Preface |
|
xiii | |
Faculty and Student Resources for Teaching and Learning with Janson's History of Art |
|
xix | |
Introducing Art |
|
xxi | |
|
PART THREE THE RENAISSANCE THROUGH THE ROCOCO |
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|
|
Art in Thirteenth- and Fourteenth-Century Italy |
|
|
437 | (32) |
|
Church Architecture And The Growth Of The Mendicant Orders |
|
|
438 | (10) |
|
The Franciscans at Assisi |
|
|
439 | (2) |
|
Churches and Their Furnishings in Urban Centers |
|
|
441 | (4) |
|
Expanding Florence Cathedral |
|
|
445 | (3) |
|
Buildings for City Government: The Palazzo della Signoria |
|
|
448 | (1) |
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|
448 | (15) |
|
|
449 | (3) |
|
Siena: Devotion to Mary in Works by Duccio and Simone |
|
|
452 | (6) |
|
Pietro and Ambrogio Lorenzetti |
|
|
458 | (2) |
|
Artists and Patrons in Times of Crisis |
|
|
460 | (3) |
|
|
463 | (6) |
|
Venice: Political Stability and Sumptuous Architecture |
|
|
463 | (1) |
|
Milan: The Visconti Family and Northern Influences |
|
|
464 | |
|
Materials And Techniques: Fresco Painting and Conservation |
|
|
442 | (14) |
|
Primary Sources: Agnolo di Tura del Grasso |
|
|
456 | (4) |
|
Inscriptions on the Frescoes in the Palazzo Pubblico, Siena |
|
|
460 | |
|
The Art Historian's Lens: The Social Works of Images |
|
|
454 | (15) |
|
Artistic Innovations in Fifteenth-Century Northern Europe |
|
|
469 | (34) |
|
Courtly Art: The International Gothic |
|
|
471 | (5) |
|
Sculpture for the French Royal Family |
|
|
471 | (2) |
|
Illuminated Manuscripts: Books of Hours |
|
|
473 | (2) |
|
|
475 | (1) |
|
Urban Centers And The New Art |
|
|
476 | (11) |
|
|
477 | (2) |
|
|
479 | (6) |
|
Rogier van der Weyden in Brussels |
|
|
485 | (2) |
|
Late Fifteenth-Century Art In The Netherlands |
|
|
487 | (6) |
|
Aristocratic Tastes for Precious Objects, Personal Books, and Tapestries |
|
|
487 | (2) |
|
Panel Paintings in Southern Netherlands |
|
|
489 | (1) |
|
|
490 | (3) |
|
Regional Responses to The Early Netherlandish Style |
|
|
493 | (10) |
|
|
493 | (1) |
|
|
494 | (1) |
|
|
495 | (1) |
|
Printing and the Graphic Arts |
|
|
496 | (3) |
|
Printing Centers in Colmar and Basel |
|
|
499 | |
|
Materials And Techniques: Panel Painting in Tempera and Oil |
|
|
479 | (19) |
|
|
498 | |
|
Primary Sources: Cyriacus of Ancona (1449) |
|
|
486 | (6) |
|
Fray Jose De Siguenza (1544?-1606) |
|
|
492 | (4) |
|
From the Contract for the St. Wolfgang Altarpiece |
|
|
496 | |
|
The Art Historian's Lens: Scientific and Technical Study of Paintings |
|
|
488 | (15) |
|
The Early Renaissance in Fifteenth-Century Italy |
|
|
503 | (52) |
|
Florence, Ca. 1400-1430, Ancient Inspirations For Architecture And Architectural Sculpture |
|
|
505 | (6) |
|
The Baptistery Competition |
|
|
505 | (2) |
|
Brunelleschi and the Dome of the Florence Cathedral |
|
|
507 | (1) |
|
Donatello and Nanni di Banco at Or San Michele |
|
|
507 | (3) |
|
Brunelleschi's Ospedale degli Innocenti |
