Janson's History of Art: The Western Tradition (8th Revised edition)

Janson's History of Art: The Western Tradition (8th Revised edition)

By: Walter B. Denny (author), Frima Fox Hofrichter (author), Ann S. Roberts (author), Joseph F. Jacobs (author), Penelope J. E. Davies (author), David L. Simon (author)Hardback

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For courses in the History of Art. Rewritten and reorganized, this new edition weaves together the most recent scholarship, the most current thinking in art history, and the most innovative online supplements, including digital art library. Experience the new Janson and re-experience the history of art. Long established as the classic and seminal introduction to art of the Western world, the Eighth Edition of Janson's History of Art is groundbreaking. When Harry Abrams first published the History of Art in 1962, John F. Kennedy occupied the White House, and Andy Warhol was an emerging artist. Janson offered his readers a strong focus on Western art, an important consideration of technique and style, and a clear point of view. The History of Art, said Janson, was not just a stringing together of historically significant objects, but the writing of a story about their interconnections, a history of styles and of stylistic change. Janson's text focused on the visual and technical characteristics of the objects he discussed, often in extraordinarily eloquent language. Janson's History of Art helped to establish the canon of art history for many generations of scholars. The new Eighth Edition, although revised to remain current with new discoveries and scholarship, continues to follow Janson's lead in important ways: It is limited to the Western tradition, with a chapter on Islamic art and its relationship to Western art. It keeps the focus of the discussion on the object, its manufacture, and its visual character. It considers the contribution of the artist as an important part of the analysis. This edition maintains an organization along the lines established by Janson, with separate chapters on the Northern European Renaissance, the Italian Renaissance, the High Renaissance, and Baroque art, with stylistic divisions for key periods of the modern era. Also embedded in this edition is the narrative of how art has changed over time in the cultures that Europe has claimed as its patrimony.

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About Author

Penelope J. E. Davies is Associate Professor at the University of Texas, Austin. She is a scholar of Greek and Roman art and architecture as well as a field archaeologist. She is author of Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius, winner of the Vasari Award. Walter B. Denny is a Professor of Art History at the University of Massachusetts at Amherst. In addition to exhibition catalogues, his publications include books on Ottoman Turkish carpets, textiles, and ceramics, and articles on miniature painting, architecture and architectural decoration. Frima Fox Hofrichter is Professor and former Chair of the History of Art and Design department at Pratt Institute. She is author of Judith Leyster, A Dutch Artist in Holland's Golden Age, which received CAA's Millard Meiss Publication Fund Award. Joseph Jacobs is an independent scholar, critic, and art historian of modern art in New York City. He was the curator of modern art at the John and Mable Ringling Museum of Art in Sarasota, Florida, director of the Oklahoma City Art Museum, and curator of American art at The Newark Museum, Newark, New Jersey. David L. Simon is Jette Professor of Art at Colby College, where he received the Basset Teaching Award in 2005. Among his publications is the catalogue of Spanish and southern French Romanesque sculpture in the Metropolitan Museum of Art and The Cloisters. Ann M. Roberts, Professor of Art at Lake Forest College has published essays, articles and reviews on both Northern and Italian Renaissance topics. Her research focuses on women in the Renaissance, and her most recent publication is entitled Dominican Women and Renaissance Art:The Convent of San Domenico of Pisa. H. W. Janson was a legendary name in art history. During his long career as a teacher and scholar, he helped define the discipline through his impressive books and other publications. Anthony F. Janson forged a distinguished career as a professor, scholar, museum professional and writer. From the time of his father's death in 1982 until 2004, he authored History of Art.


