Enhanced descriptions from Syndetics:
For two-semester courses in Art History, Global Art History, and for Introductory Art courses taught from a historical perspective.
ART HISTORY provides students with the most student-friendly, contextual, and inclusive art history survey text on the market. These hallmarks make ART HISTORY the choice for instructors who seek to actively engage their students in the study of art . This new edition of ART HISTORY is the result of a happy and productive collaboration between two scholar-teachers (Marilyn Stokstad and Michael Cothren) who share a common vision that survey courses on the history of art should be filled with as much enjoyment as erudition, and that they should foster an enthusiastic, as well as an educated, public for the visual arts. Like its predecessors, this new edition seeks to balance formal and iconographic analysis with contextual art history in order to craft interpretations that will engage a diverse student population. Throughout the text, the visual arts are treated as part of a larger world, in which geography, politics, religion, economics, philosophy, social life, and the other fine arts are related components of a vibrant and cultural landscape. Please visit www.pearsonhighered.com/stokstad4e more information and to view a video from author, Marilyn Stokstad, to see a chapter from the book and an online demo of the Prentice Hall Digital Art Library.
Includes bibliographical references (p. 1146-1157) and index.
Prehistoric Art -- Art of the Ancient Near East -- Art of Ancient Egypt -- Art of the Ancient Aegean -- Art of Ancient Greece -- Etruscan and Roman Art -- Jewish, Early Christian, and Byzantine Art -- Islamic Art -- Art of South and Southeast Asia Before 1200 -- Chinese and Korean Art Before 1279 -- Japanese Art Before 1333 -- Art of the Americas Before 1300 -- Early African Art -- Early Medieval Art in Europe -- Romanesque Art -- Gothic Art of the Twelfth and Thirteenth Centuries -- Fourteenth-Century Art in Europe -- Fifteenth-Century Art in Northern Europe -- Renaissance Art in Fifteenth Century Italy -- Sixteenth-Century Art in Italy -- Sixteenth-Century Art in Northern Europe and the Iberian Peninsula -- Seventeenth-Century Art in Europe -- Art of South and Southeast Asia after 1200 -- Chinese and Korean Art After 1279 -- Japanese Art After 1333 -- Art of the Americas After 1300 -- Art of Pacific Cultures -- Art of Africa in the Modern Era -- Eighteenth- And Early Nineteenth Century Art in Europe and North America -- Mid- to Late Nineteenth-Century Art in Europe and the United States -- Modern Art in Europe and the Americas, 1900-1950 -- The International Scene Since 1950.
Reviews provided by Syndetics
Library Journal Review
A new eight-pound entry in the one-volume history-of-art battle of the titans, this title competes directly with Gardner's Art Through the Ages (1926; 10th ed., 1996), Janson's History of Art (1962; 5th ed., 1995), Hartt's Art: A History (1976; 4th ed. 1993), and Honour and Fleming's The Visual Arts: A History (1982; 4th ed., 1995). Each comes with hundreds of illustrations of wildly varying quality-Stokstad's are mostly color, mostly adequate-and each attempts to combine the factual density requirements of a survey course textbook with attractive writing and narrative. In addition, at least in the recent editions, each aims to be "inclusive," discussing women and minority artists to some degree. Distinguished art historian Stokstad (Univ. of Kansas) and her coauthors, mostly colleagues, have done a creditable job. Acknowledging straight off that students today lack a deep knowledge of cultural history, Stokstad aims to be "user-friendly," and her book comes replete with a computer-like "starter kit" of definitions, explanatory text boxes on techniques, and some very good explicatory line drawings, usually architectural. Of the five competitors, four are published by Abrams and all are priced within five dollars of one another. Gardner is much more column after column of text, with little relief. Hartt, a Renaissance scholar, and Honour and Fleming, specialists in the Baroque, write with personal voices; Stokstad, a medievalist, also has a pleasant style. This reviewer recommends that libraries stock Honour and Fleming for their excellent writing and clear art historical point of view and Stockstad's work, which is well written, achieves a good balance of narrative and facts, and is the most inclusive. One caveat: The review copy of Stokstad had broken from its casing before arrival.-Jack Perry Brown, Art Inst. of Chicago Lib. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publishers Weekly Review
Destined to establish itself as a modern classic, this hugely informative, wholly enjoyable global history of art from prehistoric times to the present views art as a fundamental, inextricable vehicle for the human spirit. Although Western visual art and architecture receive the most attention, there is also extensive coverage of India, China, Japan, Africa, Islamic art and Pacific cultures. Few texts so wide-rangingly connect the artistic output of each period to the artists' lives, sources of funding and historical, social and political context. The 1625 stunning illustrations (761 in color) are unrivaled in their adventurous selection and quality by any book of this type. Time lines chart parallel developments across cultures and civilizations; inserts spotlight literary and intellectual trends and artists' techniques. Stokstad, art history professor at the University of Kansas, has produced both a college text and a layperson's guide that is more fun than H.W. Janson's standard History of Art, and more multicultural. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved
Stokstad's landmark publication will join the ranks of long-cherished standards in the field by Janson and Hartt even though it radically alters our approach to the history of art. Scholar and professor Stokstad is a humanistic art historian, training her penetrating eye not only on works of art but also on artists, patrons, audiences, and places of display. She is inclusive and contextual, drawing parallels between the art of Africa, India, Europe, Asia, and the Americas, finding common ground, and celebrating uniqueness. Stokstad eschews "schools" and writes, instead, of styles, their iconography, and how and why they change. Her lucid and stimulating analysis is contemporary without being trendy and takes into account both physical and spiritual beauty, culture at large and individual geniuses, and all the political, religious, and technological factors that affect the creation and appreciation of art. A spectacular design, great wealth of color illustrations, and Stokstad's sense of the grand continuity of art through time and across oceans make this an exceptional, thoroughly enjoyable survey. --Donna Seaman