The Art of Seeing / Edition 7

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Overview

This best-selling exploration of traditional and contemporary art and artistic media focuses on art as seen from the artist's point of view, and presents readers—and viewers—with an exciting gallery of work. Art comes to life through down-to-earth language, and numerous quotations from the artists themselves help explain, in their own words, what they were trying to do. The book contains a four-part organization: Part I lays the foundation for seeing; Parts II and III views two-and three-dimensional art; and Part IV approaches art as it exists in time. An emphasis on aesthetics and art techniques explains in detail the philosophical foundations, elements, and principles of design, and technical considerations of each medium. Broad coverage of all media and traditional and contemporary art includes a section on outsider art and illustrates and discusses multicultural and non-Western art and art by women. Also covered are traditional and contemporary topics such as encaustic; fresco; wood engraving; computer art, graphic design, photography, Xerox and FAX art, video art; conceptual art, performance art, earthworks, installation pieces, and folk art. For anyone who appreciates—and wants to deepen that appreciation of—art.
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Editorial Reviews

Booknews
New edition of a text which lays the foundation for understanding the aesthetic aspects of a work of art by presenting an intellectual framework; analysis of visual elements and organizing principles; the details of materials and techniques, both two-dimensional and three- dimensional; and historical styles in western art. Abundantly illustrated. Annotation c. by Book News, Inc., Portland, Or.
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Product Details

  • ISBN-13: 9780131583450
  • Publisher: Prentice Hall
  • Publication date: 2/20/2007
  • Edition description: Older Edition
  • Edition number: 7
  • Pages: 560
  • Product dimensions: 8.51 (w) x 11.04 (h) x 0.98 (d)

Table of Contents

Preface 9
Part 1 Learning to See 11
1 Understanding Art 12
2 Visual Elements 60
3 Organizing Principles of Design 169
Part 2 Two-Dimensional Media and Methods 201
4 Drawing 202
5 Painting 217
6 Printmaking 250
7 Graphic Design 272
8 Photography, Photocopy, and Film-Making 282
9 Computer Graphics 312
Part 3 Three-Dimensional Media and Methods 325
10 Sculpture 326
11 Crafts 347
12 Product and Clothing Design 369
13 Architecture 380
14 Designed Settings 407
Part 4 Art in Time 425
15 Historical Styles in Western Art 426
16 Understanding Art on All Levels 507
Notes 528
Glossary/Pronunciation Guide 532
Artist's Pronunciation Guide 544
Credits 546
Index 548
Timeline
30,000 BC-AD 2000 430
Tables
30,000 BC-AD 500 Prehistoric to Roman 428
500-1500 Early Christian to Gothic 441
1425-1640 Early Renaissance to Southern Baroque 453
1500-1800 Northern Renaissance to Rococo 462
1750-1950 Neoclassicism to Surrealism 466
1945-2000 At the Turn of the Twenty-First Century 493
Maps
The Prehistoric and Ancient World 428
Europe in the Early Twelfth Century 441
Renaissance Italy 453
Northern Europe in the mid-Seventeenth Century 462
Europe in the mid-Nineteenth Century 466
The World in the Late Twentieth Century 493
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Preface

We are very excited to present this fifth edition of The Art of Seeing, for more than ever before, it brings readers closer to an informed understanding of the fine and applied arts of the world. Many new features now extend the scope of this understanding.

New Features of this Edition

One major new feature is a series of 10 boxes, "The World Seen." Each examines an art form that has been highly developed in a particular time and place, such as the brush and ink paintings of Sung China, the precious metalwork of Tsarist Russia, the ivory work of the kingdom of Benin, and the gold-embroidered saris still produced in contemporary India. The social and cultural factors that led to these heights are examined along with the exceptional skillfulness of the arts.

Another new feature is the addition of discursive material to many of the captions. This new material augments the text discussions by giving related information about the content and context of the work. Many captions now include interesting quotations from the artists about what they were attempting to do, such as Op Artist Bridget Riley's explanation, "For me nature is not landscapes, but the dynamism of visual forces—an event rather than an appearance," thus deepening understanding of the work at hand.