|
|
510 | (1) |
|
Chapels And Churches For Florentine Families, 1420-1430 |
|
|
511 | (8) |
|
Brunelleschi at San Lorenzo |
|
|
512 | (3) |
|
Brunelleschi at Santa Croce: The Pazzi Chapel |
|
|
515 | (1) |
|
The Strozzi Family, Santa Trinita, and Gentile da Fabriano |
|
|
515 | (1) |
|
Masaccio at Santa Novella |
|
|
516 | (2) |
|
|
518 | (1) |
|
Spread of The Florentine Style Spreads, 1425-1450 |
|
|
519 | (3) |
|
|
520 | (1) |
|
|
521 | (1) |
|
|
522 | (1) |
|
Florence During The Era Of The Medici, 1430-1494 |
|
|
522 | (9) |
|
Sculpture and Architectural Sculpture |
|
|
523 | (4) |
|
Florentine Churches and Convents at Mid-Century |
|
|
527 | (4) |
|
Domestic Life: Palaces, Furnishings, And Paintings, CA. 1440-1490 |
|
|
531 | (10) |
|
|
531 | (2) |
|
Heroic Images for Florentine Collectors |
|
|
533 | (1) |
|
|
534 | (5) |
|
|
539 | (2) |
|
The Renaissance Style Reverberates, 1400-1500 |
|
|
541 | (14) |
|
Piero della Francesca in Central Italy |
|
|
541 | (3) |
|
Alberti and Mantegna in Mantua |
|
|
544 | (2) |
|
|
546 | (4) |
|
Rome and the Papal States |
|
|
550 | |
|
Materials And Techniques: Brunelleschi's Dome |
|
|
508 | (5) |
|
|
513 | |
|
Primary Sources: In Praise of the City of Florence (c. 1403-1404) by Leonardo Bruni |
|
|
505 | (1) |
|
Lorenzo Ghiberti (ca. 1381-1455) |
|
|
506 | (5) |
|
|
511 | (21) |
|
Domenico Veneziano Solicits Work |
|
|
532 | (4) |
|
Giovanni Dominici Urges Parents to Put Religious Images in Their Homes |
|
|
536 | |
|
The Art Historian's Lens: The Theoretical Treatise |
|
|
514 | (4) |
|
|
518 | (37) |
|
The High Renaissance in Italy, 1495-1520 |
|
|
555 | (32) |
|
The High Renaissance in Florence And Milan |
|
|
556 | (7) |
|
Leonardo da Vinci in Florence |
|
|
556 | (1) |
|
|
557 | (5) |
|
Reinventing the Female Portrait |
|
|
562 | (1) |
|
|
563 | (17) |
|
|
563 | (1) |
|
Michelangelo in Rome and Florence |
|
|
564 | (3) |
|
Michelangelo in the Service of Pope Julius II |
|
|
567 | (6) |
|
Raphael in Florence and Rome |
|
|
573 | (7) |
|
|
580 | (7) |
|
|
580 | (2) |
|
|
582 | |
|
Materials And Techniques: Drawings |
|
|
571 | |
|
Primary Sources: Leonardo da Vinci (1452-1519) |
|
|
560 | (5) |
|
Michelangelo Interprets the Vatican Pieta |
|
|
565 | (15) |
|
|
580 | |
|
The Art Historian's Lens: Cleaning and Restoring Works of Art |
|
|
573 | (14) |
|
The Late Renaissance and Mannerism in Sixteenth-Century Italy |
|
|
587 | (34) |
|
Later Renaissance Florence: The Church, The Court, And Mannerism |
|
|
588 | (8) |
|
Florentine Religious Painting in the 1520s |
|
|
589 | (1) |
|
The Medici in Florence: From Dynasty to Duchy |
|
|
590 | (6) |
|
|
596 | (7) |
|
|
596 | (5) |
|
The Catholic Reformation and II Gesu |
|
|
601 | (2) |
|
|
603 | (2) |
|
|
605 | (1) |
|
|
605 | (3) |
|
Correggio and Parmigianino in Parma |
|
|
606 | (2) |
|
Lavinia Fontana in Bologna |
|
|
608 | (1) |
|
Venice: The Serene Republic |
|
|
608 | (13) |
|
|
609 | (1) |
|
|
610 | (2) |
|
|
612 | (5) |
