Art: A New History

Overview

In Art: A New History, Paul Johnson turns his great gifts as a world historian to a subject that has enthralled him all his life: the history of art. This narrative account, from the earliest cave paintings up to the present day, has new things to say about almost every period of art. Taking account of changing scholarship and shifting opinions, he draws our attention to a number of neglected artists and styles, especially in Scandinavia, Germany, Russia and the Americas.

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Overview

In Art: A New History, Paul Johnson turns his great gifts as a world historian to a subject that has enthralled him all his life: the history of art. This narrative account, from the earliest cave paintings up to the present day, has new things to say about almost every period of art. Taking account of changing scholarship and shifting opinions, he draws our attention to a number of neglected artists and styles, especially in Scandinavia, Germany, Russia and the Americas.

Paul Johnson puts the creative originality of the individual at the heart of his story. He pays particular attention to key periods: the emergence of the artistic personality in the Renaissance, the new realism of the early seventeenth century, the discovery of landscape painting as a separate art form, and the rise of ideological art. He notes the division of 'fashion art' and fine art at the beginning of the twentieth century, and how it has now widened.

Though challenging and controversial, Paul Johnson is not primarily a revisionist. He is a passionate lover of beauty who finds creativity in many places. With 300 colour illustrations, this book is vivid, evocative and immensely readable, whether the author is describing the beauty of Egyptian low-relief carving or the medieval cathedrals of Europe, the watercolours of Thomas Girtin or the utility of Roman bridges ('the best bridges in history'), the genius of Andrew Wyeth or the tranquility of the Great Mosque at Damascus, the paintings of Ilya Repin or a carpet-page from the Lindisfarne Gospels. The warmth and enthusiasm of Paul Johnson's descriptions will send readers hurrying off to see these wonders for themselves.