Yet another new feature is 15 illustrated chapter opening vignettes. Each displays a work that is in some way emblematic of the entire topic to be discussed. These give a taste of what is to follow and an introduction to looking at that aspect of art.

Some 68 new works of art have been introduced in this edition, from famous historical works such as Monet's Waterlilies paintings tothe state-of-the-art computer simulation of Dinosaur and Frank Gehry's groundbreaking Guggenheim Museum in Bilbao. As before, the new works are taken from varied cultures and historical periods, and include many pieces by women, from historical artists such as Berthe Morisot to significant contemporary artists such as Alice Aycock, Ann Hamilton, and Renee Stout.

The special feature boxes on Art Issues have been updated, and two new boxes of this type added: "Mixing Art and Politics: The Films of Leni Riefenstahl," and "Are there Limits to the Restorer's Art?" Both in the text and in these special boxes, we have attempted to explore many areas of controversy on the contemporary art scene.

Further enriching ways of understanding art, we have added to Chapter 1 a new section on various models for art criticism—formalist, expressivist, and instrumentalist. Throughout the text, new material on content and context has been added to the more formalist investigations.

As before, we try to give insights into art from the artist's point of view. Artists' own words about their work are a treasure trove for the student of art appreciation. We have therefore developed two new feature boxes in which artists speak at length about some facet of their work related to the subject under discussion. Some of these are developed from our personal communications with the artists, some from historical documents.

The Nature of this Book

As before, we have taken considerable effort in The Art of Seeing to make art come to life. The language we use is vigorous and down-to-earth, with numerous quotations from the artists themselves to help explain, in their own words, what they were trying to do. Unfamiliar words are carefully defined when they are first used and also in an extensive illustrated glossary at the end of the book. Pronunciation aids have been added to words in the glossary which may be unfamiliar to students. There is also a guide to artists' names that are difficult to pronounce.

Art in The Art of Seeing is a stimulating, exciting visual gallery. The illustrations for each concept are clearly related to the text and carefully described. There are some 609 illustrations, 300 of them in color, many reproduced at full-page size. They are taken from all the visual arts, from painting and sculpture to clothing and industrial design. Use of such a global variety of illustrations from both fine and applied arts, old and new, allows us to broaden tastes in art and to demonstrate the underlying principles, elements, and issues in art, no matter what form it takes.

In Chapter 15, which traces the development of Western art, the discussion is enhanced by maps and timelines. The six maps show the regions where major trends in Western art developed and indicate key artistic centers, with insets of important buildings and monuments. Each map is accompanied by a timeline giving a global historical context to the evolution of Western art, up to the beginning of the twenty-first century.

Its Organization

Part 1 of The Art of Seeing lays the foundation for understanding the aesthetic aspects of a work of art. In Chapter 1, we develop an initial vocabulary and an intellectual framework for considering artworks: the creative impulse, the varying forms and content of its manifestation, critical opinion of the results, and, with time, recognition of the greatness of some works. Chapter 2 is devoted to extensive analysis of the visual elements with which the artist works: line, shapes, form, space, texture, light, color, and time. Chapter 3 covers the subtle organizing principles by which these elements are used in a work of art.

The next two parts of the book approach art through the materials and techniques used by the artists. By revealing the difficulties of each method, we hope to enhance appreciation of the artists' accomplishments in the face of the intractabilities of their media. Part 2 covers two-dimensional techniques and media: drawing, painting, printmaking, graphic design, photography, photocopy, fax, film, television, video, and computer graphics. Part 3 covers three-dimensional media: sculpture, crafts, industrial design, clothing design, architecture, interior design, environmental design, and the performing arts.

Part 4 approaches art as it exists in time. We first offer a concise approach to historical styles in Western art. Some 48 major movements, from prehistoric to contemporary, are covered, with an illustrated timeline on pages 430 and 431 as an aid to understanding how the distinctly different aesthetic movements are related in time. In addition, six maps show close-ups of particular periods so that one can see where the major artists of the time were working, in the context of major world events.

