Art History Marilyn Stokstad Third Edition Notes App
.Art History, Volume 2, 3rd Edition. DescriptionFor two-semester courses in Art History, Global Art History, and for Introductory Art courses taught from a historical perspective.Volume II covers Fourteenth-Century Art in Europe through The International Scene Since 1945.Based on more than forty years that Marilyn Stokstad has been introducing the history of art to students and to the public, she found that the first goal of an introductory course should be to nurture an educated, enthusiastic public for the arts.
She firmly believes that students and lay readers can and should enjoy their introduction to art history. Hallmark FeaturesHow do you place the study of art history in context for your students?. Art History provides the essential context of the history of art — the text treats the arts and architecture within the essential context of history, geography, sociology, politics, religion and the other arts of the time. New Content:. Modern Art chapters have been thoroughly revised - A strong Latin American component has been added. Renaissance chapters reorganized from two to four chapters – 15 th century and 16 th century Italy each have a separate chapter.
Expanded Non-Western coverage - new contributing specialists have broadened the scope and deepened the discussion in each of the chapters devoted to art beyond the West. Korean art has been added and the Islamic art chapter has been thoroughly revised and updated.How important in scholarship to you?. NEW – Scholarship and research - reflects trends and new discoveries impacting the field of Art History and makes this a complete and up-to-date resource for professors and studen ts. For example, the recently revised dates for ancient Egyptian art and the recreations of familiar masterworks, such as the new Augustus of Primaporta have been incorporated.How do you evaluate the quality of the illustration program?. NEW- Enhanced image program – every image that could be obtained in color has been acquired. The line art program has been enhanced with color for better readability. NEW- Architectural cutaway drawings and reconstructions by Dorling Kindersley - help students to better understand this challeging subject.
The line drawings show how the parts of buildings work together in a 3-dimensional representation and new reconstructions have been added, all in full color, to bring ruins to life and show students what the site originally looked like.Do you use 35 mm slides or digital images in class? How much time do you spend preparing images for your lecture?. NEW – Prentice Hall Digital Art Library - an innovative in-class presentation tool that will change the way you prepare and present your Art History lectures.
Available in both DVD and CD formats, it contains all of the images, line art drawings, and maps from Marilyn Stokstad’s Art History. All images are in the highest resolution and pixelation possible (300+ dpi and up to 3000 pixels) for optimal projection and easy download.
Amazon.com ReviewThis attractively packaged two-volume set attempts an almost impossible task: to present the art of the entire world, from vibrant cave paintings dating back 30,000 years to the creative trends of the late 20th century. Though the arts of Europe are the most thoroughly analyzed, respected scholars in several specialized fields cover other cultures with cogent essays. A more unusual feature is the space devoted to art created by women, such as the late-Renaissance painters Sofonisba Anguissola and Lavinia Fontana-the latter was invited in 1560 to be an official painter at the Spanish court. Relationships between the art of different cultures are emphasized and, while each section can stand alone, each is shown to fit meaningfully into the overall development of the world's artistic heritage. Beautiful images grace the production's 1,200 pages, not only well-known icons but a wealth of lesser-known gems are here, carefully chosen to demonstrate the points made in the text. There are many delightful surprises among the illustrations, many of which are in color, printed to high quality standards in Japan.
For instance, line drawings explain technical details, from 'Lost-wax Bronze-casting' to 'Elements of the Skyscraper.' A vast amount of information is presented, but it is very well organized and easy to access, and an extensive glossary answers many questions.
Marilyn Stokstad's Art History is a true tour de force, and its light and humanistic approach is a refreshing change from previous encyclopedic art-historical studies.John Stevenson. Product DescriptionIn tune with today's readers– rich but never effete–this is the 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. Marilyn Stokstad has put together a real masterpiece of art history with her book, Art History. In collaboration with Bradford Collins, and with contributed chapters from Stephen Addiss, Chu-tsing Li, Marylin Rhie and Christopher Roy, this large volume published by noted art publishers Henry N. Is deserving of pride of place on any art bookshelf.The scope of this work is as broad as is the expanse of human history. Indeed, the first chapter begins with a survey of prehistoric art and prehistory. Spanning all the ancient cultures, there are chapters devoted to the art of the ancient Near East, Egypt, the Aegean, Etruscan and Roman art, Christian, Jewish and Byzantine art, Islamic art, the art of India, China, Japan, the Americas and Africa. And from there, it gets complicated!This book tackles all the issues of art: philosophical considerations (the relationship between art and reality, and the meaning and importance of beauty in art), focus on artists in general and in particular, society's relationship to art, including the role of the patron, the importance of museums, and an investigation that goes behind the phrase, 'I know what I like.'