Preface xiv Faculty and Student Resources for Teaching and Learning with Janson's History of Art xix Introduction xxi PART ONE: THE ANCIENT WORLD Chapter 1: Prehistoric Art PALEOLITHIC ART 2 MATERIALS AND TECHNIQUES: Cave Painting 5 Interpreting Prehistoric Painting 5 Paleolithic Carving 7 INFORMING ART: Telling Time: Labels and Periods 9 Paleolithic houses 11 NEOLITHIC ART 11 Settled Societies and Neolithic Art 11 Architecture in Europe: Tombs and Rituals 15 INFORMING ART: Dating Techniques 17 Chapter 2: Ancient Near Eastern Art SUMERIAN ART 22 Temple Architecture: Linking Heaven and Earth 23 MATERIALS AND TECHNIQUES: Mud Brick 23 Sculpture and Inlay 25 PRIMARY SOURCES: The Gilgamesh Epic 25 Visual Narratives 27 Cylinder Seals 29 THE ART HISTORIAN'S LENS: Losses Through Looting 29 ART OF AKKAD 30 Sculpture: Power and Narrative 30 NEO-SUMERIAN REVIVAL 32 Architecture: The Ziggurat of Ur 32 Sculpture: Figures of Gudea 32 PRIMARY SOURCES: Texts on Gudea Figures from Lagash and Surrounding Areas, ca. 2100 33 BABYLONIAN ART 33 The Code of Hammurabi 34 ASSYRIAN ART 34 PRIMARY SOURCES: The Code of Hammurabi 35 Art of Empire: Expressing Royal Power 37 LATE BABYLONIAN ART 37 The Royal Palace 38 REGIONAL NEAR EASTERN ART 38 The Hittites 40 The Phoenicians 40 The Hebrews 41 IRANIAN ART 41 Early Iranian Art 42 The Persian Empire: Cosmopolitan Heirs to the Mesopotamian Tradition 43 Mesopotamia Between Persian and Islamic Dominion 46 Chapter 3: Egyptian Art PREDYNASTIC AND EARLY DYNASTIC ART 50 The Palette of King Narmer 50 INFORMING ART: Egyptian Gods and Goddesses 52 THE OLD KINGDOM: A GOLDEN AGE 53 Old Kingdom Funerary Complexes 53 INFORMING ART: Major Periods in Ancient Egypt 54 The Pyramids at Giza: Reflecting a New Royal Role 55 MATERIALS AND TECHNIQUES: Building the Pyramids 56 PRIMARY SOURCES: Excerpt from the Pyramid Text of Unis (r. 2341-2311 BCE) 58 Representing the Human Figure 59 THE MIDDLE KINGDOM: REASSERTING TRADITION THROUGH THE ARTS 62 Royal Portraiture: Changing Expressions and Proportions 62 Funerary Architecture 63 THE NEW KINGDOM: RESTORED GLORY 65 Royal Burials in the Valley of the Kings 65 Temples to the Gods 67 Block Statues 70 Images in New Kingdom Tombs 71 AKHENATEN AND THE AMARNA STYLE 72 The Amarna Style 72 Tutankhamun and the Aftermath of Amarna 75 THE ART HISTORIAN'S LENS: Interpreting Ancient Travel Writers 75 PAPYRUS SCROLLS: THE BOOK OF THE DEAD 77 PRIMARY SOURCES: The Book of the Dead 77 LATE EGYPT 78 Chapter 4: Aegean Art EARLY CYCLADIC ART 82 MINOAN ART 84 The "Palace" at Knossos 84 Wall Paintings: Representing Rituals and Nature 86 THE ART HISTORIAN'S LENS: Two Excavators, Legend, and Archaeology 87 Minoan Pottery 89 Carved Minoan Stone Vessels 90 Late Minoan Art 92 MYCENAEAN ART 93 Architecture: Citadels 93 Mycenaean Tombs and Their Contents 96 Sculpture 99 Chapter 5: Greek Art THE EMERGENCE OF GREEK ART: THE GEOMETRIC STYLE 104 INFORMING ART: Greek Gods and Goddesses 105 Geometric Style Pottery 105 Geometric Style Sculpture 107 THE ORIENTALIZING STYLE: HORIZONS EXPAND 107 Miniature Vessels 108 ARCHAIC ART: ART OF THE CITY-STATE 109 The Rise of Monumental Temple Architecture 109 STONE SCULPTURE 113 Architectural Sculpture: The Building Comes Alive 115 Vase Painting: Art of the Symposium 119 THE CLASSICAL AGE 123 Classical Sculpture 123 MATERIALS AND TECHNIQUES: The Indirect Lost-Wax Process 128 Architecture and Sculpture on the Athenian Akropolis 131 PRIMARY SOURCES: Aristotle (384-322 BCE) 133 THE ART HISTORIAN'S LENS: Repatriation of Cultural Heritage 134 PRIMARY SOURCES: Plutarch (ca. 46-after 119 CE) 136 THE LATE CLASSICAL PERIOD 141 Late Classical Architecture: Civic and Sacred 141 Late Classical sculpture 142 Painting in the Late Classical Age 145 THE AGE OF ALEXANDER AND THE HELLENISTIC PERIOD 147 Architecture: The Scholarly Tradition and Theatricality 148 City Planning 150 Hellenistic Sculpture: Expression and