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Janson's History of Art Portable Edition Book 3 The Renaissance through the Rococo Plus MyArtsLab with eText -- Access Card Package

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8th
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9780205176151

ISBN10:
0205176151
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Pub. Date:
9/9/2011
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Pearson
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Summary

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 MyArtsLab and the Prentice Hall Digital Art Library. Experience the new Janson and re-experience the history of art. The Portable Edition of Janson's History of Art, Eighth Editionfeatures four lightweight, paperback books packaged together along with optional access to a powerful student website,www.myartslab.com, making the text more student friendly than ever. Janson's History of Art is still available in the original hardcover editionand in Volume I and Volume II splits. The Portable Edition is comprised of four books, each representing a major period of art history: Long established as the classic and seminal introduction to art of the Western world, the Eighth Edition of Janson's History of Artis groundbreaking. When Harry Abrams first published the History of Artin 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 Arthelped 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.

Author Biography

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.

Table of Contents

Preface xiv

Faculty and Student Resources for Teaching and Learning with Janson’s History of Art xix

Introduction xxi

 

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 José De Sigüenza (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 Pietà 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 Gesù 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 Dürer and the Northern Renaissance 638

PRIMARY SOURCES: Albrecht Dürer (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 Sánchez Cotán 690

Naples and the Impact of Caravaggio: Jusepe de Ribera 690

Diego Velázquez: From Seville to Court Painter 691

Monastic Orders and Zurbarán 695

PRIMARY SOURCES: Antonio Palomino (1655–1726) 695

Culmination in Devotion: Bartolomé 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 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 Rubénistes 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

 

Glossary

Bibliography

Index

Credits

 



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