|
Andrea Palladio and Late Renaissance Architecture |
|
|
617 | |
|
Materials And Techniques: Oil on Canvas |
|
|
610 | |
|
Primary Sources: Michelangelo the Poet |
|
|
598 | (16) |
|
From a Session of the Inquisition Tribunal in Venice of Paolo Veronese |
|
|
614 | (2) |
|
Andrea Palladio (1508-1580) |
|
|
616 | |
|
The Art Historian's Lens: Iconography and Iconology |
|
|
594 | (27) |
|
Renaissance and Reformation in Sixteenth-Century Northern Europe |
|
|
621 | (38) |
|
France: Courtly Tastes For Italian Forms |
|
|
621 | (8) |
|
Chateaux and Palaces: Translating Italian Architecture |
|
|
622 | (3) |
|
|
625 | (4) |
|
Spain: Global Power And Religious Orthodoxy |
|
|
629 | (3) |
|
|
629 | (1) |
|
|
630 | (2) |
|
Central Europe: The Reformation And Art |
|
|
632 | (13) |
|
Grunewald's Isenheim Altarpiece |
|
|
633 | (2) |
|
Albrecht Durer and the Northern Renaissance |
|
|
635 | (6) |
|
Religious and Courtly Images in the Era of Reform |
|
|
641 | (3) |
|
Painting in the Cities: Humanist Themes and Religious Turnmoil |
|
|
644 | (1) |
|
England: Reformation And Power |
|
|
645 | (2) |
|
The Netherlands: World Marketplace |
|
|
647 | (12) |
|
The City and the Court: David and Gossaert |
|
|
649 | (2) |
|
Antwerp: Merchants, Markets, and Morality |
|
|
651 | |
|
Materials And Techniques: Making and Conserving Renaissance Tapestries |
|
|
626 | (5) |
|
Primary Sources: Benvenuto Cellini (1500-1571) |
|
|
631 | (6) |
|
Albrecht Durer (1471-1528) |
|
|
637 | (11) |
|
|
648 | (6) |
|
Karel Van Mander Writes About Pieter Bruegel the Elder |
|
|
654 | |
|
The Art Historian's Lens: The Economics of Art |
|
|
650 | (9) |
|
The Baroque in Italy and Spain |
|
|
659 | (38) |
|
|
661 | (12) |
|
Caravaggio and the New Style |
|
|
662 | (3) |
|
|
665 | (3) |
|
Ceiling Painting and Annibale Carracci |
|
|
668 | (5) |
|
|
673 | (10) |
|
The Completion of St. Peter's and Carlo Maderno |
|
|
673 | (1) |
|
|
674 | (2) |
|
Architectural Components in Decoration |
|
|
676 | (1) |
|
A Baroque Alternative: Francesco Borromini |
|
|
676 | (4) |
|
The Baroque in Turin: Guarino Guarini |
|
|
680 | (2) |
|
The Baroque in Venice: Baldassare Longhena |
|
|
682 | (1) |
|
|
683 | (5) |
|
Early Baroque Sculpture: Stefano Maderno |
|
|
683 | (1) |
|
The Evolution of the Baroque: Gianlorenzo Bernini |
|
|
683 | (3) |
|
A Classical Alternative: Alessandro Algardi |
|
|
686 | (2) |
|
|
688 | (9) |
|
Spanish Still Life: Juan Sanchez Cotan |
|
|
688 | (1) |
|
Naples and the Impact of Caravaggio: Jusepe de Ribera |
|
|
688 | (1) |
|
Diego Velazquez: From Seville to Court Painter |
|
|
689 | (4) |
|
Monastic Orders and Zurbaran |
|
|
693 | (1) |
|
Culmination in Devotion: Bartolome Esteban Murillo |
|
|
694 | |
|
Materials And Techniques: Bernini's Sculptural Sketches |
|
|
687 | |
|
Primary Sources: Artemisia Gentileschi (1593-ca. 1653) |
|
|
667 | (25) |
|
Antonio Palomino (1655-1726) |
|
|
692 | (5) |
|
The Baroque in the Netherlands |
|
|
697 | (36) |
|
|
699 | (11) |