Movement 154 THE ART HISTORIAN'S LENS: J.J. Winckelmann and the Apollo Belvedere 157 Hellenistic Painting 161 Chapter 6: Etruscan Art FUNERARY ART 165 Tombs and Their Contents 166 MATERIALS AND TECHNIQUES: Etruscan Gold-Working 169 ARCHITECTURE 173 City Planning 174 SCULPTURE 175 Dynamism in Terra Cotta and Bronze 175 Chapter 7: Roman Art EARLY ROME AND THE REPUBLIC 181 THE ART HISTORIAN'S LENS: Recognizing Copies: The Case of the Laocoon 183 NEW DIRECTIONS IN ARCHITECTURE 183 Sculpture 188 PRIMARY SOURCES: Cicero (106-43 BCE) 192 MATERIALS AND TECHNIQUES: Copying Greek Sculptures 193 Painting and Mosaic 194 PRIMARY SOURCES: Polybius (ca. 200-ca. 118 BCE) 194 THE EARLY EMPIRE 195 Architecture 196 THE ART HISTORIAN'S LENS: Two Pantheon Problems 202 Portrait Sculpture 203 Relief Sculpture 207 PRIMARY SOURCES: Josephus (37/8-ca. 100 CE) 210 Art and Architecture in the Provinces 213 Domestic Art and Architecture 216 THE LATE EMPIRE 222 Architecture 222 MATERIALS AND TECHNIQUES: Painted Stone in Greece and Rome 223 Architecture in the Provinces 227 Portrait Sculpture 228 Relief Sculpture 229 PART TWO: THE MIDDLE AGES Chapter 8: Early Jewish, Early Christian, and Byzantine Art EARLY JEWISH ART 237 EARLY CHRISTIAN ART 240 Christian Art before Constantine 240 INFORMING ART: The Life of Jesus 241 PRIMARY SOURCES: The Book of the Popes (Liber Pontificalis) 244 Christian Art after Official Recognition of Christianity 245 MATERIALS AND TECHNIQUES: Mosaics 248 BYZANTINE ART 254 Early Byzantine Art 254 PRIMARY SOURCES: Procopius of Caesarea (Sixth Century) 258 The Iconoclastic Controversy 265 Middle Byzantine Art 265 PRIMARY SOURCES: St. Theodore the Studite (759-826 CE) 266 Late Byzantine Art 273 INFORMING ART: Biblical and Celestial Beings 273 Chapter 9: Islamic Art Religious Architecture 280 PRIMARY SOURCES: Muhammad Ibn Mahmud Al-Amuli (Iran, 14th Century) 280 THE FORMATION OF ISLAMIC ART 281 INFORMING ART: Islam and Its Messenger 283 Secular Architecture 284 THE DEVELOPMENT OF ISLAMIC STYLE 285 Religious Architecture 285 Luxury Arts 287 ISLAMIC ART AND THE PERSIAN INHERITANCE 287 Architecture 287 Figural Art Forms in Iran 288 THE CLASSICAL AGE 290 THE ART HISTORIAN'S LENS: Spanish Islamic Art and Europe in the Middle Ages 290 The Fatimid Artistic Impact 291 The Ayyubids and the Seljuk Turks of Asia Minor 292 LATER CLASSICAL ART AND ARCHITECTURE 294 Mongol Patronage 295 Timurid Patronage 295 Mamluk Patronage 296 Nasrid Patronage: The Alhambra 299 THE THREE LATE EMPIRES 300 PRIMARY SOURCES: The Ottoman Sultan Selim II (1524-1574) 300 MATERIALS AND TECHNIQUES: The Oriental Carpet 301 The Ottomans in Europe and Asia 302 The Safavid Period in Iran 304 The Mughal Period in India 308 PRIMARY SOURCES: Abd Al-Hamid Lahori (d. 1654) 309 CONTINUITY AND CHANGE IN ISLAMIC ART 310 Chapter 10: Early Medieval Art ANGLO-SAXON ART 314 MATERIALS AND TECHNIQUES: Metalwork 315 The Animal Style 316 HIBERNO-SAXON ART 318 Manuscripts 318 PRIMARY SOURCES: Lindisfarne Gospels 320 VIKING ART 322 CAROLINGIAN ART 324 Sculpture 324 Illuminated Books 325 Architecture 328 PRIMARY SOURCES: Hariulf (ca.1060-1143) 331 PRIMARY SOURCES: St. Angilbert (ca. 750-814) 332 OTTONIAN ART 333 Architecture 333 Metalwork 336 Ivories and Manuscripts: Conveyors of Imperial Grandeur 340 Sculpture 343 Chapter 11: Romanesque Art FIRST EXPRESSIONS OF ROMANESQUE STYLE 349 Architecture 349 Monumental Stone Sculpture 350 MATURE ROMANESQUE 351 Pilgrimage Churches and Their Art 351 PRIMARY SOURCES: The Pilgrim's Guide 352 Cluniac Architecture and Sculpture 356 PRIMARY SOURCES: St. Bernard of Clairvaux (1090-1153) 359 Cluniac Wall Painting 365 Cistercian Architecture and Art 366 Other Benedictine Architecture and Wall Painting 367 Book Illustration 368 THE ART HISTORIAN'S LENS: Preserving and Restoring Architecture 369 OTHER REGIONAL VARIANTS OF ROMANESQUE STYLE 372 Western France: Poitou 372 Southeastern France: Provence 