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Editorial Reviews

Publishers Weekly
Having produced in a fairly short span equally weighty histories of the Jewish diaspora, the modern world and America, as well as a number of smaller books and a stream of articles, near-septuagenarian Johnson, historian, journalist, conservative gadfly and Sunday painter, has produced a massive and contentious history of art. Johnson (Intellectuals) is a product not of the cloistered academy but of the rough-and-tumble world of British journalism (before his conversion to Toryism he edited the left weekly New Statesman). While his narrative is for the most part a conventional journey through the canon, his headlong pace, quirky views and pungent prose make it anything but dull. The quick, forceful judgments Johnson makes on the art and artists he encounters are always amusing and sometimes enlightening, particularly his attention to the undervalued "regional" realist traditions of the 19th century. But the tone of constant bluff provocation can become wearying, and the book's putative polemical mission-to help develop an appreciation of art that would help "society defend itself against cultural breakdown"-doesn't really make itself felt until the book's last and weakest section, a rather scanty section on modernism and postmodernism that is pure New Criterion-style cultural conservatism. All writers of single volume art histories must contend with the rightly ubiquitous and magisterial Janson and Gombrich, and despite its wealth of free-flowing ideas and 300 handsome reproductions, Johnson's book (which also lacks a bibliography and footnotes) simply cannot compete. But as a passionate amateur's personal survey, the first seven-eighths of Johnson's history bring a refreshing sense of bluntness to an often staid tradition. (Oct.) Copyright 2003 Reed Business Information.
Library Journal
With an introduction by Roberts herself and a foreword by Julie Garwood, this handy trade paperback is sure to appeal to the author's huge fan base and will be a lifesaver for librarians needing to sort out her various series and linked books. Readers will be especially pleased with the comprehensive listing of Roberts's publications to date, complete with color photos of the jacket covers, and the family trees for her series, as well as a variety of trivia, comments, and biographical information. Romance Reprints As most readers already know, many best-selling writers' earlier books are now being reprinted. Coming in January 2004 from Simon & Schuster is Catherine Cookson's Kate Hannigan. First published in Britain in 1950 and never before released in the United States, Cookson's debut novel will be of interest to her fans and libraries that have substantial collections of her works. Zebra has just issued Janet Dailey's Maybe This Christmas, which includes two of Dailey's previously published stories: "Darling Jenny" (1974) and "Strange Bedfellow" (1979). Originally published in mass market paperback by Silhouette in 1983 under the pseudonym of Billie Douglass, Barbara Delinksy's Fast Court has now been published in hardcover by Severn House, which this month is also releasing Johanna Lindsey's classic 1990 historical romance Gentle Rogue. Copyright 2003 Reed Business Information.
Kirkus Reviews
Unapologetically opinionated, slightly Anglocentric narrative from respected popular historian Johnson (A History of the American People, 1998, etc.). Despite its all-embracing title, this covers non-Western art primarily for the effect it had on the art of Europe and its colonies. The extremely erudite author frames this epic, eloquent tale as a spellbinding, one-sided conversation in which he spills out the story of art, its production, and its meaning. Johnson, himself the son of an artist, appreciates technique. Whether it is the introduction of concrete in antiquity or oil paint in the northern Renaissance, he makes the tools of the trade and an artist's facility in using them as much a part of the story as the art itself. His concern with technique and affection for the artist's craft shapes his judgments: in the chapter covering Rubens, van Dyck, and Poussin, he eloquently lauds the two Flemings' rich painterly art, suggesting that Poussin's more classical painting is unduly cerebral and telling the Frenchman's story with a certain astringency. The text is marked by bold superlatives (always backed up), good contextual points, and Johnson's idiosyncratic choices. He covers the usual canon, but has his own, sometimes obscure, favorites. He provides, for example, an entire chapter on Russian art and patronizes the Sistine ceiling as "superior scene painting." Johnson values great artists as they attempt to convey universal truths, so he praises the 19th century's classically trained landscape painters (particularly Americans) at the expense of Monet, for one, whose treatment he deems more prosaic. The author considers Ilya Repin's They Did Not Expect Him "one of the greatestpaintings produced in the 19th century-perhaps the greatest." He treats Picasso in a chapter on Fashion Art, and puts forward Walt Disney as the most influential artist of the 20th century. Elgin Marbles owned by the British Museum: good; Cubism: overrated; contemporary art world: bad. Unorthodox, and definitely not for beginners, but a delightful exercise for the educated consumer.
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Product Details

  • ISBN-13: 9780060530754
  • Publisher: HarperCollins Publishers
  • Publication date: 9/11/2003
  • Pages: 792
  • Sales rank: 709,934
  • Product dimensions: 8.03 (w) x 10.35 (h) x 2.00 (d)

Meet the Author

Paul Johnson is a historian whose work ranges over the millennia and the whole gamut of human activities. He regularly writes book reviews for several UK magazines and newspapers, such as the Literary Review and The Spectator, and he lectures around the world. He lives in London, England.

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Read an Excerpt

Art: A New History


By Paul Johnson

Harper Collins Publishers

Copyright © 2003 Paul Johnson All right reserved. ISBN: 0060530758

Chapter One

Painted Caves and Giant Stones

The human personality has been in existence for about 200,000 years, when Homo sapiens first evolved. His ancestor or doppelgänger, Neanderthal man, being less efficient at learning new things, disappeared, and the thinking man was left alone on the planet, to conquer, adorn and exploit it. He has been learning ever since, first almost infinitesimally slowly, then at gathering speed, which is accelerating all the time. Acquisition of knowledge and the ability to create are inseparably connected, and man, becoming sapient, began to create as fast as he learned. Thus art is virtually as old as humanity. By art I mean three things: useful art, concerned with survival; fine art, concerned with beauty; and fashion art, concerned with conformity to social rules.

The earliest art was body adornment, which included all three forms of art. Humans early discovered that they could impress other humans by certain calculated actions, of which clothing and painting their bodies was the easiest and most effective. Thus cosmetics was the earliest type of art, followed by primitive forms of jewellery and clothing, and this body art filled all three functions: it was utilitarian, it was aesthetic and it was social. Unfortunately, by its verynature, body art has disappeared. We do not know its salient characteristics or how it evolved. It is little help to study peoples who still practise it, as in Borneo, because these examples of Homo sapiens who have remained locked in the Stone Age self-evidently lack the dynamism which enabled primitive man, using his art-creating capacities, to break out of his predicament.

