Art History

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Art History covers the Western tradition and the cultures of the Middle East, South Asia, East Asia, Africa, the Pacific Islands, and the Americas - each on its own terms. The world's finest paintings, sculpture, and works of architecture are covered here, as are drawings, photographs, works in metal, ceramics, and textiles. All are discussed within the social, religious, and intellectual contexts of their creation. The authors also address intriguing issues surrounding art: Is art taken as war booty a matter of ...
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Overview

Art History covers the Western tradition and the cultures of the Middle East, South Asia, East Asia, Africa, the Pacific Islands, and the Americas - each on its own terms. The world's finest paintings, sculpture, and works of architecture are covered here, as are drawings, photographs, works in metal, ceramics, and textiles. All are discussed within the social, religious, and intellectual contexts of their creation. The authors also address intriguing issues surrounding art: Is art taken as war booty a matter of protection or theft? How does the "title" of an artwork affect our perception of its meaning? What explains the relatively low number of women artists? Special sections on techniques illustrate practical matters of production; for example, how Japanese armor was constructed, the process used to make ancient coins, how a camera works, the steps in the lost-wax casting process, and weaving and embroidery techniques. Architecture receives particular attention in hundreds of clearly labeled drawings and diagrams. All terms - even the most basic - are defined when first introduced and are included in the 900-word glossary.
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Editorial Reviews

From Barnes & Noble
This slipcased survey of art history covers the masterworks of the Western world and also provides exhaustive coverage of the unique traditions of Asia, Africa, the Middle East, and more, producing a resource that is refreshingly global in scope. The essays, which pay special attention to the context of each artwork, are accompanied by nearly 2,000 illustrations. With a glossary of essential art terms, a special techniques section, and the inclusion of architectural drawings and plans, Stokstad's Art History is an exemplary reference for students and professionals alike.
Publishers Weekly - Publisher's Weekly
Destined to establish itself as a modern classic, this hugely informative, wholly enjoyable global history of art from prehistoric times to the present views art as a fundamental, inextricable vehicle for the human spirit. Although Western visual art and architecture receive the most attention, there is also extensive coverage of India, China, Japan, Africa, Islamic art and Pacific cultures. Few texts so wide-rangingly connect the artistic output of each period to the artists' lives, sources of funding and historical, social and political context. The 1625 stunning illustrations (761 in color) are unrivaled in their adventurous selection and quality by any book of this type. Time lines chart parallel developments across cultures and civilizations; inserts spotlight literary and intellectual trends and artists' techniques. Stokstad, art history professor at the University of Kansas, has produced both a college text and a layperson's guide that is more fun than H.W. Janson's standard History of Art, and more multicultural.
Library Journal
A new eight-pound entry in the one-volume history-of-art battle of the titans, this title competes directly with Gardner's Art Through the Ages (1926; 10th ed., 1996), Janson's History of Art (1962; 5th ed., 1995), Hartt's Art: A History (1976; 4th ed. 1993), and Honour and Fleming's The Visual Arts: A History (1982; 4th ed., 1995). Each comes with hundreds of illustrations of wildly varying quality-Stokstad's are mostly color, mostly adequate-and each attempts to combine the factual density requirements of a survey course textbook with attractive writing and narrative. In addition, at least in the recent editions, each aims to be "inclusive," discussing women and minority artists to some degree. Distinguished art historian Stokstad (Univ. of Kansas) and her coauthors, mostly colleagues, have done a creditable job. Acknowledging straight off that students today lack a deep knowledge of cultural history, Stokstad aims to be "user-friendly," and her book comes replete with a computer-like "starter kit" of definitions, explanatory text boxes on techniques, and some very good explicatory line drawings, usually architectural. Of the five competitors, four are published by Abrams and all are priced within five dollars of one another. Gardner is much more column after column of text, with little relief. Hartt, a Renaissance scholar, and Honour and Fleming, specialists in the Baroque, write with personal voices; Stokstad, a medievalist, also has a pleasant style. This reviewer recommends that libraries stock Honour and Fleming for their excellent writing and clear art historical point of view and Stockstad's work, which is well written, achieves a good balance of narrative and facts, and is the most inclusive. One caveat: The review copy of Stokstad had broken from its casing before arrival.-Jack Perry Brown, Art Inst. of Chicago Lib.
Library Journal
This newly expanded edition of a major art history survey continues to fulfill the function of the original (LJ 4/15/96), which was written as a classroom tool. Stokstad and Cateforis (art history, Univ. of Kansas, Lawrence) here include additional media such as textiles, jewelry, furniture, and photography thereby enlarging the scope and approach to the study of art history as well as recognizing the social, cultural, and political aspects of the arts throughout the world. Arranged topically, each section opens with a color illustration and a vignette on a work representing the period covered. The numerous color illustrations, text boxes, and varying page designs are aimed at making this a more interesting and user-friendly research tool. Much of the text described as "the cumulative efforts of a distinguished group of scholars and educators" has been rewritten to include newly recovered or restored works of art, themes of controversy and debate, and changes in scholarship and attribution. Each volume includes an appropriate glossary, bibliography, and index. Designed to make the introduction to art history intellectually stimulating and visually exciting, this accessible, attractive edition is recommended for the reference shelves of students and teachers alike. Paula Frosch, Metropolitan Museum of Art Lib., NY Copyright 2001 Cahners Business Information.
Booknews
New edition of a two-volume text that balances formalist traditions with the newer interests of contextual art history. Reaching beyond the West to include a critical examination of the arts of other regions and cultures, it covers not only paintings and sculpture but also architecture, drawings, photographs, works in metal and ceramics, textiles, and jewelry. Attractively designed and illustrated with about 1,350 color and b&w white photographs, as well as hundreds of line drawings that include architectural plans and cutaways. Oversize: 9x12<">. Annotation c. Book News, Inc., Portland, OR booknews.com
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Product Details