373 The Holy Land 374 Tuscany 375 Germany 378 The Meuse Valley: Mosan Style 379 MATERIALS AND TECHNIQUES: Vaulting 380 Normandy and England 381 THE PARADOXICAL MEANING OF ROMANESQUE 386 Chapter 12: Gothic Art EARLY GOTHIC ART IN FRANCE 391 Saint-Denis: Suger and the Beginnings of Gothic Architecture 391 PRIMARY SOURCES: Suger of Saint-Denis (1081-1151) 393 Chartres Cathedral 395 Laon Cathedral 397 Cathedral of Notre-Dame in Paris 398 HIGH GOTHIC ART IN FRANCE 399 The Rebuilding of Chartres Cathedral 400 PRIMARY SOURCES: Theophilus Presbyter (12th Century) 402 MATERIALS AND TECHNIQUES: Stained Glass 405 THE ART HISTORIAN'S LENS: Modules and Proportions 406 Amiens Cathedral 408 Reims Cathedral 408 RAYONNANT OR COURT STYLE 413 Sainte-Chapelle 413 Saint-Urbain in Troyes 415 Manuscript Illumination 416 LATE GOTHIC ART IN FRANCE 418 Manuscript Illumination 418 Sculpture 420 Architecture: The Flamboyant Phase 422 THE SPREAD OF GOTHIC ART 423 Spain 423 England 426 Germany 430 PART THREE: THE RENAISSANCE THROUGH ROCOCO Chapter 13: Art in Thirteenth- and Fourteenth-Century Italy THE GROWTH OF MENDICANT ORDERS AND THE VISUAL ARTS IN ITALY 438 The Franciscans at Assisi and Florence 438 Churches and Their Furnishings in Urban Centers 441 MATERIALS AND TECHNIQUES: Fresco Painting and Conservation 441 Pulpits in Pisan Churches 442 Expanding Florence Cathedral 445 Building for the City Government: The Palazzo della Signoria 448 PAINTING IN TUSCANY 449 Cimabue and Giotto 449 Siena: Devotion to Mary in Works by Duccio and Simone 453 PRIMARY SOURCES: Agnolo di Tura del Grasso 454 THE ART HISTORIAN'S LENS: The Social Work of Images 455 Pietro and Ambrogio Lorenzetti 458 Artists and Patrons in Times of Crisis 461 PRIMARY SOURCES: Inscriptions on the Frescoes in the Palazzo Pubblico, Siena 461 NORTHERN ITALY 465 Venice: Political Stability and Sumptuous Architecture 465 Milan: The Visconti Family and Northern Influences 465 Chapter 14: Artistic Innovations in Fifteenth-Century Northern Europe COURTLY ART: THE INTERNATIONAL GOTHIC 471 Sculpture for the French Royal Family 471 Illuminated Manuscripts: Books of Hours 473 Bohemia and England 474 URBAN CENTERS AND THE NEW ART 476 Robert Campin in Tournai 477 Jan van Eyck in Bruges 479 MATERIALS AND TECHNIQUES: Panel Painting in Tempera and Oil 479 Rogier van der Weyden in Brussels 485 PRIMARY SOURCES: Cyriacus of Ancona (1449) 485 LATE FIFTEENTH-CENTURY ART IN THE NETHERLANDS 487 Aristocratic Tastes for Precious Objects, Personal Books, and Tapestries 487 THE ART HISTORIAN'S LENS: Scientific and Technical Study of Paintings 488 Panel Paintings in the Southern Netherlands 490 The Northern Netherlands 492 REGIONAL RESPONSES TO THE EARLY NETHERLANDISH STYLE 494 France 494 PRIMARY SOURCES: Fray Jose De Siguenza (1544?-1606) 494 Spain 495 Central Europe 495 PRIMARY SOURCES: From the Contract for the St. Wolfgang Altarpiece 499 PRINTING AND THE GRAPHIC ARTS 499 Printing Centers in Colmar and Basel 501 MATERIALS AND TECHNIQUES: Printmaking 501 Chapter 15: The Early Renaissance in Fifteenth-Century Italy FLORENCE IN THE FIFTEENTH CENTURY 507 The Baptistery Competition 507 PRIMARY SOURCES: In Praise of the City of Florence (ca. 1403-04) by Leonardo Bruni 507 Architecture and Antiquity in Florence 509 PRIMARY SOURCES: Lorenzo Ghiberti (ca. 1381-1455) 509 MATERIALS AND TECHNIQUES: Brunelleschi's Dome 512 PRIMARY SOURCES: Leon Battista Alberti on what makes a building beautiful 514 Ancient Inspirations in Florentine Sculpture 515 MATERIALS AND TECHNIQUES: Perspective 516 Painting in Florentine Churches and Chapels 525 THE ART HISTORIAN'S LENS: Patronage Studies 525 Florentine Painters in the Age of the Medici 530 DOMESTIC LIFE: PALACES, FURNISHINGS, AND PAINTINGS IN MEDICEAN FLORENCE 533 Palace Architecture 533 PRIMARY SOURCES: Domenico Veneziano Solicits Work 534 Paintings for Palaces 536 PRIMARY SOURCES: Giovanni Dominici Urges Parents