However, it is clear that skill in art, beginning with body adornment, was a precondition of human progress, including the production of tools and the forming of successful societies. Art came before everything. It certainly came before writing - a comparatively recent development, all forms of writing originally evolved from pictograms. It almost certainly came before speech, at least forms of speech expressing notions which were at all complex. By learning to record visible objects, and express ideas, by engraving or painting on relatively flat, two-dimensional surfaces, humans produced visual aids to such speech noises as they were originally able to make; these aids in time were reflected in refinements in speech noises, expansion of vocabulary and the evolution of syntax. The evolving genetic coding which made humans rationalise themselves into art was the same force which produced rational speech noises, so that the two processes were intimately connected from the start.

Once art took a non-bodily form, it began to survive, and it is possible for us to study it. This objective art took many forms, since humans began to decorate their tools as soon as they made them, but its most important and illuminating - and beautiful - expression is in cave or rock art. This consists of engraved or painted works on open-air rocks or on the floors, walls and ceilings of caves, some of them in deep and almost inaccessible crannies. They were created during the Upper Palaeolithic period (40,000 to 10,000 BC), and the best were done by what we call the Magdalenians (from the name of a site), peoples who flourished in Europe from 18,000 to 10,000 BC. Such works have a unity, and can be described as the Magdalenian art system, the first in human history. It was also the longest, lasting for more than two-thirds of the total time when humans have produced art.

In any history of art, then, the Magdalenian system must occupy a place of importance. Alas, of all the forms of art practised on the planet, it is the one about which we know the least. But our knowledge is by no means derisory, bearing in mind that the first cave art was only discovered in the 1860s, and it was not until 1902 that it was accepted as a fact by anthropologists and art historians. By the end of the twentieth century, there were 277 agreed examples in Europe, 142 in France, 108 in Spain, 21 in Italy, 2 in Portugal, 2 in Germany and 2 in the Balkans. Unfortunately, most of these works of art are extremely fragile. When a cave is 'opened', and the conditions which enabled paintings to survive are altered, deterioration can be rapid. The superb paintings found at Bédeilhac in the Pyrenees during the First World War disappeared completely within six months of the cave's discovery. Thus except in places where expensive air-conditioning has been installed, caves are no longer open to the public. Even the Altamira Cave in Spain, finest of them all, is now open only to small parties for brief periods. Scholars themselves find it difficult to gain admission. Some of these works are photographed but the camera gives a poor idea of their nature and quality. Some are difficult to see anyway: the best part of Altamira has to be studied lying down. Hence inaccessibility is a real and growing obstacle to unlocking the secrets of the Magdalenian art system.

However, here are a few items of knowledge on which we can build, beginning with subject matter. Cave art portrays human hands; large numbers of animals in different activities, including various species, such as the woolly rhinoceros, which are now extinct, and a few which were extinct even at the time they were painted; geometric figures and signs. Humans are also portrayed but these instances are rare. Next we come to methods and materials. The earliest and most rudimentary images are finger-drawings in soft clay on the rock surface, the artist following the example of claw marks made by animals. Then came engraving, by far the commonest method, using flakes of sharp flint and in some cases stone picks. Different types of rocks, and rock formations, were used to give variety, add colour and produce depth, so that some of these engravings are akin to sculptural low-reliefs. Fine engraving is rare and late ...

(Continues...)


