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 Jetté 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 and Acknowledgments | |
Faculty and Student Resources | |
Introduction | |
The Power of Art and the Impact Of Context | |
What is Art? | |
Art and Aesthetics | |
Illusionism and Meaning in Art | |
Can a Mechanical Process be Art?: Photography | |
Can Architecture Communicate Ideas? | |
The Language of Art | |
Experiencing Art | |
The Ancient World | |
Prehistoric Art | |
Paleolithic Art | |
Interpreting Prehistoric Painting | |
Paleolithic Carving | |
Neolithic Art | |
Settled Societies and Neolithic Art | |
Architecture: Tombs and Rituals | |
Ancient Near Eastern Art | |
Sumerian Art | |
Temple Architecture: Linking Heaven and Earth | |
Sculpture | |
Visual Narratives | |
Art Of Akkad | |
Sculpture: Power | |
Neo-Sumerian Revival | |
Babylonian Art | |
The Code of Hammurabi | |
Assyrian Art | |
Art of Empire: Expressing Royal Power | |
Late Babylonian Art | |
Iranian Art | |
The Persian Empire: Cosmopolitan Heirs to the Mesopotamian Tradition | |
Egyptian Art | |
Predynastic and Early Dynastic Art | |
The Palette of King Narmer | |
The Old Kingdom: A Golden Age | |
Old Kingdom Funerary Complexes | |
The Pyramids at Giza: Reflecting a New Royal Role | |
Representing the Human Figure | |
The Middle Kingdom: Reasserting Tradition Through the Arts | |
Royal Portraiture: Changing Expressions and Proportions | |
The New Kingdom: Restored Glory | |
Royal Burials in the Valley of the Kings | |
Temples to the Gods | |
Akhenaten and the Amarna Style | |
The Amarna Style | |
Tutankhamun and the Aftermath of Amarna | |
Aegean Art | |
Early Cycladic Art | |
Minoan Art | |
The Palace at Knossos | |
Wall Paintings: Representing Rituals and Nature | |
Minoan Pottery and Faience | |
Late Minoan Art | |
Mycenaean Art | |
Architecture: Citadels | |
Mycenaean Tombs and Their Contents | |
Greek Art | |
The Emergence of Greek Art: The Geometric Style | |
Geometric Style Pottery | |
The Orientalizing Style: Horizons Expand | |
Archaic Art: Art of the City-State | |
The Rise of Monumental Temple Architecture | |
Temple Plans: Reading Architectural Drawings | |
The Greek Gods and Goddesses | |
Stone Sculpture | |
Architectural Sculpture: The Building Comes Alive | |
Greek Heroes and Civic Values | |
Vase Painting: Art of the Symposium | |
The Classical Age | |
Classical Sculpture | |
The Indirect Lost-Wax Process | |
Architecture and Sculpture on the Athenian Akropolis | |
The Late Classical Period | |
Late Classical Architecture: Civic and Sacred | |
Late Classical Sculpture | |
The Age of Alexander and the Hellenistic Period | |
Architecture: The Scholarly Tradition and Theatricality | |
Hellenistic Sculpture: Expression and Movement | |
Hellenistic Painting | |
Etruscan Art | |
Funerary Art | |
Tombs and Their Contents | |
Architecture | |
Sculpture | |
Dynamism in Terracotta and Bronze | |
Roman Art | |
Early Rome and the Republic | |
Architecture: The Concrete Revolution | |
Arches | |
Sculpture | |
Relief Sculpture | |
Roman Values | |
The Early Empire | |
Portrait Sculpture | |
Relief Sculpture | |
Architecture | |
Art and Architecture in the Provinces | |
Domestic Art and Architecture | |
Wall painting, mural, and fresco | |
The Late Empire | |
Portrait Sculpture | |
Relief Sculpture | |
Architecture | |
Late Roman Architecture in the Provinces | |
The Middle Ages | |
Early Christian, Byzantine, and Early Islamic Art | |
The Life of Jesus | |
Early Christian Art | |
Christian Art before Constantine | |
Christian Art after the Official Recognition of Christianity | |
The Liturgy of the Mass | |
Versions of the Bible | |
Byzantine Art | |
Early Byzantine Art | |
The Iconoclastic Controversy | |
Middle Byzantine Art | |
Late Byzantine Art | |
Islamic Art | |
Architecture | |
Islam: Beliefs and Practices | |
Early Medieval Art | |
Anglo-Saxon Art | |
The Animal Style | |
Metalwork | |
Hiberno-Saxon Art | |
Manuscripts | |
Carolingian Art | |
Sculpture | |