to Put Religious Images in Their Homes 539 Portraiture 541 RENAISSANCE ART THROUGHOUT ITALY, 1450-1500 543 Piero della Francesca in Central Italy 543 Alberti and Mantegna in Mantua 546 Venice 550 Rome and the Papal States 553 Chapter 16: The High Renaissance in Italy, 1495-1520 THE HIGH RENAISSANCE IN FLORENCE AND MILAN 558 Leonardo da Vinci in Florence 559 Leonardo in Milan 559 PRIMARY SOURCES: Leonardo da Vinci (1452-1519) 562 Leonardo Back in Florence and Elsewhere 564 ROME RESURGENT 566 Bramante in Rome 566 Michelangelo in Rome and Florence 568 PRIMARY SOURCES: Michelangelo Interprets the Vatican Pieta 568 Michelangelo in the Service of Pope Julius II 571 MATERIALS AND TECHNIQUES: Drawings 575 Raphael in Florence and Rome 577 THE ART HISTORIAN'S LENS: Cleaning and Restoring Works of Art 578 PRIMARY SOURCES: On Raphael's Death 583 VENICE 584 Giorgione 584 Titian 585 Chapter 17: The Late Renaissance and Mannerism in Sixteenth-Century Italy LATE RENAISSANCE FLORENCE: THE CHURCH, THE COURT, AND MANNERISM 593 Florentine Religious Painting in the 1520s 593 The Medici in Florence: From Dynasty to Duchy 595 PRIMARY SOURCES: Benvenuto Cellini (1500-1571) 600 ROME REFORMED 603 Michelangelo in Rome 603 PRIMARY SOURCES: Michelangelo the Poet 603 The Catholic Reformation and Il Gesu 607 NORTHERN ITALY: DUCAL COURTS AND URBAN CENTERS 609 The Palazzo del Te 609 PARMA AND CREMONA 611 Correggio and Parmigianino in Parma 611 Cremona 613 VENICE: THE SERENE REPUBLIC 613 Sansovino in Venice 613 Andrea Palladio and Late Renaissance Architecture 614 PRIMARY SOURCES: Andrea Palladio (1508-1580) 616 Titian 617 MATERIALS AND TECHNIQUES: Oil on Canvas 618 PRIMARY SOURCES: From a Session of the Inquisition Tribunal in Venice of Paolo Veronese 620 Titian's Legacy 621 Chapter 18: Renaissance and Reformation in Sixteenth-Century Northern Europe FRANCE: COURTLY TASTES FOR ITALIAN FORMS 625 Chateaux and Palaces: Translating Italian Architecture 626 Art for Castle Interiors 628 MATERIALS AND TECHNIQUES: Making and Conserving Renaissance Tapestries 629 SPAIN: GLOBAL POWER AND RELIGIOUS ORTHODOXY 631 The Escorial 632 El Greco and Religious Painting in Spain 633 CENTRAL EUROPE: THE REFORMATION AND ART 634 Catholic Contexts: The Isenheim Altarpiece 635 Albrecht Durer and the Northern Renaissance 638 PRIMARY SOURCES: Albrecht Durer (1471-1528) 641 Religious and Courtly Images in the Era of Reform 643 Painting in the Cities: Humanist Themes and Religious Turmoil 646 ENGLAND: REFORMATION AND POWER 647 PRIMARY SOURCES: Elizabethan Imagery 649 THE NETHERLANDS: WORLD MARKETPLACE 650 The City and the Court: David and Gossaert 651 THE ART HISTORIAN'S LENS: The Economics of Art 651 Antwerp: Merchants, Markets, and Morality 652 PRIMARY SOURCES: Karel van Mander Writes About Pieter Bruegel the Elder 656 Chapter 19: The Baroque in Italy and Spain PAINTING IN ITALY 663 Caravaggio and the New Style 664 Artemisia Gentileschi 667 PRIMARY SOURCES: Artemisia Gentileschi (1593-ca. 1653) 669 Ceiling Painting and Annibale Carracci 670 ARCHITECTURE IN ITALY 675 The Completion of St. Peter's and Carlo Maderno 675 Bernini and St. Peter's 676 Architectural Components in Decoration 678 A Baroque Alternative: Francesco Borromini 679 The Baroque in Turin: Guarino Guarini 682 The Baroque in Venice: Baldassare Longhena 684 SCULPTURE IN ITALY 684 Early Baroque Sculpture: Stefano Maderno 684 The Evolution of the Baroque: Gianlorenzo Bernini 684 A Classical Alternative: Alessandro Algardi 687 MATERIALS AND TECHNIQUES: Bernini's Sculptural Sketches 688 PAINTING IN SPAIN 689 Spanish Still Life: Juan Sanchez Cotan 690 Naples and the Impact of Caravaggio: Jusepe de Ribera 690 Diego Velazquez: From Seville to Court Painter 691 Monastic Orders and Zurbaran 695 PRIMARY SOURCES: Antonio Palomino (1655-1726) 695 Culmination in Devotion: Bartolome Esteban Murillo 696 Chapter 20: The Baroque in the Netherlands FLANDERS 701 