The final chapter is a unique, in-depth examination of specific works of art, including their evolution in time. It approximates the actual experience of encountering a work of art, drawing on all levels of appreciation developed in the book, in order to analyze and respond to four masterworks.

Acknowledgements

Many people have helped us to revise and update The Art of Seeing, especially Maria Lewis, Frank Ballard, David Smalley, Sal Scalora, Sharon Booma, Janet Cummings Good, and Michelle Brand. Each edition has been extensively reviewed, but our reviewers for this fifth edition have been particularly helpful with specific and general comments which guided our revisions. We would like to express our special gratitude to Herbert R. Hartel Jr., John Jay College, City University of New York, and, Ted Kerzie, California State University, Bakersfield. As always, Bud Therien of Prentice Hall and now Kimberly Chastain have been enthusiastic and supportive, and the brilliant and dedicated staff of Calmann and King – especially Melanie White, Elisabeth Ingles, Kate Tuckett, Damian Thompson and Bridget Tily – have worked hard to deal with the intricacies of all the changes in this edition. Annette Zelanski has been as always generous with her help and loving support. The second author also wishes to thank His Holiness Baba Virsa Singh for his blessings and inspiration.

We feel that these improvements will be very helpful to all those who seek an educated, sharpened sense of art appreciation. Our own appreciation grows each time we approach this book.

Paul Zelanski
Mary Pat Fisher

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Introduction

We are very pleased to be able to offer this new sixth edition of The Art of Seeing, for its features will bring readers even closer than before to an informed understanding of the fine and applied arts of the world. The scope of this understanding has been extended in many ways.

NEW FEATURES OF THIS EDITION

Color is such a critical element of design that the use of color illustrations has been greatly increased in this edition, with 66 new color images. We have particularly emphasized the reproduction of paintings in color and have added important painters who did not appear in previous editions, such as Bellini and Delacroix. The new artworks range from multi-media installations and Daniel Libeskind's model for a poignantly symbolic post-9/11 World Trade Center to wooden sculpture by the thirteenth-century Japanese master, Unkei.

The multicultural nature of the book has been enhanced with new material from contemporary Vietnamese, Indian, Chinese, Native American, and African artists. Women artists continue to be well represented throughout the book, particularly in contemporary pieces such as the provocative installation and performance work of Marina Abramovic.

Digital art has become an integral part of the contemporary art scene, so its coverage has been expanded and updated throughout the book as well as in the chapter on digital art. At the same time, consideration of historical movements has also been enhanced with additions such as a new section on Assyrian art.

The Art of Seeing has been completely redesigned for greater readability and clarity. Each chapter now begins with a helpful list of "Key Concepts" to help readersmentally organize the material that follows. Boxes in Chapter 15 summarizing major historical developments in Western art along with significant events of the times have been completely reorganized, with references to pieces of art previously illustrated in the book to explain particular topics, so that these works may also be better understood within their historical contexts.

Special feature boxes were introduced to the fifth edition entitled "The World Seen." Each examines an art form that has been highly developed in a particular time and place, such as the brush and ink paintings of Sung China, the precious metalwork of Tsarist Russia, the ivory work of the kingdom of Benin, and the traditional gold-embroidered saris that have now entered the realm of high fashion in India. The social and cultural factors that led to these heights are examined along with the exceptional skillfulness of the artists. In the sixth edition, another extraordinary art wonder of the world has been added: "The Hidden Temples of Angkor" in Cambodia. These "The World Seen" boxes are distinguished from the running text by their green-tinted headings.

The special feature boxes on "Art Issues" have also been updated and expanded, with the addition of boxes on "Looting of Art Treasures," prompted by thefts from the Baghdad Museum but also delving into other similar controversies, plus boxes on "Preserving Ephemeral Materials" and "The Camera Obscura: A Trade Secret?" Both in the text and in these special boxes we have attempted to explore many areas of controversy in the art world. These "Art Issues" boxes are distinguished from the running text by their brown-tinted headings.