|
Peter Paul Rubens and Defining the Baroque |
|
|
699 | (6) |
|
Anthony van Dyck: History and Portraiture at the English Court |
|
|
705 | (1) |
|
Local Flemish Art and Jacobs Jordaens |
|
|
706 | (1) |
|
|
706 | (1) |
|
|
707 | (3) |
|
|
710 | (11) |
|
The Haarlem Academy: Hendrick Goltzius |
|
|
711 | (1) |
|
The Caravaggisti in Holland: Hendrick Terbrugghen |
|
|
711 | (1) |
|
The Haarlem Community and Frans Hals |
|
|
712 | (2) |
|
The Next Generation in Haarlem: Judith Leyster |
|
|
714 | (1) |
|
Rembrandt and the Art of Amsterdam |
|
|
715 | (6) |
|
The Market: Landscape, Still-Life, And Genre Painting |
|
|
721 | (12) |
|
Landscape Painting: Jan van Goyen |
|
|
723 | (1) |
|
City Views Painting: Jacob van Ruisdael |
|
|
723 | (1) |
|
Architectural Painting and Pieter Saenredam |
|
|
724 | (1) |
|
Still-life Painting: Willem Claesz. Heda |
|
|
725 | (1) |
|
Flower Painting and Rachel Ruysch |
|
|
726 | (1) |
|
Genre Painting: Jan Steen |
|
|
726 | |
|
Intimate Genre Painting and Jan Vermeer |
|
|
728! | (2) |
|
The Exquisite Genre Painting of Gerard ter Borch |
|
|
730 | |
|
Materials And Techniques: Etching, Drypoint, and Selective Wiping |
|
|
720 | |
|
Primary Sources: Peter Paul Rubens (1577-1640) |
|
|
701 | (15) |
|
The Art Historian's Lens: Authenticity and Workshop for Rubens and Rembrandt |
|
|
716 | (17) |
|
The Baroque in France and England |
|
|
733 | (24) |
|
France: The Style of Louis Xiv |
|
|
735 | (15) |
|
Painting and Printmaking in France |
|
|
735 | (9) |
|
French Classical Architecture |
|
|
744 | (5) |
|
Sculpture: The Impact of Bernini |
|
|
749 | (1) |
|
Baroque Architecture in England |
|
|
750 | (7) |
|
Inigo Jones and the Impact of Palladio |
|
|
750 | (1) |
|
|
751 | (3) |
|
John Vanbrugh and Hawksmoor |
|
|
754 | |
|
Primary Sources: Nicolas Poussin (ca. 1594-1665) |
|
|
738 | (5) |
|
The Art Historian's Lens: Forgeries and The Book of Truth |
|
|
743 | (14) |
|
|
757 | (32) |
|
France: The Rise of The Rococo |
|
|
758 | (12) |
|
Painting: Poussinistes versus Rubenistes |
|
|
759 | (8) |
|
The French Rococo Interior |
|
|
767 | (3) |
|
England: Painting And Printmaking |
|
|
770 | (3) |
|
William Hogarth and the Narrative |
|
|
770 | (1) |
|
Thomas Gainsborough and the English Portrait |
|
|
771 | (2) |
|
|
773 | (1) |
|
Germany And Austria And The Rococo in Central Europe |
|
|
773 | (4) |
|
Johann Fischer von Erlach |
|
|
775 | (1) |
|
|
775 | (1) |
|
|
776 | (1) |
|
|
777 | (1) |
|
|
777 | (12) |
|
Govanni Battista Tiepolo and Illusionistic Ceiling Decoration |
|
|
777 | (1) |
|
|
778 | |
|
Materials And Techniques: Pastel Painting |
|
|
763 | |
|
Primary Sources: Jean de jullienne (1686-1767) |
|
|
762 | (12) |
|
Sir Joshua Reynolds (1723-1792) |
|
|
774 | (8) |
|
Additional Primary Sources For Part Three: Giovanni Boccaccio (1313-1375) |
|
|
782 | (1) |
|
|
782 | (1) |
|
Dante Alighieri (1265-1321) |
|
|
782 | (1) |
|
Karel Van Mander (1548-1606) |
|
|
783 | (1) |
|
Giorgio Vasari (1511-1574) |