Peter Paul Rubens and Defining the Baroque 701 PRIMARY SOURCES: Peter Paul Rubens (1577-1640) 704 Anthony van Dyck: History and Portraiture at the English Court 707 Local Flemish Art and Jacob Jordaens 708 The Bruegel Tradition 709 Still-Life Painting 710 THE DUTCH REPUBLIC 713 The Haarlem Academy: Hendrick Goltzius 713 The Caravaggisti in Holland: Hendrick Terbrugghen 713 The Haarlem Community and Frans Hals 714 The Next Generation in Haarlem: Judith Leyster 717 Rembrandt and the Art of Amsterdam 718 THE ART HISTORIAN'S LENS: Authenticity and Workshops: Rubens and Rembrandt 718 MATERIALS AND TECHNIQUES: Etching, Drypoint, and Selective Wiping 722 THE MARKET: LANDSCAPE, STILL-LIFE, AND GENRE PAINTING 725 Landscape Painting: Jan van Goyen 725 City Views: Jacob van Ruisdael 726 Architectural Painting: Pieter Saenredam 728 Still-life Painting: Willem Claesz. Heda 729 Flower Painting: Rachel Ruysch 730 Genre Painting: Jan Steen 730 Intimate Genre Painting: Jan Vermeer 732 Exquisite Genre Painting: Gerard ter Borch 734 Chapter 21: The Baroque in France and England FRANCE: THE STYLE OF LOUIS XIV 738 Painting and Printmaking in France 739 PRIMARY SOURCES: Nicolas Poussin (ca. 1594-1665) 742 THE ART HISTORIAN'S LENS: Forgeries and The Book of Truth 747 French Classical Architecture 748 Sculpture: The Impact of Bernini 754 BAROQUE ARCHITECTURE IN ENGLAND 754 Inigo Jones and the Impact of Palladio 755 Sir Christopher Wren 757 John Vanbrugh and Nicholas Hawksmoor 760 Chapter 22: The Rococo FRANCE: THE RISE OF THE ROCOCO 762 Painting: Poussinistes versus Rubenistes 763 PRIMARY SOURCES: Jean de Jullienne (1686-1767) 766 MATERIALS AND TECHNIQUES: Pastel Painting 769 Chinoiserie 771 The French Rococo Interior 772 THE ROCOCO IN WESTERN EUROPE OUTSIDE OF FRANCE 774 William Hogarth and the Narrative 774 Canaletto 775 THE ROCOCO IN CENTRAL EUROPE 776 Johann Fischer von Erlach 777 Egid Quirin Asam 779 Dominikus Zimmermann 779 Balthasar Neumann 780 Giovanni Battista Tiepolo and Illusionistic Ceiling Decoration 781 PART FOUR: THE MODERN WORLD Chapter 23: Art in the Age of the Enlightenment, 1750-1789 ROME TOWARD 1760: THE FONT OF NEOCLASSICISM 787 Artistic Foundations of Neoclassicism: Mengs and Hamilton 788 ROMANTICISM IN ROME: PIRANESI 789 NEOCLASSICISM IN BRITAIN 790 Sculpture and Painting: Historicism, Morality, and Antiquity 791 MATERIALS AND TECHNIQUES: Josiah Wedgwood and Neoclassical Jasperware 792 The Birth of Contemporary History Painting 793 Grand Manner Portraiture in the Neoclassical Style: Joshua Reynolds 795 THE ART HISTORIAN'S LENS: The Elusive Meaning of West's The Death of General Wolfe 795 Architecture and Interiors: The Palladian Revival 796 EARLY ROMANTICISM IN BRITAIN 798 Architecture and Landscape Design: The Sublime and the Picturesque 799 Early Romantic Painting in Britain 801 Romanticism in Grand Manner Portraiture: Thomas Gainsborough 805 NEOCLASSICISM IN FRANCE 806 Architecture: Rational Classicism 806 The Sublime in Neoclassical Architecture: The Austere and the Visionary 808 Painting and Sculpture: Expressing Enlightenment Values 810 PRIMARY SOURCES: Denis Diderot (1713-1784) 812 The Climax of Neoclassicism: The Paintings of Jacques-Louis David 813 PRIMARY SOURCES: Etienne-Jean Delecluze (1781-1863) 813 Neoclassical Portraiture: Marie-Louise-Elisabeth Vigee-Lebrun 816 ITALIAN NEOCLASSICISM TOWARD 1785 817 Neoclassical Sculpture: Antonio Canova 817 Chapter 24: Art in the Age of Romanticism, 1789-1848 PAINTING 823 Spain: Francisco Goya 823 Britain: Spiritual Intensity and the Bond with Nature 825 MATERIALS AND TECHNIQUES: Blake's Printing Process 827 PRIMARY SOURCES: John Constable (1776-1837) 829 Germany: Friedrich's Pantheistic Landscape 831 America: Landscape as Metaphor 832 France: Neoclassical Romanticism 835 France: Painterly Romanticism and Romantic Landscape 840 PRIMARY SOURCES: Eugene Delacroix (1798-1863) 845 Romantic Landscape Painting 847 ROMANTIC SCULPTURE 850 ROMANTIC REVIVALS IN ARCHITECTURE 851 Britain: The Sublime and the Picturesque 851 Germany: Creating a New Athens 854 America: An Ancient Style for a New Republic 854 France: Empire Style 856 Chapter 25: The Age of Positivism: Realism, Impressionism, and the Pre-Raphaelites, 1848-1885 REALISM IN FRANCE 860 Realism in the 1840s and 1850s: Painting Contemporary Social Conditions 861 The Realist Assault on Academic Values and Bourgeois Taste 866 Impressionism: A Different Form of Realism 871 PRIMARY SOURCES: Lila Cabot Perry (1848?