'Art history, in contrast to art criticism, combines the formal analysis of works of art-concentrating mainly on the visual elements in the work of art-with the study of the works' broad historical context. Art historians draw on biography to learn about artists' lives, social history to understand the economic and political forces shaping artists, their patrons, and their public, and the history of ideas to gain an understanding of the intellectual currents influencing artists' work.' In addition to presenting a history of art, Stokstad and her contributors also present an introduction to various aspects of art appreciation, without with art history loses much meaning. Each chapter has an explanation of the techniques that were developed and important during the time under examination (for instance, lost wax casting, glassamking and Egyptian faience, Japanese woodblock technique, and Islamic carpet making, among many others, are illustrated in detail to enhance the knowledge and appreciation of the finished art works).
Each chapter and time period also has a section entitled Elements of Architecture, which include discussion on elements from pyramids to skyscrapers and much in between.The text is clear and concise, carefully explaining technical terms when they are used, and then using them sparingly. Every page is a visual feast, with full colour plates of photographs of paintings, sculpture, artists, locations, or architectural examples in great form, as Henry N. Publishers are famous for doing.
There are literally thousands of illustrations, as there are often many per page; almost no page is without one, and the book is nearly 1200 pages long.As an aid for those who will use this book for more scholarly purposes, there is an extensive bibliography in the back, in three classifications of listings - general surveys and art history references, a selected list of art history journals, and then a chapter-specific directory of further reading for each art topic/period. Additionally, it has after the bibliography as Website Directory of Museums, which includes museums in every state in the United States and most major museums around the world.
The index includes listings by artist, period, topic, and particular works of art.This book has been intended to be useful as a text for a course in art appreciation, but also designed to be a joy to read for the casual reader who might not want an academically rigourous presentation. As Stokstad says in her preface, the intention was make this book itself a work of art, and in that task she has succeeded admirably.
This book is simply wonderful. It is indeed physically ponderous (this 2nd edition is one very, very large book, not two slipcased books as shown in some illustrations). However, its content easily compensates for its considerable bulk. All historical periods of art history are chronicled, with copious illustrations well-produced and nearly all in color. The text is incisive and easy to follow, yet never boring.I recommend this book to any and all art lovers, whether beginners, advanced students, or just those who desire a comprehensive reference for library or home use. I personally consider this publication a better choice than the otherwise excellent Janson 'History of Art' for most readers- the writing is just more user-friendly, in my opinion (and the content is more inclusive, especially regarding non-Western art). Stokstad's book is an excellent teaching tool and resource, as the printed reviews suggest; but it is important to note that it is also the latest product of a series of late 20th century art history texts that have aimed at encyclopedic range.
The price that is paid for such vast coverage is narrative purpose: older surveys ofart history, from Vasari to the early 20th century, were attempts to tell the story of art history from certain points of view, and for specific purposes. Art was literally a story: it had beginnings, a middle, and an end, and it had good and bad characters, and a plot.Never before in history has it seemed a good idea to avoid judging cultures and artworks. The neutrality that texts such as this one achieve is sometimes a worthy corrective to prejudices about other periods and cultures; but it also gives us an emotionally neutral (or uniform) picture of artworks that were never-either in their makers' eyes, or in the judgments of contemporaneous historians-the objects of neutral description. In choosing an art survey text, therefore, it may sometimes make sense to augment abook like Stokstad's with an historically more normative, and rhetorically more 'biased,' history such as Ernst Gombrich's 'Story of Art.' (See my review of the new edition.). Although large and weighty, the book is beautifully packaged and binded.