|
|
784 | (1) |
|
From the Canon and Decrees of the Council of Trent, 1563 |
|
|
785 | (1) |
|
Martin Luther (1483-1546) |
|
|
785 | (1) |
|
Giovanni Pietro Bellori (1613-1696) |
|
|
785 | (1) |
|
Filippo Baldinucci (1625-1696) |
|
|
786 | (1) |
|
Constantijn Huygens (1596-1687) |
|
|
786 | (1) |
|
Sir Christopher Wren (1632-1723) |
|
|
787 | (2) |
|
PART FOUR THE MODERN WORLD |
|
|
|
Art in the Age of the Enlightenment, 1750-1789 |
|
|
789 | (34) |
|
Rome Toward 1760: The Font of Neoclassicism |
|
|
791 | (2) |
|
Artistic Foundations of Neoclassicism: Mengs, Batoni, Hamilton |
|
|
791 | (2) |
|
Rome Toward 1760: The Font of Romanticism |
|
|
793 | (2) |
|
|
795 | (7) |
|
Sculpture and Painting: Historicism, Morality, and Antiquity |
|
|
795 | (3) |
|
The Birth of Contemporary History Painting |
|
|
798 | (1) |
|
Architecture and Interiors: The Palladian Revival |
|
|
799 | (3) |
|
Early Romanticism in England |
|
|
802 | (6) |
|
Architecture and Landscape Design: The Sublime and the Picturesque |
|
|
802 | (3) |
|
Painting: The Coexistence of Reason and Emotion |
|
|
805 | (3) |
|
|
808 | (15) |
|
Architecture: Rational Classicism |
|
|
808 | (3) |
|
The Sublime in Neoclassical Architecture: The Austere and the Visionary |
|
|
811 | (3) |
|
Painting and Sculpture: Expressing Enlightenment Values |
|
|
814 | (3) |
|
The Climax of Neoclassicism: The Paintings of Jacques-Louis David |
|
|
817 | |
|
Materials And Techniques: Josiah Wedgwood and Neoclassical Jasperware |
|
|
796 | (20) |
|
Primary Sources: Denis Diderot (1713-1784) |
|
|
816 | (2) |
|
Etienne Jean Delecruze (1781-1863) |
|
|
818 | |
|
The Art Historian's Lens: The Elusive Meaning of West's The Death of General Wolfe |
|
|
799 | (24) |
|
Art in the Age of Romanticism, 1789-1848 |
|
|
823 | (38) |
|
|
825 | (25) |
|
|
825 | (2) |
|
England: Spiritual Intensity and the Bond with Nature |
|
|
827 | (7) |
|
Germany: The Pantheistic Exemplar of Friedrich |
|
|
834 | (1) |
|
America: Landscape as Metaphor and the Popularity of Genre |
|
|
835 | (3) |
|
France: Neoclassical Painting in the Romantic Era |
|
|
838 | (4) |
|
France: Painterly Romanticism and Romantic Landscape |
|
|
842 | (6) |
|
Romantic Landscape Painting |
|
|
848 | (2) |
|
|
850 | (3) |
|
Neoclassical Sculpture in the Romantic Era: Antonio Canova |
|
|
851 | (1) |
|
French Romantic Sculpture: Breaking from the Classical Model |
|
|
852 | (1) |
|
Romantic Revivals in Architecture |
|
|
853 | (8) |
|
England: The Sublime and the Picturesque |
|
|
854 | (2) |
|
America: An Ancient Style for a New Republic |
|
|
856 | (1) |
|
|
857 | (1) |
|
Germany: Creating a New Athens |
|
|
858 | |
|
Materials And Techniques: Blake's Printing Process |
|
|
829 | (1) |
|
Primary Sources: John Constable (1776-1837) |
|
|
830 | (16) |
|
Eugene Delacroix (1798-1863) |
|
|
846 | (15) |
|
The Age of Positivism: Realism, Impressionism, and the Pre-Raphaelites, 1848-1885 |
|
|
861 | (42) |
|
|
862 | (19) |
|
