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Published: 23 novembre 2022 (2 semaines ago)
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Art History (6th Edition) Marilyn Stokstad


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Art History (6th Edition) Marilyn Stokstad

this is the book to teach the course. it’s a comprehensive tour of art history and its history from 5000 b.c. to the present. it’s a great volume for the at-home art history buff or for someone who is planning to teach a course on art history. the art, not the usual stuff, is really good, and the writing is clear. the book is particularly good on the middle ages and renaissance. a lot of people are surprised when they find out that the renaissance began in italy (not in florence) and that it wasn’t really finished until the 18th century. the art of the renaissance is wonderful, and this book is great for getting an overview of the period.

this is a really nice overview of the field and of the academic debates that have raged over art history. a lot of the more traditional art historians think that solomon’s ideas are over-simplified and a bit wishy-washy. others think that he’s too political. the basic ideas are: art history is about the interpretation of art, not about collecting it. it’s a social science, not a natural science. and, just as the history of science has been transformed by einstein’s relativity, the history of art has been transformed by new scholarship on the arts of the ancient world. solomon is a good teacher, and you’ll find yourself reading this book more than once. if you’re planning to teach an art history course, this book is a good place to start.

this is the best general art history book available. there are over 900 art history books on the market, and this is the best. it’s an overview of art history from the paleolithic to the present, and you can make up your own mind about what kind of art history you want to teach.

Langdon Winner is an art historian and philosophy professor at Mount Holyoke College. He is the author of several books including the monographs Hegel and the Endgame of Art History: The Unhistoricity of Art and the Historicity of Art History(University of Chicago, 1992), and The Art of Living: Art and the Mode of Existence (University of Chicago, 1985).
Whatever its merits in any particular instance, the text never encourages students to depend on words or pictures alone. After all, the latter are only one of the formal elements of the visual medium. A few examples from Stokstad, along with more extended treatment by Gardner and Gardner and Dow: FigurativeFigures and forms in representation may typically be any recognizable image of anything. They may be of humans, animals, insects, or plants, but they may also be abstract images of geometry, mathematics, light, or color. Iconography An icon is an abstracted reality that stands for something else. In the case of religious icons, these may be representations of God, saints, or events in the afterlife, but they may also be representations of the process of maturation, the development of an individual from conception to maturity, the flow of life from generation to generation, the development of agriculture, household or industrial technology, the action of wind or water, and so forth. In Hindu iconography, icons may be taken as representing particularly desirable aspects of the cosmos, such as the cycle of the seasons, the parts of the human body, the stages of life, or the mandala. Narrative A narrative (or story) may be a series of images or words that tell a coherent tale of any kind of subject. In Western art, narrative (of the fantastic) is exemplified by the Don Quixote series by Cervantes, but not the Daniel in the Lion’s den by Keats, the Mad Hatter in Alice in Wonderland by Tenniel, or the Peanuts strip by Peanuts creator Charles Schulz. Non-representational This category includes all those visual arts in which the form of the artwork is not a mere representation of something else. They fall into two broad categories: naturalistic and formalist. Naturalistic images represent the way something looks but not necessarily how it is. Examples include the representations of actual sounds, actual smells, or actual activities, as in music (Harvard University Press, 2000), sports (National Geographic, 2000), nature (National Geographic, 2000), and the arts, including dance (Harvard University Press, 2000), theater (McGraw-Hill, 2000), and music (Harvard University Press, 2000). In western art non-representational art ranges from the monumental painting and sculpture of the Renaissance to the minimalistic art of Abstract Expressionism. Pictorial This category includes all visual arts that have some pictorial (visual and spatial) content. To be pictorial, the image must have at least some of its visual form determined by the arrangement of visual elements. The visual elements may be one of many, but only one stands out in the viewer’s mind as the focus of the image. Examples include narrative, genre, and landscape paintings. Pictorial art ranges from the early Western art of the Middle Paleolithic to the Italian Renaissance.
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