The quality of the text is certainly worth the cost. Stokstad's Art History briefly covers the history of art from pre-historic to contemporary early 21st century art.
The types of art range from medieval to roccoco with several chapters covering non-western art (Chinese, Japanese, African, Pre-Columbian, etc.). In addition to the wide range of material, the author provides a text that is an excellent source of definitions for art terms and a substantial bibiliography. Although it is only a survey of a variety of art, the bibiliography is an excellent source for locating other texts for further reading on the topic of your interest.Most importantly, the cd-rom that comes with the book contains both a study guide and the images of the excellent illustrations which are found throughout of text. Marilyn Stokstad has put together a real masterpiece of art history with her book, Art History. In collaboration with Bradford Collins, and with contributed chapters from Stephen Addiss, Chu-tsing Li, Marylin Rhie and Christopher Roy, this large volume published by noted art publishers Henry N. Is deserving of pride of place on any art bookshelf.The scope of this work is as broad as is the expanse of human history.
Indeed, the first chapter begins with a survey of prehistoric art and prehistory. Spanning all the ancient cultures, there are chapters devoted to the art of the ancient Near East, Egypt, the Aegean, Etruscan and Roman art, Christian, Jewish and Byzantine art, Islamic art, the art of India, China, Japan, the Americas and Africa. And from there, it gets complicated!This book tackles all the issues of art: philosophical considerations (the relationship between art and reality, and the meaning and importance of beauty in art), focus on artists in general and in particular, society's relationship to art, including the role of the patron, the importance of museums, and an investigation that goes behind the phrase, 'I know what I like.' 'Art history, in contrast to art criticism, combines the formal analysis of works of art-concentrating mainly on the visual elements in the work of art-with the study of the works' broad historical context. Art historians draw on biography to learn about artists' lives, social history to understand the economic and political forces shaping artists, their patrons, and their public, and the history of ideas to gain an understanding of the intellectual currents influencing artists' work.' In addition to presenting a history of art, Stokstad and her contributors also present an introduction to various aspects of art appreciation, without with art history loses much meaning. Each chapter has an explanation of the techniques that were developed and important during the time under examination (for instance, lost wax casting, glassamking and Egyptian faience, Japanese woodblock technique, and Islamic carpet making, among many others, are illustrated in detail to enhance the knowledge and appreciation of the finished art works).
Each chapter and time period also has a section entitled Elements of Architecture, which include discussion on elements from pyramids to skyscrapers and much in between.The text is clear and concise, carefully explaining technical terms when they are used, and then using them sparingly. Every page is a visual feast, with full colour plates of photographs of paintings, sculpture, artists, locations, or architectural examples in great form, as Henry N.
Publishers are famous for doing. There are literally thousands of illustrations, as there are often many per page; almost no page is without one, and the book is nearly 1200 pages long.As an aid for those who will use this book for more scholarly purposes, there is an extensive bibliography in the back, in three classifications of listings - general surveys and art history references, a selected list of art history journals, and then a chapter-specific directory of further reading for each art topic/period. Additionally, it has after the bibliography as Website Directory of Museums, which includes museums in every state in the United States and most major museums around the world. The index includes listings by artist, period, topic, and particular works of art.This book has been intended to be useful as a text for a course in art appreciation, but also designed to be a joy to read for the casual reader who might not want an academically rigourous presentation. As Stokstad says in her preface, the intention was make this book itself a work of art, and in that task she has succeeded admirably.
I was instructed to buy this book for my art history class here at Concordia College. I initially cringed at the price, but after purchasing the oversized book I was amazed at what I saw. The glossy, large pictures are surrounded by information that you wouldn't find anywhere online. It's written intelligently, but you don't feel as though you were being spoken down to. The images are high quality and can be accessed on the CDRom, and the information is extremely useful and easy to understand.
I didn't feel like I was reading a textbook when I used this book, in fact I found myself reading some of it for fun (as nerdy as that might sound). All in all it's a fabulous book that any student or art historian should at least take a look at.