Realism in the 1840s and 1850s: Painting Contemporary Social Conditions |
|
|
863 | (5) |
|
The Realist Assault on Academic Values and Bourgeois Taste |
|
|
868 | (5) |
|
Impressionism: A Different Form of Realism |
|
|
873 | (8) |
|
|
881 | (7) |
|
The Pre-Raphaelite Brotherhood |
|
|
882 | (2) |
|
The Aesthetic Movement: Personal Psychology and Repressed Eroticism |
|
|
884 | (4) |
|
|
888 | (4) |
|
Scientific Realism: Thomas Eakins |
|
|
888 | (1) |
|
Iconic Image and Naturalist Landscape: Winslow Homer and Albert Bierstadt |
|
|
889 | (3) |
|
Photography: A Mechanical Medium For Mass-Produced Art |
|
|
892 | (6) |
|
|
892 | (1) |
|
|
892 | (3) |
|
Reporting the News: Photojournalism |
|
|
895 | (1) |
|
Photography as Art: Pictorialism and Combination Printing |
|
|
896 | (2) |
|
Architecture And The Industrial Revolution |
|
|
898 | (5) |
|
Ferrovitreous Structures: Train Sheds and Exhibition Palaces |
|
|
898 | (1) |
|
Historic Eclecticism and Technology |
|
|
899 | (1) |
|
Announcing the Future: The Eiffel Tower |
|
|
900 | |
|
Materials And Techniques: Impressionist Color Theory |
|
|
876 | |
|
Primary Sources: Lila Cabot Perry (1848?-1933) |
|
|
874 | (15) |
|
James Abbott McNeill Whistler (1834-1903) |
|
|
889 | (9) |
|
Charles Baudelaire (1821-1867) |
|
|
898 | |
|
The Art Historian's Lens: An Artist's Reputation and Changes in Art Historical Methodology |
|
|
890 | (13) |
|
Progress and Its Discontents: Post-Impressionism, Symbolism, and Art Nouveau, 1880-1905 |
|
|
903 | (42) |
|
|
905 | (13) |
|
Paul Cezanne: Toward Abstraction |
|
|
905 | (3) |
|
Georges Seurat: Seeking Social and Pictorial Harmony |
|
|
908 | (3) |
|
Henri de Toulouse-Lautrec: An Art for the Demi-Mond |
|
|
911 | (1) |
|
Vincent van Gogh: Expressions Through Color and Symbol |
|
|
912 | (4) |
|
Paul Gauguin: The Flight from Modernity |
|
|
916 | (2) |
|
|
918 | (11) |
|
|
919 | (1) |
|
Other Symbolist Visions in France |
|
|
919 | (3) |
|
Symbolism (Beyond) France |
|
|
922 | (3) |
|
Symbolist Currents in American Art |
|
|
925 | (2) |
|
|
927 | (2) |
|
Art Nouveau And the Search for Modern Design |
|
|
929 | (4) |
|
The Public and Private Spaces of Art Nouveau |
|
|
930 | (3) |
|
American Architecture: The Chicago School |
|
|
933 | (4) |
|
Henry Hobson Richardson: Laying the Foundation for Modernist Architecture |
|
|
933 | (1) |
|
Louis Sullivan and Early Skyscrapers |
|
|
934 | (1) |
|
Frank Lloyd Wright and the Prairie House |
|
|
935 | (2) |
|
|
937 | (8) |
|
Pictorialist Photography and the Photo Session |
|
|
938 | (2) |
|
|
940 | (2) |
|
Motion Photography and Moving Pictures |
|
|
942 | |
|
Materials And Techniques: Lithography |
|
|
911 | |
|
Primary Sources: Paul Cezanne (1839-1906) |
|
|
907 | (10) |
|
|
917 | (9) |
|
The Art Historian's Lens: Feminist Art History |
|
|
926 | (19) |
|
Toward Abstraction: The Modernist Revolution, 1904-1914 |
|
|
945 | (38) |
|
|
946 | (3) |
|
|
949 | (5) |
|
Reflecting and Shattering Tradition: Les Demoiselles d'Avignon |
|