Illuminated Books | |
Architecture | |
Ottonian Art | |
Architecture | |
Metalwork | |
Ivories and Manuscripts: Conveyors of Imperial Grandeur | |
Sculpture | |
The Development of Islamic Style | |
Religious Architecture | |
Luxury Arts | |
Islamic Art and the Persian Inheritance | |
Architecture | |
Figural Art Forms in Iran | |
Romanesque Art | |
First Expressions of Romanesque Style | |
Architecture | |
Monumental Stone Sculpture | |
Mature Romanesque | |
Pilgrimage Churches and Their Art | |
Cluniac Architecture and Sculpture | |
Monasticism and Christian Monastic Orders | |
Spanish Islamic Art and Europe in the Middle Ages | |
Cistercian Architecture and Art | |
Wall Painting | |
Book Illustration | |
Regional Variants of the Romanesque Style | |
Western France: Poitou | |
Southeastern France: Provence | |
Tuscany | |
Normandy and England | |
Women Artists and Patrons: Hildegard of Bingen | |
Gothic Art | |
Early Gothic Art in France | |
Saint-Denis: Suger and the Beginnings of Gothic Architecture | |
Dionysian Theology and the Abbey of Saint-Denis | |
Chartres Cathedral | |
Laon Cathedral | |
High Gothic Art in France | |
The Rebuilding of Chartres Cathedral | |
The Architect, the Master, and the Guild | |
Stained Glass | |
Reims Cathedral | |
Rayonnant or Court Style | |
Sainte-Chapelle | |
Manuscript Illumination | |
Late Gothic Art in France | |
Mansucript Illumination | |
Sculpture | |
The Spread of Gothic Art | |
England | |
Germany | |
The Renaissance through the Rococo: The Early Modern World | |
Art in Thirteenth- and Fourteenth-Century Italy | |
The Cities and the Mendicants | |
Franciscan Churches and Altarpieces | |
Urban Churches, Baptisteries, and Civic Buildings | |
New Directions in Tuscan Painting | |
Giotto and the New Florentine Painting | |
Sienese Painting | |
Late Fourteenth-Century Crises | |
Upheaval and Plague | |
Northern Italy: Milan | |
Artistic Innovations in Fifteenth-Century Northern Europe | |
courtly Art: The International Gothic | |
Artists at the French Courts | |
Urban Centers and the New Art | |
Hugo van der Goes in Ghent | |
Hieronymus Bosch | |
Regional Responses to the Early Netherlandish Style | |
France | |
Central Europe | |
Painting and the Graphic Arts | |
Early Printmaking | |
The Early Renaissance in Fifteenth-Century Italy | |
The Inspiration of Antiquity in Florence | |
Brunelleschi and the Beginnings of Renaissance Architecture | |
New Directions in Florentine Painting | |
Italian Art During the Era of the Medici, 1434-1494 | |
The Baptistery of Florence | |
Florentine Churches and Convents at Mid-Century | |
The Spread of Florentine Style | |
The Renaissance Palace and its Furnishings, ca. 1440-1490 | |
Patrician Palaces | |
Images of Heroes for Florentine Collectors | |
Ancient Battles in Prints | |
Paintings for Palaces | |
Portraiture | |
The Renaissance Style Reverberates, 1450-1500 | |
Piero della Francesca in Central Italy | |
Alberti and Mantegna in Mantua | |
Venice | |
Rome and the Papal States | |
Perspective | |
The High Renaissance in Italy, 1495-1520 | |
Leonardo and the Florentine High Renaissance | |
The High Renaissance in Rome | |
Bramante in Rome | |
Michelangelo in Rome and Florence | |
Veniceand the High Renaissance | |
Titian | |
The Late Renaissance and Mannerism in Sixteenth-Century Italy | |
Late Renaissance Florence | |
Mannerism | |
Michelangelo in Florence | |
Painters and Sculptors in Ducal Florence | |
Romereformed | |
Michelangelo in Rome | |
The Catholic Reformation and Il Gesù | |
Cities and Courts in Northern Italy and Venice | |
Mantua | |
Parma | |
Bologna | |
Venice: The Serene Republic | |
Renaissance and Reformation throughout Sixteenth-Century Europe | |
Franceand Spain: Catholic Courts and Italian Influence | |
Spain and Italianate Style | |
The Protestant Reformation | |
Central Europe: The Reformation and Art | |
Catholic Patrons in Early Sixteenth-Century Germany | |
Albrecht Dürer as Renaissance Artist | |
Albrecht Dürer as Reformation Artist | |
