Art across Time Volume Two

Art across Time Volume Two

4th Edition

By Laurie Adams

  • Copyright: 2011

  • Publication Date: Feb 12 2010

  • ISBN 10: 0077353714

  • ISBN 13: 9780077353711

Description

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Art across Time combines sound scholarship, lavish visuals, and a lively narrative to provide students with a comprehensive, accessible, and engaging introduction to Art History. Popular with

Art across Time combines sound scholarship, lavish visuals, and a lively narrative to provide students with a comprehensive, accessible, and engaging introduction to Art History. Popular with majors and non-majors alike, the text offers readers more than a chronology of art by placing each work within the time-and-place context within which it was created. Encountering and interpreting a work of art in context offers the reader the richest possible experience of it. Large scale and high quality visual reproductions of artworks are often presented from multiple perspectives to enhance visual appeal and allow students to view details and elements of composition with greater ease. A thoughtful pedagogical approach helps students consider what they are viewing.

  • Language: English – lower case

  • Imprint: McGraw-Hill College

  • Dimension: 8.1 x 11.2

  • Page Count: 640

New Features

  • Several new drawing studies for major works of art, including Rubens's Raising of the Cross (Chapter 17), Ingres' Princesse de Broglie (Chapter 19), Gericault's The Raft of the Medusa (Chapter 20), and Picasso's Women of Avignon (Chapter 25) give students insight into the creative processes of the painter.
  • Enhanced architectural plans and diagrams feature improved labels and color leaders linking labels to what they represent.
  • Expanded coverage of women artists appears throughout the book, including new discussions of Lavinia Fontana, Caterina van Hemessen, Labille-Guiard, Hannah Hoch, Elizabeth Murray, Kara Walker, and Zaha Hadid.
  • New and revised material in chapters 28 and 29 strengthen the text's coverage of modern art. Chapter 29 includes a new section on race and gender, the addition of Romare Bearden, while Chapter 28 features expanded coverage of Minimalism, notably the work of Sol Lewitt.
  • A refined boxed program offer students additional background and excerpts from mythology, religion, literature, and politics without disrupting the flow of the text. New titles categorize the boxes under such headings as Media, Technique, Biography, and Literature, making the material in each more immediately identifiable and understandable.
  • A revised map program (including a new map of the Roman Empire in Chapter 7) updates and streamlines place names so students can better understand the most important geographical locations relevant to the history of art.
  • An updated Online Learning Center offers a wealth of additional teaching and learning resources. Student material includes part and chapter outlines; multiple choice and essay quizzes; learning goals; flashcards; key terms; and interactive explorations of the compositional elements of art and video introductions to art techniques and media. Instructor material includes an instructor?s manual and links to additional information, images, and professional resources.
  • Connect Image Bank provides instructors with a way to easily browse and search high-resolution images within the text and download them for use in class presentations. Contact your McGraw-Hill representative for details.

Key Features

  • More than a chronology of art, Art across Time situates each work in the context of its time and place, along with the personal concerns of the artist, all to enrich the reader's understanding and appreciation of art.
  • A strong narrative approach makes the text's high level of scholarship accessible. Adams speaks to students in a voice they will understand, avoiding an encyclopedic approach in favor of dynamic introductions based on solid research.
  • A lavish full-color design presents material clearly, with illustrations directly linked to the relevant narrative. Almost every image that includes color in the original is reproduced faithfully in the text.
  • Coverage of art history methodologies in Chapter 1 and in five illustrated boxed case studies in chapters 3, 8, 13, 19, and 21, demonstrates how the same work of art can be interpreted several ways, depending on one's methodological emphasis. Methodologies discussed include formalism, biography and autobiography, iconography and iconology, psychoanalysis, Marxism, feminism, and semiotics. Specific works, such as the Egyptian Statue of Menkaure, The Arnolfini Portrait, and Ingres' Napoleon on His Imperial Throne are examined from a variety of perspectives to illustrate this concept.
  • Part openers provide effective previews of the periods covered in each of the seven text parts, briefly encapsulating the most significant characteristics of civilizations and cultures discussed and placing the art within its social and historical context.
  • Connections offer in-margin reproductions of art discussed earlier in the text. These appear next to approximately 60 works, inviting student to compare various works without having to flip back and forth between chapters.
  • Windows on the World essays on the arts of Asia, Africa, Australia, South America, and Native America help students to make connections between artworks and art movements at points where cultures meet or influence one another.
  • An Introduction addresses the question Why do we Study the History of Art? from many perspectives, including an appreciation of the human impulse to create; the many values people impart to artworks; how art affects viewers; the methodologies we use to interpret art, and so forth.
  • Small maps included in each chapter opener highlight the region or regions being discussed.
  • Key terms, defined in a glossary at the back of the book, appear in boldface throughout the text, while an etymology of art-historical terms reinforces the meanings of words and reveals their continuity through time.

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Brief Contents

Preface

Introduction: Why Do We Study the History of Art?

Chapter 12: Precursors of the Renaissance

PART IV

Chapter 13

Table of Contents

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Brief Contents

Preface

Introduction: Why Do We Study the History of Art?

Chapter 12: Precursors of the Renaissance

PART IV

Chapter 13: The Early Renaissance

Chapter 14: The High Renaissance in Italy

Chapter 15: Mannerism and the Later Sixteenth Century in Italy

Chapter 16: Sixteenth-Century Painting in Northern Europe

PART V

Chapter 17: The Baroque Style in Western Europe

Chapter 18: Rococo and the Eighteenth Century

PART VI

Chapter 19: Neoclassicism: The Late Eighteenth and Early Nineteenth Centuries

Chapter 20: Romanticism: The Late Eighteenth and Early Nineteenth Centuries

Chapter 21: Nineteenth-Century Realism

Chapter 22: Nineteenth-Century Impressionism

Chapter 23: Post-Impressionism and the Late Nineteenth Century

PART VII

Chapter 24: Turn of the Century: Early Picasso, Fauvism, Expressionism, and Matisse

Chapter 25: Cubism, Futurism, and Related Twentieth-Century Styles

Chapter 26: Dada, Surrealism, Fantasy, and the United States between the Wars

Chapter 27: Mid-Century Abstraction

Chapter 28: Pop Art, Op Art, Minimalism, and Conceptualism

Chapter 29: Innovation, Continuity, and Globalization

Notes

Glossary

Suggestions for Further Reading

Literary Acknowledgments

Acknowledgments

Picture Credits

Index

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About the Authors

Laurie Adams

Laurie Schneider Adams received a Ph.D. in Art History from Columbia University. She is Professor of Art History at John Jay College, City University of New York, where she teaches art survey, and at the Graduate Center, where she teaches courses on the Italian Renaissance and on Art and Psychoanalysis. She has published articles on iconography and on art and psychology. She is the editor of <I>Giotto in Perspective</I>and of the journal <I>Source: Notes in the History of Art</I>; the author of <I>A History of Western Art</I>, <I>The Methodologies of Art<I>, <I>Art and Psychoanalysis</I>, and <I>Art on Trial</I>; and co-author (with Maria Grazia Pernis) of <I>Federico da Montefeltro and Sigismondo Malatesta: The Eagle and the Elephant</I> and of 5 children's books (with Allison Coudert).