-1933) 872 MATERIALS AND TECHNIQUES: Impressionist Color Theory 874 BRITISH REALISM 881 The Pre-Raphaelite Brotherhood 881 The Aesthetic Movement: Personal Psychology and Repressed Eroticism 884 PRIMARY SOURCES: James Abbott McNeill Whistler (1834-1903) 885 REALISM IN AMERICA 887 Scientific Realism: Thomas Eakins 887 Iconic Imagery: Winslow Homer 888 THE ART HISTORIAN'S LENS: An Artist's Reputation and Changes in Art Historical Methodology 889 PHOTOGRAPHY: A MECHANICAL MEDIUM FOR MASS-PRODUCED ART 890 First Innovations 891 Recording the World 891 Reporting the News: Photojournalism 894 Photography as Art: Pictorialism and Combination Printing 895 PRIMARY SOURCES: Charles Baudelaire (1821-1867) 896 ARCHITECTURE AND THE INDUSTRIAL REVOLUTION 897 Ferrovitreous Structures: Train Sheds and Exhibition Palaces 898 Historic Eclecticism and Technology 899 Announcing the Future: The Eiffel Tower 900 Chapter 26: Progress and Its Discontents: Post-Impressionism, Symbolism, and Art Nouveau, 1880-1905 POST-IMPRESSIONISM 905 Paul Cezanne: Toward Abstraction 905 PRIMARY SOURCES: Paul Cezanne (1839-1906) 907 Georges Seurat: Seeking Social and Pictorial Harmony 908 Henri de Toulouse-Lautrec: An Art for the Demimonde 911 MATERIALS AND TECHNIQUES: Lithography 911 Vincent van Gogh: Expression Through Color and Symbol 912 Paul Gauguin: The Flight from Modernity 915 PRIMARY SOURCES: Paul Gauguin (1848-1903) 917 SYMBOLISM 917 The Nabis 917 Other Symbolist Visions in France 918 Symbolism Beyond France 920 Symbolist Currents in American Art 922 THE ART HISTORIAN'S LENS: Feminist Art History 923 The Sculpture of Rodin 924 ART NOUVEAU AND THE SEARCH FOR MODERN DESIGN 927 The Public and Private Spaces of Art Nouveau 927 AMERICAN ARCHITECTURE: THE CHICAGO SCHOOL 931 Henry Hobson Richardson: Laying the Foundation for Modernist Architecture 931 Louis Sullivan and Early Skyscrapers 932 Frank Lloyd Wright and the Prairie House 934 PHOTOGRAPHY AND THE ADVENT OF FILM 936 Pictorialist Photography and the Photo Secession 936 Documentary Photography 939 Motion Photography and Moving Pictures 940 Chapter 27: Toward Abstraction: The Modernist Revolution, 1904-1914 FAUVISM 946 CUBISM 950 Reflecting and Shattering Tradition: Les Demoiselles d'Avignon 950 THE ART HISTORIAN'S LENS: The Myth of the Primitive 951 Analytic Cubism: Picasso and Braque 952 Synthetic Cubism: The Power of Collage 953 THE IMPACT OF FAUVISM AND CUBISM 955 German Expressionism 955 MATERIALS AND TECHNIQUES: The Woodcut in German Expressionism 958 PRIMARY SOURCES: Vasily Kandinsky (1866-1944) 960 Austrian Expressionism 962 Cubism after Picasso and Braque: Paris 963 Italian Futurism: The Visualization of Movement and Energy 964 Cubo-Futurism and Suprematism in Russia 966 PRIMARY SOURCES: Kazimir Malevich (1878-1935) 968 Cubism and Fantasy: Marc Chagall and Giorgio de Chirico 969 MARCEL DUCHAMP AND THE ADVENT OF AN ART OF IDEAS 970 CONSTANTIN BRANCUSI AND THE BIRTH OF MODERNIST SCULPTURE 972 AMERICAN ART 974 America's First Modernists: Arthur Dove and Marsden Hartley 975 EARLY MODERN ARCHITECTURE IN EUROPE 976 Austrian and German Modernist Architecture 976 German Expressionist Architecture 979 Chapter 28: Art Between the Wars DADA 985 Zurich Dada: Jean Arp 985 New York Dada: Marcel Duchamp 986 Berlin Dada 987 Cologne Dada 991 PRIMARY SOURCES: Hannah Hoch (1889-1978) 991 Paris