Protestant Courts and New Forms of Art | |
Mythologies | |
Landscape | |
Reformation England: The Tudor Portrait | |
The Netherlands: World Marketplace | |
Bruges | |
Antwerp | |
Bruegel and the Everyday | |
The Baroque in Italy and Spain | |
The Counter-Reformation | |
Painting in Italy | |
Caravaggio and the New Style | |
Artemisia Gentileschi | |
Ceiling Painting and Annibale Carracci | |
Architecture in Italy | |
The Completion of Saint Peter's and Carlo Maderno | |
Bernini and Saint Peter's | |
A Baroque Alternative: Francesco Borromini | |
Sculpture in Italy | |
The Evolution of the Baroque: Bernini | |
Painting in Spain | |
Naples and the Impact of Caravaggio | |
From Seville to Court Painter | |
Monastic Orders and ZurbarÃín | |
Culmination in Devotion | |
The Baroque in The Netherlands | |
Flanders | |
Peter Paul Rubens and Defining the Baroque | |
History and Portraiture at the English Court | |
Still-Life Painting | |
The Dutch Republic | |
The Caravaggisti in Holland | |
The Haarlem Community and Frans Hals | |
The Next Generation in Haarlem | |
Rembrandt and the Art of Amsterdam | |
The Market: Landscape, Still-Life, and Genre Painting | |
Landscape Painting | |
Still-Life Painting | |
Flower Painting and Rachel Ruysch | |
Genre Painting | |
Intimate Genre Painting and Jan Vermeer | |
The Baroque in France and England | |
France: The Style of Louis XIV | |
Painting in France | |
French Classical Architecture | |
Sculpture: The Impact of Bernini | |
Baroque Architecture in England | |
Inigo Jones and the Impact of Palladio | |
The Rococo | |
France: The Rise of the Rococo | |
Painting: Poussinistes versus Rubénistes | |
The French Rococo Interior | |
England: Printmaking and Painting | |
William Hogarth and the Narrative | |
Thomas Gainsborough and the English Portrait | |
The Rococo in Germany, Austria, and Central Europe | p. 452 |
Italy | |
Giovanni Battista Tiepolo and Illusionistic Ceiling | |
Decoration | |
Canaletto | |
The Modern World | |
Art in the Age of Enlightenment, 1750-1789 | |
Rometoward 1760: The Font of Neoclassicism | |
Artistic Foundations of Neoclassicism: Mengs and Hamilton | |
Rometoward 1760: The Font of Romanticism | |
Neoclassicism in Britain | |
Painting: Historicism, Morality, and Antiquity | |
The Birth of Contemporary History Painting | |
Architecture and Interiors: The Palladian Revival | |
Early Romanticism in Britain | |
Architecture: Strawberry Hill and the Gothic Revival | |
Painting: The Coexistence of Reason and Emotion | |
Neoclassicism in France | |
Architecture: Rational Classicism | |
The Sublime in Neoclassical Architecture: The Austere and the Visionary | |
Painting and Sculpture: Expressing Enlightenment Values | |
The Climax of Neoclassicism: The Paintings of Jacques-Louis David | |
Art in the Age of Romanticism, 1789-1848 | |
Painting | |
Spain: Francisco Goya | |
Britain: The Bond with Nature | |
Germany: Friedrich's Pantheistic Landscape | |
America: Landscape as Metaphor and the Popularity of Genre | |
France: Neoclassical Painting in the Romantic Era | |
France: Painterly Romanticism and Romantic Landscape | |
Romantic Landscape Painting | |
Sculpture | |
Neoclassical Sculpture in the Romantic Era: Antonio Canova | |
French Romantic Sculpture: Breaking from the Classical Model | |
Romantic Revivals in Architecture | |
The Gothic Revival: The Houses of Parliament 4 | |
The Classical Revival 4 | |
The Age of Positivism: Realism, Impressionism, and the Pre-Raphaelites, 1848-1885 | |
Realism in France | |
Realism in the 1840s and 1850s: Painting Contemporary Social Conditions | |
The Realist Assault on Academic Values and Bourgeois Taste | |
Impressionism: A Different Form of Realism | |
British Realism | |
The Pre-Raphaelite Brotherhood | |
The Aesthetic Movement: Personal Psychology and Repressed Eroticism | |
Realism in America | |
Scientific Realism: Thomas Eakins | |
Iconic Image: Winslow Homer | |
Photography: A Mechanical Medium for Mass-Produced Art | |
First Innovations | |
Recording the World | |
