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Overview

In tune with today's readers—rich but never effete—this isthe art history book of choice for a new generation. Presenting a broad view of art through the centuries, it sympathetically and positively introduces the works of all artists. This includes women, artists of color, and the arts of other continents and regions, as well as those of Western Europe and the United States. The new edition contains even more full-color reproductions, larger images, redrawn maps and timelines, and new photographs and higher quality images. Balancing both the traditions of art history and new trends of the present, Art History is the most comprehensive, accessible, and magnificently illustrated work of its kind. Broad in scope and depth, this beautifully illustrated work features art from the following time periods and places: prehistoric art in Europe; ancient art of the Near East, Egypt, the Aegean, and Greece; Roman and Etruscan art; Jewish, early Christian, and Byzantine art; Islamic art; art from ancient India, China, Japan, and the Americas; medieval art in Europe; Romanesque, Gothic, and Renaissance art; Baroque art; art of the Pacific cultures; the rise of modern art; and the international Avant-Garde since 1945. An excellent reference work and beautiful edition for any visual artist.

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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: 9780131455276
  • Publisher: Pearson
  • Publication date: 7/28/2004
  • Edition description: Revisied, Combined Volume
  • Edition number: 2
  • Pages: 1264
  • Product dimensions: 8.98 (w) x 11.70 (h) x 2.39 (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

Starter Kit.

Introduction.

1. Prehistory and Prehistoric Art in Europe.

The Paleolithic Period. The Neolithic Period. The Bronze Age. The Iron Age. The Object Speaks: Prehistoric Woman and Man.

2. Art of the Ancient Near East.

The Fertile Crescent. Early Neolithic Cities. Sumer. Akkad. Lagash. Babylon and Mari. Assyria. Neo-Babylonia. Elam. Anatolia. Persia. The Object Speaks: The Code of Hammurabi.

3. Art of Ancient Egypt.

Neolithic And Predynastic Egypt. Early Dynastic Egypt. The Old Kingdom. The Middle Kingdom. The New Kingdom. The Continuing Influence of Egyptian Art. The Object Speaks: The Temples of Rameses II.

4. Aegean Art.

The Aegean World. The Cycladic Islands in the Bronze Age. Mainland Greece and the Mycenaean Civilization. The Object Speaks: “The Mask of Agamemnon.”

5. Art of Ancient Greece.

The Emergence of Greek Civilization. The Geometric Period. The Orientalizing Period. The Archaic Period. The Classical Period in Greek Art. The Transitional, or Early Classical, Period. The Fifth-Century Classical Period. Classical Art of the Fourth Century. The Hellenistic Period. The Object Speaks: The Parthenon.

6. Etruscan Art and Roman Art.

Etruscan Civilization. Roman History. The Republican and Augustan Periods. The Empire. The Roman City and Home. The Late Empire. The Object Speaks: The Unswept Floor.

7. Jewish, Early Christian, and Byzantine Art.

Jews and Christians in the Roman Empire. Jewish and Early Christian Art. Imperial Christian Architecture and Art. Early Byzantine Art. Middle Byzantine Art. Late Byzantine Art. The Object Speaks: The Archangel Michael.

8. Islamic Art.

Islam And Early Islamic Society. Art During the Early Caliphates. Later Islamic Society and Art.

9. Art of India before 1100.

The Indian Subcontinent. Indus Valley Civilization. The Vedic Period. The Maurya Period. The Period of the Shungas and Early Andhras. The Kushan and Later Andhra Period. The Gupta Period. The Post-Gupta Period. The Early Medieval Period.

10. Chinese Art before 1280.

The Middle Kingdom. Neolithic Cultures. Bronze Age China. The Chinese Empire: Qin Dynasty. Han Dynasty. Six Dynasties. Sui and Tang Dynasties. Song Dynasty.

11. Japanese Art before 1392.

Prehistoric Japan. Asuka Period. Nara Period. Heian Period. Kamakura Period. The Object Speaks: Monk Sewing.

12. Art of the Americas before 1300.

The New World. Mesoamerica. Central America. South America: The Central Andes. North America.

13. Art of Ancient Africa.

The Lure of Ancient Africa. Saharan Rock Art. Sub-Saharan Civilizations. Other Urban Centers.

14. Early Medieval Art in Europe.

The Middle Ages. The British Isles and Scandinavia. Christian Spain. Langobard Italy. Carolingian Europe. Scandinavia: The Vikings. Ottonian Europe. The Object Speaks: The Doors of Bishop Bernward.