  • ISBN-13: 9780131577046
  • Publisher: Penguin Group (USA)
  • Publication date: 3/15/2007
  • Edition number: 3
  • Pages: 1232
  • Product dimensions: 8.90 (w) x 11.74 (h) x 2.35 (d)

Meet the Author

Marilyn Stokstad, teacher, art historian, and museum curator, has been a leader in her field for decades and has served as president of the College Art Association and the International Center of Medieval Art. In 2002, she was awarded the lifetime achievement award from the National Women's Caucus for Art. In 1997 she was awarded the Governor's Arts Award as Kansas Art Educator of the Year and an honorary degree of doctor of humane letters by Carleton College. She is Judith Harris Murphy Distinguished Professor Emerita at the University of Kansas, Lawrence. She has also served in various leadership capacities at the University's Spencer Museum of Art and is Consultative Curator of Medieval Art at the Nelson-Atkins Museum of Art in Kansas City, Missouri.

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Read an Excerpt

Students ought 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 connections to the most tangible creations of the human imagination. To this end, we continue to seek ways to make each edition of Art History a more sensitive, engaging, supportive, and accessible learning resource. The characteristics that elicited such a warm welcome when Art History was first published in 1998 remain its hallmarks today in the revised second edition. HALLMARKS OF ART HISTORY

Art History is 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. A feature called The Object Speaks explores the role of a work of art within its context by focusing in depth on some of the many things a work of art may have to say. At the same time that we stay grounded in the works of art that make art history distinctive among other humanistic disciplines, we emphasize the significance of the work of art.

Art History reflects the excitement and pleasures gained by studying art. In writing about art's history, we try to express our affection for the subject. Each chapter opens with a scene-setting vignette that concentrates on a work of art from that chapter. Set-off text boxes,many illustrated, present interesting, 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, and Art History invites a positive sampling of these possibilities.

Art History is comprehensive. We reach beyond the Western tradition to examine the arts of other regions and cultures, from their beginnings to the twenty-first century. 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 only utilitarian); such temporal arts as happenings and performance art; and new mediums such as video art, installation art, and digital art. 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.

Art History offers a pedagogical advantage. When first published, Art History was instantly embraced for its groundbreaking use of drawings and diagrams to aid readers in mastering the terminology of art history. The Elements of Architecture and Technique boxes visually explain how buildings are constructed and how artists use materials to do everything from creating cave paintings to decorating armor to making photographs. Maps and timelines guide the reader visually through the narrative. Every chapter has at least one map and a timeline, and the maps identify every site mentioned in the text. Terms specific to art history are printed in boldface type, which indicates their inclusion in the 900 word Glossary. The Bibliography, compiled for the second edition by distinguished art librarian, Susan Craig, has been updated by us for this edition.

As much as possible, without distorting the narrative of art history, we have chosen works of art that are in North American museums, galleries, and collections so that readers can most easily experience these works directly. This selection includes works from college and university galleries and museums.