Reporting the News: Photojournalism | |
Photography as Art: Pictorialism and Combination Printing | |
Architecture and the Industrial Revolution | |
Ferrovitreous Structures: Train Sheds and Exhibition Palaces | |
Announcing the Future: The Eiffel Tower | |
Progress and Its Discontents: Post-Impressionism, Symbolism, and Art | |
Nouveau, 1880-1905 | |
Post-Impressionism | |
Toward Abstraction | |
Seeking Social and Pictorial Harmony | |
Vincent van Gogh: Expression through Color and Symbol | |
The Flight from Modernity | |
Symbolism | |
The Nabis | |
Other Symbolist Visions in France | |
Symbolism Beyond France | |
Symbolist Currents in American Art | |
The Sculpture of Rodin | |
Art Nouveau and the Search for Modern Design | |
The Public and Private Spaces of Art Nouveau | |
American Architecture: The Chicago School | |
Louis Sullivan and Early Skyscrapers | |
Frank Lloyd Wright and the Prairie House | |
Photography | |
Pictorialist Photography and the Photo Secession | |
Toward Abstraction: The Modernist Revolution, 1904-1914 | |
Fauvism | |
Cubism | |
Reflecting and Shattering Tradition: Les Demoiselles d'Avignon | |
Analytic Cubism: Picasso and Braque | |
Synthetic Cubism: The Power of Collage | |
The Impact of Fauvism and Cubism | |
German Expressionism | |
Austrian Expressionism | |
Cubism in Paris after Picasso and Braque | |
Italian Futurism: Activism and Art | |
Cubo-Futurism and Suprematism in Russia | |
Cubism and Fantasy: Giorgio de Chirico | |
Modernist Sculpture: Constantin Brancusi | |
American Art | |
America's First Modernists: Arthur Dove and Abstraction | |
Early Modern Architecture in Europe | |
German Modernist Architecture | |
German Expressionist Architecture | |
Art Between the Wars | |
Dada | |
Zurich Dada | |
New York Dada | |
Berlin Dada | |
Cologne Dada | |
Paris Dada | |
Surrealism | |
Surrealism in Paris | |
Representational Surrealism | |
The Surrealist Object | |
Organic Sculpture | |
Alexander Calder in Paris | |
Henry Moore in England | |
Creating Utopias | |
Russian Constructivism: Productivism and Utilitarianism | |
De Stijl and Universal Order | |
The Bauhaus: Creating the "New Man" | |
The Machine Aesthetic | |
Art in America: Modernity, Spirituality, and Regionalism | |
The City and Industry | |
Seeking the Spiritual | |
Regionalism and National Identity | |
The Harlem Renaissance | |
Mexican Art: Seeking a National Identity | |
The Eve of World War II | |
America: The Failure of Modernity | |
Europe and Fascism | |
Postwar to Postmodern, 1945-1980 | |
Existentialism in New York: Abstract Expressionism | |
Abstract Expressionism: Action Painting | |
Abstract Expressionism: Color-Field Painting | |
Rejecting Abstract Expressionism: American Art of the 1950s and 1960S | |
Re-Presenting Life and Dissecting Painting | |
Environments and Performance Art | |
Pop Art: Consumer Culture as Subject | |
Formalist Abstraction of the 1950s and 1960S | |
Formalist Painting and Sculpture | |
Formalist Sculpture: Minimal Art | |
The Pluralist 1970S: Post-Minimalism | |
Post-Minimal Sculpture: Geometry and Emotion | |
Earthworks and Site-Specific Art | |
Conceptual Art: Art as Idea | |
Television Art | |
Art With a Social Agenda | |
African-American Art: Ethnic Identity | |
Feminist Art: Judy Chicago and Gender Identity | |
Late Modernist Architecture | |
Continuing the International Style | |
Sculptural Architecture: Referential Mass | |
The Postmodern Era: Art Since 1980 | |
Architecture | |
Postmodern Architecture | |
New Modernism: Hi-Tech Architecture | |
Deconstructivism: Countering Modernist Authority | |
Post-Minimalism and Pluralism: Limitless Possibilities | |
The Return of Painting | |
Sculpture | |
Deconstructing Art: Context as Meaning | |
The Power of Installation and Video Art | |
Many Styles, One Artist Felix Gonzalez-Torres | |
Preoccupation with the Body | |
A World Art Cai Guo-Qiang | |
Glossary | |
Books for Further Reading | |
Index | |
List of Credits | |
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