|
949 | (3) |
|
Analytic Cubism: Picasso and Braque |
|
|
952 | (1) |
|
Synthetic Cubism: The Power of Collage |
|
|
953 | (1) |
|
The Impact of Fauvism And Cubism |
|
|
954 | (16) |
|
|
954 | (7) |
|
|
961 | (1) |
|
Cubism in Paris after Picasso and Braque |
|
|
962 | (1) |
|
Italian Futurism: Activism and Art |
|
|
963 | (3) |
|
Cubo-Futurism and Suprematism in Russia |
|
|
966 | (2) |
|
Cubism and Fantasy: Marc Chagall and Giorgio de Chirico |
|
|
968 | (2) |
|
Marcel Duchamp And The Dilemma of Modern Art |
|
|
970 | (1) |
|
Modernist Sculpture: Constantin Brancusi And Aristide Maillol |
|
|
971 | (3) |
|
|
974 | (2) |
|
|
974 | (1) |
|
The Armory Show: Modernism Comes to America |
|
|
974 | (1) |
|
America's First Modernists: Arthur Dove and Marsden Hartley |
|
|
975 | (1) |
|
Early Modern Architecture in Europe |
|
|
976 | (7) |
|
Austrian and German Modernist Architecture |
|
|
976 | (3) |
|
German Expressionist Architecture |
|
|
979 | |
|
Materials And Techniques: The Woodcut in German Expressionism |
|
|
958 | (2) |
|
Primary Sources: Wassily Kandinsky (1866-1944) |
|
|
960 | (9) |
|
Kasimir Malevich (1878-1935) |
|
|
969 | |
|
The Art Historian's Lens: The Myth of the Primitive |
|
|
951 | (32) |
|
|
983 | (54) |
|
|
984 | (9) |
|
Zurich Dada and Jean (Hans) Arp |
|
|
985 | (1) |
|
New York Dada: Marcel Duchamp |
|
|
986 | (1) |
|
|
987 | (4) |
|
|
991 | (1) |
|
|
992 | (1) |
|
|
993 | (8) |
|
|
993 | (3) |
|
|
996 | (2) |
|
Representational Surrealism: Magritte and Dali |
|
|
998 | (1) |
|
Surrealism and Photography |
|
|
999 | (1) |
|
|
1000 | (1) |
|
|
1001 | (3) |
|
Jean Arp and Alexander Calder in Paris |
|
|
1003 | (1) |
|
Henry Moore and Barbara Hepworth in England |
|
|
1003 | (1) |
|
|
1004 | (13) |
|
Russian Constructivism: Productivism and Utilitarianism |
|
|
1004 | (3) |
|
De Stijl and Universal Order |
|
|
1007 | (2) |
|
The Bauhaus: Creating the ``New Man'' |
|
|
1009 | (3) |
|
|
1012 | (5) |
|
Art in American: Modernity. Spirituality, and Regionalism |
|
|
1017 | (9) |
|
|
1017 | (3) |
|
Art Deco and the International Style |
|
|
1020 | (1) |
|
|
1021 | (2) |
|
American Regionalism and National Identity |
|
|
1023 | (1) |
|
|
1024 | (2) |
|
Mexican Art: Seeking a National Identity |
|
|
1026 | (3) |
|
|
1026 | (1) |
|
Frida Kahlo and Manuel Alvarez Bravo |
|
|
1027 | (2) |
|
|
1029 | (8) |
|
America: The Failure of Modernity |
|
|
1029 | (2) |
|
Europe: The Rise of Fascism |
|
|
1031 | |
|
Materials And Techniques: Reinforced Concrete |
|
|
1013 | |
|
Primary Sources: Hannah Hoch (1889-1978) |
|
|
991 | (15) |
|
Barbara Hepworth (1903-1975) |
|
|
1006 | (2) |
|
Piet Mondrian (1872-1944) |
|
|
1008 | (6) |
|
|
1014 | (23) |
|
Postwar to Postmodern, 1945-1980 |
|
|
1037 | (40) |
|
Existentialism in New York: Abstract Expressionism |
|
|
1038 | (7) |
|
The Bridge from Surrealism to Abstract Expressionism: Arshile Gorky |
|
|
1038 | (1) |
|
Abstract Expressionism: Action Painting |
|
|
1039 | (3) |
|