Art History has a Companion Website™ that makes it possible to integrate the art history survey course with the vast power of the Internet. For students, the Stokstad Companion Website™ features Study Guide, Reference, Communication, and Personalization Modules. For instructors, the Companion Website™ has a special Faculty Module and Syllabus Manager™.

Art History comes with a complete ancillary package that includes an interactive CD-ROM with hundreds of images from the book, a student Study Guide, and an instructor's Resource Manual with Test Bank. WHAT'S NEW?

We responded to your suggestions for making Art History even more teachable. In this revised second edition, we improved the Use Notes and Starter Kit, particularly the definitions of the formal elements, adding new color and diagrams and clarifying the discussions of content, style, and medium. The introduction continues to be organized around a series of questions but has been revised. The section Nature or Art? has been upgraded and includes subsections on Styles of Representation and The Human Body as idea and ideal. The section What Is Art History? includes a subsection on Studying Art Formally and Contextually.

We fine-tuned our coverage of Ancient and Medieval art and used the opportunity of a revised edition to make a few organizational changes. The discussions of Greek and Roman art in Chapters 5 and 6 now have greater chronological flow. For example, the Canon of Polykleitos (Chap. 5) has become a text box at the beginning of the section on the Mature Classical period, where it is closer to the discussion of freestanding sculpture in the Early Classical period. The Roman Republic (Chap. 6) is now a separate topic, with Augustan styles treated under the Early Empire, along with architecture, the Roman city and home, and wall painting. Likewise, Imperial Rome is a separate topic encompassing imperial architecture, mosaics, the urban plan, monumental sculpture, and portrait sculpture.

In Chapters 7 and 8 we introduce three of the major religions of the Western world in chronological order: Judaism, Christianity, and Islam. In Chapter 7 the discussion of early Jewish art is followed by early Christian art and then moves on to the art of the Western Catholic and the Eastern Orthodox churches. We have also reorganized and added images to Chapter 8, which is dedicated to Islamic art. The new organization and illustrations give readers the opportunity to study and compare the use, meaning, and appearance of such major building types as synagogues, churches, and mosques.

Art History has been updated to include the most recent scholarship, scholarly opinion, technical analysis, archaeological discoveries, and controversies. While the text's currency is not always conspicuous, revised opinion has been incorporated into discussions of art works included in previous editions. Examples include revised opinion on who commissioned the Hunt of the Unicorn tapestries and new research on the original ownership of Uccello's Battle of San Romano. We have included a page from the newly purchased Morgan Library Picture Bible with its multilingual commentaries, reevaluated and updated the discussion of Islamic art, and given increased attention to the sixteenth-century masters. We have also brought the text into the twenty-first century, with the inclusion in Chapter 29 of cutting edge contemporary artists Jeff Wall, Jennifer Steinkamp, Matthew Barney, and architect Daniel Libeskind, and with discussions of constructed realities and digital art.

More canonical works are included. We have added text and pictures for thirty-seven works of art new to this edition, including a wall painting from the Chauvet cave, the Cathedral of Santiago de Compostela, Bronzino's Allegory with Venus and Cupid, Claude Lorrain's Embarkation of the Queen of Sheba, Rembrandt's Anatomy Lesson of Dr. Tulp, and Courbet's The Stone Breakers, among others.

Recently cleaned and/or restored works of art and architecture are now illustrated in their cleaned or restored states. Among the many new images are Polykleitos's Spear Bearer, Cimabue's Virgin and Child Enthroned, Masaccio's Trinity with the Virgin, Saint John the Evangelist, and Donors, and Borromini's San Carlo alle Quattro Fontane.

We have enhanced the picture program in several other ways. Many works formerly in black and white are now reproduced in color. We have added plans, details, additional views, or an enlarged viewing area of eleven other key images to permit closer and more accurate analysis of the art. And we have substituted higher-quality images or larger and better views for many others. These changes have appreciably increased the total number of color images.

We have strengthened the pedagogy of Art History. We are proud to present a book that is new and also looks new. Working with Sarah Touborg and her team at Prentice Hall, we have tweaked the handsome design of the second edition. The chapter opening essays and the text boxes are now easier to read. We have also revised the timelines to be more inclusive and have redrawn the maps to show topographical detail and to more clearly distinguish political or cultural boundaries. To improve the illustration program without increasing the number of pages (and the weight of the book?), we have dropped the "Parallels" feature. In addition, nine of the "boxes" are either significantly revised or new, including one on church furniture in Chapter 16, one on luxury arts in Chapter 20, and one on digital art in Chapter 29.