THE NATURE OF THIS BOOK

As always, we have taken considerable effort in The Art of Seeing to make art come to life. The language we use is vigorous and down-to-earth, with many quotations from the artists themselves to help explain, in their own words, what they were trying to do. There are also numerous "Artists on Art" boxes throughout the book, distinguished by blue-tinted headings, featuring more lengthy passages in which major artists speak about their work in general, giving students valuable insights into art from the artists' point of view. Artists' own words about their work are a treasure trove for the student of art appreciation. Some of these are developed from our personal communications with the artists, some from historical documents. These quotations have been tightened in this edition to keep the focus relevant to issues being explored in the running text.

Carefully-chosen artworks are illustrated and described at the beginning of each chapter. These vignettes display works that are in some way emblematic of the entire topic to be discussed. These give a taste of what is to follow and an introduction to looking at that aspect of art.

Many illustrations are accompanied by discursive captions which augment the text discussions by giving related information about the content and context of the work. Some include interesting quotations from the artists about what they were attempting to do, thus deepening understanding of the work at hand.

There are many pedagogical aids in The Art of Seeing. In addition to the new "Key Concepts" lists at the beginning of each chapter, unfamiliar words are carefully defined where they are first used and those which are again defined in an extensive illustrated glossary at the end of the book are printed in boldface. Pronunciation aids are provided for words in the glossary that may be unfamiliar to students. There is also a guide in the back to the artists' names that are difficult to pronounce.

Art in The Art of Seeing is a stimulating, exciting visual gallery. The illustrations for each concept are clearly related to the text and carefully described. There are some 595 illustrations, 354 of them in color, many reproduced at full-page size. They are taken from all the visual arts, from painting and sculpture to clothing and industrial design. Use of such a global variety of illustrations from both fine and applied arts, old and new, allows us to broaden tastes in art and to demonstrate the underlying principles, elements, and issues in art, no matter what form it takes.

In Chapter 15, which traces the development of Western art, the discussion is enhanced by maps and timelines. The six maps show the regions where major trends in Western art developed and indicate key artistic centers, with insets of important buildings and monuments. Each map is accompanied by a timeline giving a global historical context to the evolution of Western art, up to the beginning of the twenty-first century.

ITS ORGANIZATION

Part 1 of The Art of Seeing lays the foundation for understanding the aesthetic aspects of a work of art. In Chapter 1, we develop an initial vocabulary and an intellectual framework for considering artworks: the creative impulse, the varying forms and content of its manifestation, critical opinion of the results, and, with time, recognition of the greatness of some works. Chapter 2 is devoted to extensive analysis of the visual elements with which the artist works: line, shapes, form, space, texture, light, color, and time. Chapter 3 covers the subtle organizing principles by which these elements are used in a work of art.

The next two parts of the book approach art through the materials and techniques used by the artists. By revealing the difficulties of each method, we hope to enhance appreciation of the artists' accomplishments in the face of the intractabilities of their media. Part 2 covers two-dimensional techniques and media: drawing, painting, printmaking, graphic design, photography, photo-copy, fax, film, television, video, and computer graphics. Part 3 covers three-dimensional media: sculpture, crags, industrial design, clothing design, architecture, interior design, environmental design, and the performing arts.

Part 4 approaches art as it exists in time. We first offer a concise approach to historical styles in Western art. Some 48 major movements, from prehistoric to contemporary, are covered, with an illustrated timeline on pages 430 and 431 as an aid to understanding how the distinctly different aesthetic movements are related in time. In addition, six maps show close-ups of particular periods so that one can see where the major artists of the time were working, in the context of major world events.

The final chapter is a unique, in-depth examination of specific works of art, including their evolution in time. It approximates the actual experience of encountering a work of art, drawing on all levels of appreciation developed in the book, in order to analyze and respond to four masterworks.

Read More Show Less

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