Abstract Expressionism: Color-Field Painting |
|
|
1042 | (1) |
|
New York Sculpture: David Smith and Louise Nevelson |
|
|
1043 | (2) |
|
Existentialism In Europe: Figural Expressionism |
|
|
1045 | (1) |
|
Rejecting Abstract Expressionism And Inventing New Mediums: American Art of The 1950s and 1960s |
|
|
1046 | (9) |
|
Re-Presenting Life and Dissecting Painting |
|
|
1046 | (3) |
|
Environments and Performance Art |
|
|
1049 | (2) |
|
Pop Art: Consumer Culture as Subject |
|
|
1051 | (4) |
|
Formalist Abstraction of The 1950s and 1960s |
|
|
1055 | (4) |
|
|
1055 | (3) |
|
|
1058 | (1) |
|
The Pluralist 1970s: Post-Minimalism |
|
|
1059 | (6) |
|
Post-Minimal Sculpture: Geometry and Emotion |
|
|
1059 | (2) |
|
Earthworks and Site-Specific Art |
|
|
1061 | (2) |
|
Conceptual Art: Art as Idea |
|
|
1063 | (1) |
|
Television Art: June Paik |
|
|
1064 | (1) |
|
|
1065 | (5) |
|
|
1066 | (1) |
|
African-American Art: Ethnic Identity |
|
|
1067 | (2) |
|
Feminist Art: Judy Chicago and Gender Identity |
|
|
1069 | (1) |
|
Late Modernist Architecture |
|
|
1070 | (7) |
|
Continuing the International Style: Ludwig Mies van der Rohe |
|
|
1070 | (1) |
|
Sculptural Architecture: Referential Mass |
|
|
1070 | |
|
Primary Sources: Jackson Pollock (1912-1956) |
|
|
1040 | (13) |
|
Roy Lichtenstein (1923-1997) |
|
|
1053 | (4) |
|
|
1057 | (10) |
|
Romare Bearden (1911-1988) |
|
|
1067 | |
|
The Art Historian's Lens: Studying the Absent Object |
|
|
1062 | (15) |
|
The Postmodern Era: Art Since 1980 |
|
|
1077 | |
|
|
1079 | (10) |
|
Post-Modern Architecture: A Referential Style |
|
|
1079 | (4) |
|
New Modernisms: High-Tech Architecture |
|
|
1083 | (2) |
|
Deconstructivism: Countering Modernist Authority |
|
|
1085 | (4) |
|
Architecture, Experience, and Memory: Daniel Libeskind |
|
|
1089 | (1) |
|
Postminimalism And Pluralism: Limitless Possibilities |
|
|
1089 | |
|
|
1090 | (2) |
|
|
1092 | (2) |
|
Deconstructing Art: Context as Meaning |
|
|
1094 | (4) |
|
The Power of Installation and Video Art |
|
|
1098 | (3) |
|
Many Styles, One Artist: Felix Gonzalez-Torres |
|
|
1101 | (1) |
|
Preoccupation with the Body |
|
|
1102 | (2) |
|
A World Art: Cai Gio-Qiang |
|
|
1104 | |
|
Materials And Techniques: Computer Aided Design in Architecture |
|
|
1088 | (11) |
|
Primary Sources: Cindy Sherman (b. 1954) |
|
|
1099 | (2) |
|
|
1101 | (4) |
|
The Art Historian's Lens: The Changing Art Market |
|
|
1105 | (3) |
|
Additional Primary Sources For Part Four: Sir William Chambers (1726-1796) |
|
|
1108 | (1) |
|
Jean-Auguste-Dominique Ingres (1780-1867) |
|
|
1108 | (1) |
|
|
1108 | (1) |
|
Louis Sullivan (1856-1924) |
|
|
1109 | (1) |
|
Paul Sheerbart (1863-1914) |
|
|
1109 | (1) |
|
Filippo Tommaso Marinetti (1876-1944) |
|
|
1110 | (1) |
|
Andre Breton (1896-1966) and Leon Trostky (1879-1940) |
|
|
1110 | (1) |
|
|
1110 | (1) |
|
Rosalind Krauss (b. 1940) |
|
|
1110 | |
Glossary |
|
1 | (1) |
Bibliography |
|
1 | (1) |
Index |
|
1 | (1) |
Credits |
|
1 | |