Excerpted from Art: A New History by Paul Johnson
Copyright © 2003 by Paul Johnson
Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

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Table of Contents

Foreword
Introduction
Pt. 1 Nora - up close nd personal 1
"True-Life Romance: Nora Roberts Revels in the Pleasures of Success" 3
Sound Bites from Nora on How to Learn to Write 8
"Nora Roberts: A Celebration of Emotions" 13
Pt. 2 The Career 21
A Publisher's Journey: An Interview with Leslie Gelbman 23
From the Beginning: Nora Roberts at Silhouette 38
Timeline of a Career 40
The Mind of an Agent: An Interview with Amy Berkower 52
Pt. 3 The books 63
The Nora Roberts Concordance: A Complete Alphabetical Guide to the Books of Nora Roberts 65
The Language of Love Reprints 273
From Book to Screen: Nora's Books into Movies 275
On Location with Nora: A State-by-State and Country-by-Country Title Listing 280
Pt. 4 a.k.a. Robb, J. D. Robb 283
The Life of "In Death": An In-Depth Look at the J. D. Robb Books 285
J. D. Robb's In Death Books: In Chronological Order 294
Pt. 5 The series 297
The MacGregors: America's Family? 299
The Bonds of Brothers: The Quinns of Chesapeake Bay 308
The Luck of the Irish: The Irish Connection and Nora 311
A Series of Miracles: A Look at the Rest of Nora Roberts's Series 318
Pt. 6 Traveling with nora 327
Venice 330
The Cayman Islands 333
Prague 337
Irish Eyes Are Smiling ... 340
Cork, Ireland 344
Galway, Ireland 347
Pt. 7 The booksellers 353
The Family Bookstore 355
An Interview with Tommy Dreiling, Romance Buyer for Barnes & Noble 359
Appreciating Nora: A Talk with Sharon Kelly Roth at Books & Co 366
Selling Nora: An Interview with Anne Marie Tallberg, Former National Romance Buyer for Waldenbooks 371
Bookseller's Corner: A Talk with Beth Anne Steckiel 378
Pt. 8 A circle of friends 387
Nora in Their Own Words 389
Pt. 9 The fans 401
Pt. 10 Nora by net 433
Connecting Nora's Fandom 435
Pt. 11 A last word from nora 455
The Votes in a Kiss 458
About the Editors 460
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First Chapter

Art: A New History

Chapter One

Painted Caves and Giant Stones

The human personality has been in existence for about 200,000 years, when Homo sapiens first evolved. His ancestor or doppelgänger, Neanderthal man, being less efficient at learning new things, disappeared, and the thinking man was left alone on the planet, to conquer, adorn and exploit it. He has been learning ever since, first almost infinitesimally slowly, then at gathering speed, which is accelerating all the time. Acquisition of knowledge and the ability to create are inseparably connected, and man, becoming sapient, began to create as fast as he learned. Thus art is virtually as old as humanity. By art I mean three things: useful art, concerned with survival; fine art, concerned with beauty; and fashion art, concerned with conformity to social rules.

The earliest art was body adornment, which included all three forms of art. Humans early discovered that they could impress other humans by certain calculated actions, of which clothing and painting their bodies was the easiest and most effective. Thus cosmetics was the earliest type of art, followed by primitive forms of jewellery and clothing, and this body art filled all three functions: it was utilitarian, it was aesthetic and it was social. Unfortunately, by its very nature, body art has disappeared. We do not know its salient characteristics or how it evolved. It is little help to study peoples who still practise it, as in Borneo, because these examples of Homo sapiens who have remained locked in the Stone Age self-evidently lack the dynamism which enabled primitive man, using his art-creating capacities, to break out of his predicament.

However, it is clear that skill in art, beginning with body adornment, was a precondition of human progress, including the production of tools and the forming of successful societies. Art came before everything. It certainly came before writing -- a comparatively recent development, all forms of writing originally evolved from pictograms. It almost certainly came before speech, at least forms of speech expressing notions which were at all complex. By learning to record visible objects, and express ideas, by engraving or painting on relatively flat, two-dimensional surfaces, humans produced visual aids to such speech noises as they were originally able to make; these aids in time were reflected in refinements in speech noises, expansion of vocabulary and the evolution of syntax. The evolving genetic coding which made humans rationalise themselves into art was the same force which produced rational speech noises, so that the two processes were intimately connected from the start.