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Table of Contents

Preface 6
Acknowledgments 7
Use Notes 15
Introduction 16
Starter Kit 29
Ch. 1 Prehistory and Prehistoric Art in Europe 34
Ch. 2 Art of the Ancient Near East 60
Ch. 3 Art of Ancient Egypt 90
Ch. 4 Aegean Art 126
Ch. 5 Art of Ancient Greece 150
Ch. 6 Etruscan Art and Roman Art 220
Ch. 7 Early Christian, Jewish, and Byzantine Art 286
Ch. 8 Islamic Art 336
Ch. 9 Art of India before 1100 364
Ch. 10 Chinese Art before 1280 394
Ch. 11 Japanese Art before 1392 420
Ch. 12 Art of the Americas before 1300 442
Ch. 13 Art of Ancient Africa 464
Ch. 14 Early Medieval Art in Europe 478
Ch. 15 Romanesque Art 506
Ch. 16 Gothic Art 544
A Brief Review of the European Middle Ages 609
Ch. 17 Early Renaissance Art in Europe 610
Ch. 18 Renaissance Art in Sixteenth-Century Europe 678
Ch. 19 Baroque, Rococo, and Early American Art 748
Ch. 20 Art of India after 1100 820
Ch. 21 Chinese Art after 1280 834
Ch. 22 Japanese Art after 1392 852
Ch. 23 Art of the Americas after 1300 872
Ch. 24 Art of Pacific Cultures 892
Ch. 25 Art of Africa in the Modern Era 908
Ch. 26 Neoclassicism and Romanticism in Europe and the United States 926
Ch. 27 Realism to Impressionism in Europe and the United States 976
Ch. 28 The Rise of Modernism in Europe and the United States 1020
Ch. 29 Art in the United States and Europe since World War II 1106
Glossary G1
Bibliography B1
Index I1
Credits C1
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Preface

Students ought 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 connections to the most tangible creations of the human imagination. To this end, we continue to seek ways to make each edition of Art History a more sensitive, engaging, supportive, and accessible learning resource. The characteristics that elicited such a warm welcome when Art History was first published in 1998 remain its hallmarks today in the revised second edition.

HALLMARKS OF ART HISTORY

Art History is 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. A feature called The Object Speaks explores the role of a work of art within its context by focusing in depth on some of the many things a work of art may have to say. At the same time that we stay grounded in the works of art that make art history distinctive among other humanistic disciplines, we emphasize the significance of the work of art.

Art History reflects the excitement and pleasures gained by studying art. In writing about art's history, we try to express our affection for the subject. Each chapter opens with a scene-setting vignette that concentrates on a work of art from that chapter. Set-off text boxes, many illustrated, present interesting, 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, and Art History invites a positive sampling of these possibilities.

Art History is comprehensive. We reach beyond the Western tradition to examine the arts of other regions and cultures, from their beginnings to the twenty-first century. 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 only utilitarian); such temporal arts as happenings and performance art; and new mediums such as video art, installation art, and digital art. 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.

Art History offers a pedagogical advantage. When first published, Art History was instantly embraced for its groundbreaking use of drawings and diagrams to aid readers in mastering the terminology of art history. The Elements of Architecture and Technique boxes visually explain how buildings are constructed and how artists use materials to do everything from creating cave paintings to decorating armor to making photographs. Maps and timelines guide the reader visually through the narrative. Every chapter has at least one map and a timeline, and the maps identify every site mentioned in the text. Terms specific to art history are printed in boldface type, which indicates their inclusion in the 900 word Glossary. The Bibliography, compiled for the second edition by distinguished art librarian, Susan Craig, has been updated by us for this edition.

As much as possible, without distorting the narrative of art history, we have chosen works of art that are in North American museums, galleries, and collections so that readers can most easily experience these works directly. This selection includes works from college and university galleries and museums.

Art History has a Companion Website ™ that makes it possible to integrate the art history survey course with the vast power of the Internet. For students, the Stokstad Companion Website™ features Study Guide, Reference, Communication, and Personalization Modules. For instructors, the Companion Website™ has a special Faculty Module and Syllabus Manager™.

Art History comes with a complete ancillary package that includes an interactive CD-ROM with hundreds of images from the book, a student Study Guide, and an instructor's Resource Manual with Test Bank.

WHAT'S NEW?