It's worth the price! This book is chocked full of good art history information from the cave paintings in Lascaux to pieces from the early 2000's (nothing from the early 2000's that I'm familiar with, but there is a bit included). There are plenty of good pictures included in the book, and the CD-ROM seems like it would be really helpful for studying slides for art history tests, although i haven't done that yet. This book is pricey, yet its a good reference book for all those into art and art history.
(plus its fun to look at even for those who aren't really into art (a good coffee table book after you've forgotten how much it cost??)) Well written material so I would recommend buying it if you are serious about art history. A beautifully written and organized, gender and ethnic inclusive survey of the world's art history, east and west.
Art History Marilyn Stokstad Third Edition Notes Apps
Since almost all early art was made in and through a spiritual tradition, there is here much needed art historical attention to the basic teachings of world religions. Also included are special sections on art methods and materials, providing an excellent survey for studio as well as history of art majors.
Richly gender inclusive - give this to your daughter if she wants to be a sculptor, an architect, a printer or painter! I've been, along with most of the other Art History professors at my local universities, using Stokstad for many years. It's a well illustrated and understandable text with an excellent overview of Western art. However, the project seems to have run into some difficulty in the last several years, regarding our increasing need to broaden the survey field.When I was an undergraduate, Survey simply meant learning about Western art and its influences from pre-history through the late twentieth century. Since then, it's become more important for our undergrads to understand that Western art isn't the only tradition worth studying and considering, and that our modern influences lie across the globe rather than in a direct and exclusive line of descent from Kritios Boy.
Stokstad and Cothren make a valiant effort to include a balanced selection, but the format resists their attempts. What they've done is to insert non-Western art as chapters sprinkled here and there in the narrative - a narrative which otherwise reads as a relatively smooth progression from ancient to modern. It reads as incredibly disjointed, especially approaching the second half of the book. For example, there is a chapter on African art right in the early modern section that samples medieval (way before what we were studying in the last few weeks) up through postmodern (which we hadn't even approached)!
My students found this jarring as they attempted to mentally construct a time line for themselves.What makes this worse is that the authors make this mini survey of non-Western art a habit that takes place in almost every non-Western chapter. This is true for NONE of the Western chapters and the departure makes it difficult to contextualize or view the timeline in any constructive way. I give exams based on segments of time (e.g. From 1400 to 1800 or thereabouts) and when I have a chapter stuck in there that hits both 1250 and 2012, it throws a wrench into the class structure.I realize that creating a survey of art from all around the world is a very difficult proposition.
It's difficult to teach, even if I select only a few items from each period, not only because of the massively different historical contexts that need to be included, but because understanding the forms and designs of international art is a challenge for beginning students. I appreciate that Stokstad and Cothren are attempting to be more broad. However, they haven't solved the problem of creating a world Art History book.
Perhaps the entire format of the basic survey text needs to be re-evaluated; aren't we due for that, since we've basically been repeating the same structure since the 1960's? Marilyn Stokstad has put together a real masterpiece of art history with her book, Art History. In collaboration with Bradford Collins, and with contributed chapters from Stephen Addiss, Chu-tsing Li, Marylin Rhie and Christopher Roy, this large volume is deserving of pride of place on any art bookshelf.The scope of this work is as broad as is the expanse of human history. Indeed, the first chapter begins with a survey of prehistoric art and prehistory.
Spanning all the ancient cultures, there are chapters devoted to the art of the ancient Near East, Egypt, the Aegean, Etruscan and Roman art, Christian, Jewish and Byzantine art, Islamic art, the art of India, China, Japan, the Americas and Africa. And from there, it gets complicated!This book tackles all the issues of art: philosophical considerations (the relationship between art and reality, and the meaning and importance of beauty in art), focus on artists in general and in particular, society's relationship to art, including the role of the patron, the importance of museums, and an investigation that goes behind the phrase, 'I know what I like.'
