rather arbitrary chapters.

Editors chose these topics to somehow relate not only to history of art but to serious ways of making art. So this text is not aimed at teaching students about the why of art but about the construction of art. This makes it an art appreciation text, not an art history text. The format does not flow historically but topically. It is difficult for the novice student to follow these disjointed chapters to a conclusion about what art really is.

Each module or chapter is an end in itself and does not develop a cohesive theme about art itself. The Art and Ethics chapter is particularly misguided. Text is rife with various and confusing imagery placed next to each other making it difficult for the beginning art historian to make sense of it. There is a lack of cohesive structure throughout the text with a few exceptions. This dialog goes from the Sarcophagus of Constantina to the Palace Chapel of Aachen with no real discussion of how valuable materials are used for iconographic purposes.

It then goes on to explain a "mausolea" for some reason. In addition, I find reading the book difficult because it does not use two columns as a standard interface.

It uses only a single column throughout the text. In chapter five I found the Key Concepts very well written and useful to students It is strange that there is a chapter on Architecture alone as an art form. This text does cover the material its title implies at an introductory level. More depth could be used in some areas. In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to The approach to describing art changes relevant to the time period and that is not addressed here by omitting some of the major Art movements like Impressionism, Cubism, Realism, photography and digital imagine.

All external Links work Information is accurate but seems to lack in depth in some areas. The artwork shown is primarily from the western world and the art of dead white men. The technical content of the text is up — to — date. Many of the artworks used to illustrate concepts are well known and appear in many standard art history textbooks. However, the lack of contemporary art examples makes some of the content less relevant to the life of the contemporary student.

Art, how and why its made is changing and this text does not necessarily address how to understand new practices in art. Each chapter is broken down into subsection that focus on a specific aspect of the overall chapter theme.

Sections could be combined for instructional purposes c. Sections are brief enough to allow for quick coverage but also leave room for individual teacher adjustments to focus more time and discussion on specific concepts. The topics and objectives of each chapter are clear and flow in a logical format. While there could be an argument for some readjustment of chapter ordering, it progresses in a thoughtful format.

This allows students access to the main content without having to have internet for most of the content. However over time that will change as the original artist dies and time has passed from the date of its creation. The text does not show any outright bias against any specific cultural, racial or ethnic groups. However they are not many examples of non-western art or artists or women artists within the examples provided within the book. This is not unusual for many art survey books but there is a new movement in art education to expand the examples of art to include more people of color and women as well as more diversity in cultural arts within educational texts.

The text is organized thematically and does not offer a chronological survey of the history of art. Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and power, art and ritual, and art and ethics. These topics are all covered effectively.By Rutherford J.

In general, composition involves three separate considerations — balance, rhythm, and harmony; and if work be executed in accordance with these principles it will result in a unity of effect that is satisfactory and restful, because all parts of the picture are consistently related to one another. In Holland, and even Dublin, their cloths are far superior, and very pliable. However, the textbook should have a master glossary of terms at the end for ease of reference.

Version II. By Deanna Petherbridge, L. Blocks of text are broken up by copious illustrations, photographs and live links. March 25, at 5: Leonardo da Vinci. Each chapter covers material outlined in the table of contents and the introductory chapter.

NENITA from Knoxville
I do love reading comics awkwardly. Browse my other posts. I absolutely love drifting.
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