Dada: Man Ray 992 SURREALISM 993 Picasso and Surrealism 993 Surrealism in Paris: Spurring the Imagination 995 Representational Surrealism: Magritte and Dali 996 Surrealism and Photography 999 The Surrealist Object 999 ORGANIC SCULPTURE OF THE 1930S 1000 Alexander Calder in Paris 1001 Henry Moore and Barbara Hepworth in England 1002 PRIMARY SOURCES: Barbara Hepworth (1903-1975) 1003 CREATING UTOPIAS 1003 Russian Constructivism: Productivism and Utilitarianism 1003 De Stijl and Universal Order 1005 The Bauhaus: Creating the "New Man" 1007 PRIMARY SOURCES: Piet Mondrian (1872-1944) 1007 The Machine Aesthetic in Paris 1011 PRIMARY SOURCES: Le Corbusier (1886-1965) 1012 MATERIALS AND TECHNIQUES: Reinforced Concrete 1013 ART IN AMERICAN: MODERNITY, SPIRITUALITY, AND REGIONALISM 1015 The City and Industry 1015 Art Deco and the International Style 1020 Seeking the Spiritual 1021 Regionalism and National Identity 1023 The Harlem Renaissance 1024 MEXICAN ART: SEEKING A NATIONAL IDENTITY 1025 Diego Rivera 1025 THE EVE OF WORLD WAR II 1028 America: The Failure of Modernity 1028 Europe: The Rise of Fascism 1030 Chapter 29: Postwar to Postmodern, 1945-1980 EXISTENTIALISM IN NEW YORK: ABSTRACT EXPRESSIONISM 1036 The Bridge from Surrealism to Abstract Expressionism: Arshile Gorky 1036 Abstract Expressionism: Action Painting 1038 PRIMARY SOURCES: Jackson Pollock (1912-1956) 1038 Abstract Expressionism: Color-Field Painting 1040 New York Sculpture: David Smith and Louise Nevelson 1041 EXISTENTIALISM IN EUROPE: FIGURAL EXPRESSIONISM 1042 Jean Dubuffet 1042 Francis Bacon 1043 REJECTING ABSTRACT EXPRESSIONISM: AMERICAN ART OF THE 1950s AND 1960s 1044 Re-Presenting Life and Dissecting Painting 1044 Environments and Performance Art 1046 Pop Art: Consumer Culture as Subject 1049 PRIMARY SOURCES: Roy Lichtenstein (1923-1997) 1050 FORMALIST ABSTRACTION OF THE 1950s AND 1960s 1053 Formalist Painting 1053 Formalist Sculpture: Minimal Art 1056 PRIMARY SOURCES: Frank Stella (b. 1936) 1056 THE PLURALIST 1970s: POST-MINIMALISM 1058 Post-Minimal Sculpture: Geometry and Emotion 1058 Earthworks and Site-Specific Art 1059 THE ART HISTORIAN'S LENS: Studying the Absent Object 1059 Conceptual Art: Art as Idea 1062 Television Art: Nam June Paik 1063 ART WITH A SOCIAL AGENDA 1064 Street Photography 1064 African-American Art: Ethnic Identity 1065 PRIMARY SOURCES: Romare Bearden (1911-1988) 1066 Feminist Art: Judy Chicago and Gender Identity 1068 LATE MODERNIST ARCHITECTURE 1069 Continuing the International Style: Ludwig Mies van der Rohe 1069 Sculptural Architecture: Referential Mass 1070 Chapter 30: The Postmodern Era: Art Since 1980 ARCHITECTURE 1077 Postmodern Architecture: A Referential Style 1077 New Modernisms: High-Tech Architecture 1080 Deconstructivism: Countering Modernist Authority 1082 MATERIALS AND TECHNIQUES: Computer-Aided Design in Architecture 1085 POSTMINIMALISM AND PLURALISM: LIMITLESS POSSIBILITIES IN FINE ART 1085 The Return of Painting 1085 Sculpture 1089 APPROPRIATION ART: DECONSTRUCTING IMAGES 1091 PRIMARY SOURCES: Cindy Sherman (b. 1954) 1091 Photography and LED Signs 1092 Context and Meaning in Art: The Institutional Critique and Art as Commodity 1094 MULTICULTURALISM AND POLITICAL ART 1096 African-American Identity 1096 The AIDS Pandemic and a Preoccupation with the Body 1098 The Power of Installation, Video, and Large-Scale Photography 1100 PRIMARY SOURCES: Ilya Kabakov (b. 1933) 1102 THE ART HISTORIAN'S LENS: The Changing Art Market 1104 GLOBAL ART 1105 El Anatsui, Adinkra Signs, and Postmodern Ambiguity 1105 Cai Guo Qing: Projects for Extraterrestrials 1106 Glossary Bibliography Index Credits

Product Details

  • publication date: 03/01/2010
  • ISBN13: 9780205685172
  • Format: Hardback
  • Number Of Pages: 1184
  • ID: 9780205685172
  • weight: 3776
  • ISBN10: 020568517X
  • edition: 8th Revised edition

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