Art History, Volume II

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  • Edition: 2nd
  • Format: Paperback
  • Copyright: 2002-01-01
  • Publisher: Pearson College Div
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IN A VERY SHORT TIME, Marilyn Stokstad's Art History has become the gold standard of introductions to the history of art. It also has transformed the way the field of art history is perceived and experienced. Engaging, accessible, and, just as important, fun, Art History gives today's readers cultural and social contexts for art along with eloquent visual explanations of art's special qualities and particular vocabularies. Its animated yet clear narrative tells the many-sided story of art, starting with the earliest prehistoric paintings and sculpture through today's wildly varying works in new mediums. THE SECOND EDITION is illustrated with more than 900 color illustrations-including 360 new color pictures of recently cleaned and restored monuments, buildings, and art objects, and also many works that were previously illustrated in black-and-white. A new design enables larger pictures and more drawings and diagrams than ever. The art object is honored in the Second Edition with more than 20 one- and two-page features called "The Object Speaks" that offer tantalizing insights into art history's particular lure: matters of authenticity, provenance, intention, patronage, technical processes, and the like. Art History's widely acclaimed special-topic boxes on architecture and technique and its many new text boxes strengthen this edition. Coverage of the modern era-chapter 26 through chapter 29 has been thoroughly reworked by modernist art historian David Cateforis, complementing the revision of material in chapters 17, 18, and 19 from the Renaissance through the Baroque periods. Throughout the book, authors Stokstad and Cateforis have balanced canonical works of art with works not seen in other introductory books. WITH ITS EXCELLENT COLOR and black-and-white illustrations and Abrams, unparalleled color printing, Art History, Second Edition, is a book to learn from and treasure as a lifelong resource.

Table of Contents

Preface 6(2)
Acknowledgments 8(2)
Contents 10(7)
Use Notes 17(1)
Starter Kit 18(6)
Introduction 24(590)
Early Renaissance Art in Europe
Renaissance Art in Sixteenth-Century Europe
Baroque Art in Europe and North America
Art of India after 1100
Chinese Art after 1280
Japanese Art after 1392
Art of the Americas after 1300
Art of Pacific Cultures
Art of Africa in the Modern Era
Eighteenth-Century Art in Europe and North America
Nineteenth-Century Art in Europe and the United States
The Rise of Modernism in Europe and North America
The International Avant-Garde since 1945
Glossary G1
Bibliography B1
Index I1
Credits C1


In 1998 I wrote, "I want to thank my many friends and colleagues for welcomingArt Historyinto their lives and their classrooms. I knew I wanted a new textbook for my students, but I had no idea how widespread that desire was. In the years since Abrams and Prentice Hall introducedArt History,it has exceeded all our hopes for its acceptance." With this new edition, I can only underline my original sentiments. I believe more than ever that students ought to be able to enjoy their first course in art history. Only if they do will they want to experience and appreciate the visual arts--for the rest of their lives--as offering connection to the most tangible creations of the human imagination. To this end we continue to seek ways to make each edition ofArt Historya more sensitive, engaging, supportive, and accessible learning resource. Art Historyis contextual in its approach and object-based in its execution.Throughout the text we treat the visual arts not in isolation but within the essential contexts of history, geography, politics, religion, and other humanistic studies, and we carefully define the parameters--social, religious, political, and cultural--that either have constrained or have liberated individual artists. Art Historyreflects the excitement and pleasures of art.In writing about art's history, we try to express our affection for the subject. Each chapter of the narrative opens with a scene-setting vignette that concentrates on a work of art from that chapter. Set-offtext boxes,many now illustrated, present interesting, often thought-provoking material. A number of them follow the theme of women in the arts--as artists and as patrons. Others give insights into discoveries and controversies. The discipline of art history is many-dimensional in its possibilities, andArt Historyinvites a positive sampling of these possibilities. We have maintainedArt History's comprehensiveness.We reach beyond the Western tradition to include an examination of the arts of other regions and cultures, from their beginnings to the twenty-first century. Acknowledging that the majority of survey courses concentrate on the Western tradition, we have organized the chapters on non-Western arts and cultures so that art can be studied from a global perspective within an integrated sequence of Western and non-Western art. Just as smoothly, non-Western material can be skipped over without losing the thread of the Western narrative. WHAT'S NEW? Art History's view of art is even more inclusive.We cover not only the world's most significant paintings and works of sculpture and architecture but also drawings and prints; photographs; works in metal, ceramic, and glass; textiles; jewelry; furniture and aspects of interior design (things that were once considered utilitarian arts). In covering the late twentieth century we include, as well,new mediumssuch as video art and installation art and such temporal arts as Happenings and performance art. We pay due respect to the canon of great monuments of the history of art. In fact, this edition containsmore canonical worksthan the original edition of 1995 and the Revised Edition of 1998, and now includes such works as the fifth-century BCEStele of Hegesoand Durer'sSelf-Portraitof 1500. Simultaneously, we continue to introduce artists and works not recognized in other surveys. An example isan expanded representation of Canadian artistsin Chapters 28 and 29 andthe addition of two contemporary artists whose medium is glass. Art Historyhas been updated to include the most recent scholarship, scholarly opinion, technical analysis, archaeological discoveries, and controversies.Chapter 29 devotes a whole page to recent debates over

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