Once art took a non-bodily form, it began to survive, and it is possible for us to study it. This objective art took many forms, since humans began to decorate their tools as soon as they made them, but its most important and illuminating -- and beautiful -- expression is in cave or rock art. This consists of engraved or painted works on open-air rocks or on the floors, walls and ceilings of caves, some of them in deep and almost inaccessible crannies. They were created during the Upper Palaeolithic period (40,000 to 10,000 BC), and the best were done by what we call the Magdalenians (from the name of a site), peoples who flourished in Europe from 18,000 to 10,000 BC. Such works have a unity, and can be described as the Magdalenian art system, the first in human history. It was also the longest, lasting for more than two-thirds of the total time when humans have produced art.

In any history of art, then, the Magdalenian system must occupy a place of importance. Alas, of all the forms of art practised on the planet, it is the one about which we know the least. But our knowledge is by no means derisory, bearing in mind that the first cave art was only discovered in the 1860s, and it was not until 1902 that it was accepted as a fact by anthropologists and art historians. By the end of the twentieth century, there were 277 agreed examples in Europe, 142 in France, 108 in Spain, 21 in Italy, 2 in Portugal, 2 in Germany and 2 in the Balkans. Unfortunately, most of these works of art are extremely fragile. When a cave is 'opened', and the conditions which enabled paintings to survive are altered, deterioration can be rapid. The superb paintings found at Bédeilhac in the Pyrenees during the First World War disappeared completely within six months of the cave's discovery. Thus except in places where expensive air-conditioning has been installed, caves are no longer open to the public. Even the Altamira Cave in Spain, finest of them all, is now open only to small parties for brief periods. Scholars themselves find it difficult to gain admission. Some of these works are photographed but the camera gives a poor idea of their nature and quality. Some are difficult to see anyway: the best part of Altamira has to be studied lying down. Hence inaccessibility is a real and growing obstacle to unlocking the secrets of the Magdalenian art system.

However, here are a few items of knowledge on which we can build, beginning with subject matter. Cave art portrays human hands; large numbers of animals in different activities, including various species, such as the woolly rhinoceros, which are now extinct, and a few which were extinct even at the time they were painted; geometric figures and signs. Humans are also portrayed but these instances are rare. Next we come to methods and materials. The earliest and most rudimentary images are finger-drawings in soft clay on the rock surface, the artist following the example of claw marks made by animals. Then came engraving, by far the commonest method, using flakes of sharp flint and in some cases stone picks. Different types of rocks, and rock formations, were used to give variety, add colour and produce depth, so that some of these engravings are akin to sculptural low-reliefs. Fine engraving is rare and late ...

Art: A New History. Copyright © by Paul Johnson. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted July 6, 2004

    A superb iconoclastic work

    Having read inumerable volumes on the subject, it is with some confidence that I can recommend this analysis. Art teachers may cower in the face of such a candid approach to the topic of what is 'important' enough to laud (after all, they are often mere echoes of more traditional authors) but this book is as spot-on as it is daring. A terrific (literally for some) addition to one's collection.

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  • Anonymous

    Posted January 5, 2004

    An art history worth reading.

    Paul Johnson correctly discredits many modern artists. This is the main reason his book has come under such fire. Finally someone had the guts to come out and say what we have all been thinking for years. Modern art is overrated!

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  • Anonymous

    Posted December 2, 2003

    Who was the editor?

    I have not read the entire book--my husband and I have been skimming it. We find an artist we like and see what Johnson says. We just howl because this book is so superficial and poorly written. Monet's series are his 'obsessions.' As art teachers we lament the tendency of our students to remember the most gorey and superficial aspect of an artist. We call this the 'Van Gogh's Ear' syndrome--because that is what all of our students know about Van Gogh. Johnson seems to be able to do this for all of art history. Did you know that no spiders live in the Great Mosque of Damascus? I think you should read Hughes if you want a debunker--and Gombrich if you want an art history survey. This book might give you a few things to say at a cocktail party--but it won't deepen your aesthetic experiences.

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