We responded to your suggestions for making Art History even more teachable. In this revised second edition, we improved the Use Notes and Starter Kit, particularly the definitions of the formal elements, adding new color and diagrams and clarifying the discussions of content, style, and medium. The introduction continues to be organized around a series of questions but has been revised. The section Nature or Art? has been upgraded and includes subsections on Styles of Representation and The Human Body as idea and ideal. The section What Is Art History? includes a subsection on Studying Art Formally and Contextually.

We fine-tuned our coverage of Ancient and Medieval art and used the opportunity of a revised edition to make a few organizational changes. The discussions of Greek and Roman art in Chapters 5 and 6 now have greater chronological flow. For example, the Canon of Polykleitos (Chap. 5) has become a text box at the beginning of the section on the Mature Classical period, where it is closer to the discussion of freestanding sculpture in the Early Classical period. The Roman Republic (Chap. 6) is now a separate topic, with Augustan styles treated under the Early Empire, along with architecture, the Roman city and home, and wall painting. Likewise, Imperial Rome is a separate topic encompassing imperial architecture, mosaics, the urban plan, monumental sculpture, and portrait sculpture.

In Chapters 7 and 8 we introduce three of the major religions of the Western world in chronological order: Judaism, Christianity, and Islam. In Chapter 7 the discussion of early Jewish art is followed by early Christian art and then moves on to the art of the Western Catholic and the Eastern Orthodox churches. We have also reorganized and added images to Chapter 8, which is dedicated to Islamic art. The new organization and illustrations give readers the opportunity to study and compare the use, meaning, and appearance of such major building types as synagogues, churches, and mosques.

Art History has been updated to include the most recent scholarship, scholarly opinion, technical analysis, archaeological discoveries, and controversies. While the text's currency is not always conspicuous, revised opinion has been incorporated into discussions of art works included in previous editions. Examples include revised opinion on who commissioned the Hunt of the Unicorn tapestries and new research on the original ownership of Uccello's Battle of San Romano. We have included a page from the newly purchased Morgan Library Picture Bible with its multilingual commentaries, reevaluated and updated the discussion of Islamic art, and given increased attention to the sixteenth-century masters. We have also brought the text into the twenty-first century, with the inclusion in Chapter 29 of cutting edge contemporary artists Jeff Wall, Jennifer Steinkamp, Matthew Barney, and architect Daniel Libeskind, and with discussions of constructed realities and digital art.

More canonical works are included. We have added text and pictures for thirty-seven works of art new to this edition, including a wall painting from the Chauvet cave, the Cathedral of Santiago de Compostela, Bronzino's Allegory with Venus and Cupid, Claude Lorrain's Embarkation of the Queen of Sheba, Rembrandt's Anatomy Lesson of Dr. Tulp, and Courbet's The Stone Breakers, among others.

Recently cleaned and/or restored works of art and architecture are now illustrated in their cleaned or restored states. Among the many new images are Polykleitos's Spear Bearer, Cimabue's Virgin and Child Enthroned, Masaccio's Trinity with the Virgin, Saint John the Evangelist, and Donors, and Borromini's San Carlo alle Quattro Fontane.

We have enhanced the picture program in several other ways. Many works formerly in black and white are now reproduced in color. We have added plans, details, additional views, or an enlarged viewing area of eleven other key images to permit closer and more accurate analysis of the art. And we have substituted higher-quality images or larger and better views for many others. These changes have appreciably increased the total number of color images.

We have strengthened the pedagogy of Art History. We are proud to present a book that is new and also looks new. Working with Sarah Touborg and her team at Prentice Hall, we have tweaked the handsome design of the second edition. The chapter opening essays and the text boxes are now easier to read. We have also revised the timelines to be more inclusive and have redrawn the maps to show topographical detail and to more clearly distinguish political or cultural boundaries. To improve the illustration program without increasing the number of pages (and the weight of the book?), we have dropped the "Parallels" feature. In addition, nine of the "boxes" are either significantly revised or new, including one on church furniture in Chapter 16, one on luxury arts in Chapter 20, and one on digital art in Chapter 29.

Read More Show Less

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  • Anonymous

    Posted October 26, 2007

    Strong in european... weak on Latin American Art

    This book reads like an abridged encyclopedia, rich in European art. The content on Latin American art is rather superficial important names are missing. Although art existed before the Americas were discovered, a lot of world-class art was created there. The Eiffel tower itself got as much write-up as did Brazilian art and architecture, a bit disappointing. One needs to go elsewhere to learn a about Latin American art.

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