'Art history, in contrast to art criticism, combines the formal analysis of works of art-concentrating mainly on the visual elements in the work of art-with the study of the works' broad historical context. Art historians draw on biography to learn about artists' lives, social history to understand the economic and political forces shaping artists, their patrons, and their public, and the history of ideas to gain an understanding of the intellectual currents influencing artists' work.' In addition to presenting a history of art, Stokstad and her contributors also present an introduction to various aspects of art appreciation, without with art history loses much meaning. Each chapter has an explanation of the techniques that were developed and important during the time under examination (for instance, lost wax casting, glassamking and Egyptian faience, Japanese woodblock technique, and Islamic carpet making, among many others, are illustrated in detail to enhance the knowledge and appreciation of the finished art works). Each chapter and time period also has a section entitled Elements of Architecture, which include discussion on elements from pyramids to skyscrapers and much in between.The text is clear and concise, carefully explaining technical terms when they are used, and then using them sparingly. Every page is a visual feast, with full colour plates of photographs of paintings, sculpture, artists, locations, or architectural examples in great form, as Henry N. Publishers are famous for doing.
There are literally thousands of illustrations, as there are often many per page; almost no page is without one, and the book is nearly 1200 pages long.As an aid for those who will use this book for more scholarly purposes, there is an extensive bibliography in the back, in three classifications of listings - general surveys and art history references, a selected list of art history journals, and then a chapter-specific directory of further reading for each art topic/period. Additionally, it has after the bibliography as Website Directory of Museums, which includes museums in every state in the United States and most major museums around the world.
The index includes listings by artist, period, topic, and particular works of art.This book has been intended to be useful as a text for a course in art appreciation, but also designed to be a joy to read for the casual reader who might not want an academically rigourous presentation. As Stokstad says in her preface, the intention was make this book itself a work of art, and in that task she has succeeded admirably. DO NOT DOWNLOAD ON KINDLE FOR MAC. Kindle app for Mac is really painful to use, the opposite of ergonomic, terrible.
Amazon leaves it deliberately bad to encourage purchase of actual Kindle device, which I hear is also bad.If you download the ebook, you will spend more time manually adjusting the zoom and clicking and dragging to different parts of the page than you will actually spend reading, because it is the only app for Mac that doesn't have trackpad zoom enabled and if you try to scroll to the next paragraph it will instead start turning pages and no matter how much time you waste getting back to a page, you'll keep doing it. First things first. I am not in college. I am not using this as a textbook. I am just someone who loves art, visits museums often, and somehow skipped into to art 101/102 in college (though I did take courses on architecture). So I wanted to read a couple of art history books and see what they were like. I read this one and Janson's.
In short, I am not a fan of this one. I prefer Janson's History of Art. If you can, read books that focus on one period and one time to get a better focus on the art.This is a hefty volume that extends from prehistoric times to roughly the early European Renaissance. That is a lot of material to cover.
And it does an admirable job of it, though, in my totally subjective opinion, it does not do as a good a job as Janson's History of Art (8th edition).The books are essentially the same with even the same chapter orders for the most part. If Janson is more like the NYT then Stokstad is more like USA Today. The latter is glossier but I think the information suffers. And the photos used are essentially the same for both texts (this might have something to do with economic deals made with the same museums and the price of using certain photos compared to others). Also, Janson is not concerned with non-Western art. While in Stokstad, after the chapter on Islamic art, you will find chapters on Chinese, Japanese, Native American, and African art before it comes back to early Medieval Art.
This is probably a really good thing if in volume 2 she shows how European art was affected by contact with these cultures.Still, it's a good introduction, though it could be better if it included more context about the people who created the art - i.e., if it gave more history. My son's textbook turns out to be a pleasure to me! This is Volume Two of a two volume set on art history. It covers the period from early Renaissance art in Europe to the post-1945 international avant-garde.
In between is art from Europe and other parts of the world, including India, China, Japan, the Americas, the Pacific cultures, and Africa. The Introduction places the time frame in this book in context.The book begins with such architectural gems as the Church of Saint-Maclou in Rouen, van Eyck's art, tapestry, frescoes, the Dome of the Florence Cathedral, Donatello's sculpture, and so on.
Fast forward to the avant-garde. Anselm Kiefer's painting, 'Heath of the Brandenberg March,' is very telling to me.All in all, a nice tour of art in all its forms and in different regions of the world from the Renaissance to the present.