15. Romanesque Art.

Romanesque Culture. France and Northern Spain. The North Sea Kingdoms. The Holy Roman Empire. Ancient Rome and Romanesque Italy. The Object Speaks: The Bayeux Tapestry.

16. Gothic Art.

The Gothic Style. France. England. Spain. Germany and the Holy Roman Empire. Italy. The Object Speaks: Notre-Dame of Paris.

17. Early Renaissance Art in Europe.

The Renaissance and Humanism. Art of the French Ducal Courts. Art of Flanders. The Spread of the Flemish Style. The Graphic Arts. Art of Italy. The Object Speaks: The Foundling Hospital.

18. Renaissance Art in Sixteenth-Century Europe.

Europe in the Sixteenth Century. The Classical Phase of the Renaissance in Italy. The Renaissance and Reformation in Germany. Late Renaissance Art in Italy. Renaissance Art in France. Renaissance Art in Spain. Renaissance Painting in the Netherlands. Renaissance Art in England. The Object Speaks: Feast in the House of Levi.

19. Baroque Art in Europe and North America.

The Baroque Period. Italy. France. Habsburg Germany and Austria. Habsburg Spain. Spanish Colonies in the Americas. The Southern Netherlands/Flanders. The Northern Netherlands/United Dutch Republic. England. English Colonies in North America. The Object Speaks: Brueghel and Rubens's Sight.

20. Art of India after 1100.

Late Medieval Period. Mughal Period. The Modern Period.

21. Chinese Art after 1280.

The Mongol Invasions. Yuan Dynasty. Ming Dynasty. Qing Dynasty. The Modern Period.

22. Japanese Art after 1392.

Muromachi Period. Momoyama Period. Edo Period. The Meiji and Modern Periods.

23. Art of the Americas after 1300.

Indigenous American Art. Mexico and South America. North America. Other Contemporary Native American Artists. The Object Speaks: Hamatsa Mask.

24. Art of Pacific Cultures.

The Peopling of the Pacific. Australia. Melanesia. Micronesia. Polynesia. Recent Art in Oceania.

25. Art of Africa in the Modern Era.

Traditional and Contemporary Africa. Children and the Continuity of Life. The Spirit World. Leadership. Death and Ancestors. Contemporary Art.

26. Eighteenth-Century Art in Europe and North America.

The Enlightenment and Its Revolutions. The Rococo Style in Europe. Art in Italy. Revivals and Romanticism in Britain. Art in France. Art in North America. The Object Speaks: Georgian Silver.

27. Nineteenth-Century Art in Europe and the United States.

Europe and the United States in the Nineteenth Century. Neoclassicism and Romanticism in France. Romanticism in Spain. Romantic Landscape Painting in Europe. Naturalistic, Romantic, and Neoclassical American Art. Revival Styles in Architecture Before 1850. Early Photography in Europe. New Materials and Technology in Architecture at Midcentury. French Academic Art and Architecture. French Naturalism and Realism and their Spread. Late-Nineteenth-Century Art in Britain. Impressionism. Post Impressionism. Art in the United States. The Object Speaks: Raft of the “Medusa.”

28. The Rise of Modernism in Europe and North America.

Europe and the United States in the Early Twentieth Century. Early Modernist Tendencies in Europe. Cubism in Europe. Early Modernist Tendencies in the United States. Early Modern Architecture. Modernism in Europe Between the Wars. Art and Architecture in the United States Between the Wars. Early Modern Art in Canada. The Object Speaks: Portrait of a German Officer.

29. The International Avant-Garde since 1945.

The World Since 1945. Postwar European Art. Abstract Expressionism. Alternatives to Abstract Expressionism. From Modernism to Postmodernism. Postmodernism. The Object Speaks: The Dinner Party.

Glossary.

Bibliography.

Index.

Credits.

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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.

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted November 8, 2001

    lots of good pictures of artwork

    This is a good book for the basic learning of art history, i have learned quite a bit about it. the only bad thing is there is not a lot of information about artwork pieces. a lot of history in the civilization.

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  • Anonymous

    Posted August 17, 2001

    My favorite survey book

    This is my favorite book to teach with. It does it fair job with Non-Western Art, an area most surveys minimize.

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  • Anonymous

    Posted April 12, 2010

    No text was provided for this review.

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