In this reappraisal of how the history of art can be presented and understood, readers are given insights not only into how and why works of art were created, but also how works in different media relate to each other across time. This is not the simple, linear story of art, but a series of stories, told from varying viewpoints. The founding principle of the book has been to use selected groupings of pictures to give readers a sense of the visual "texture" of the various periods and episodes covered. The 167 illustration groups, supported by explanatory text and picture captions, create a sequence of "visual tours" - not merely a procession of individual works viewed in isolation, but juxtapositions of significant images that convey a sense of the visual environments in which works of art need to be viewed in order to be understood and appreciated. Another key feature of the narrative is the re-definition of traditional period boundaries. Rather than relying on conventional labels such as Medieval, Renaissance, Baroque, etc., five major phases of significant historical change are established that unlock longer and more meaningful continuities: the art of classical antiquity, from c. 600 BC to the fall of Rome in AD 410; the establishment of visual culture in Europe from 410 to 1527 (the sack of papal Rome); European visual regimes from 1527 to 1770; the era of revolutions 1770 to 1914; and Modernism and after, 1914 to 2000. This new framework shows how the major religious and secular functions of art have been forged, sustained, transformed, revived, and revolutionized over the ages; how the institutions of Church and State have consistently aspired to make art in their own image; and how the rise of art history itself has come to provide the dominant conceptual framework within which artists create, patrons patronize, collectors collect, galleries exhibit, dealers deal, and art historians write. The text has been written by a team of 50 specialist authors working under the direction of art historian Professor Martin Kemp. Whilst bringing their own expertise and vision to their sections, each author was also asked to relate their text to a number of unifying themes and issues, including written evidence, physical contexts, patronage, viewing and reception, techniques, gender and racial issues, centres and peripheries, media and condition, the notion of "art", and current presentations. Though the coverage of topics focuses on European notions of art and their transplantation and transformation in North America, space is also given to cross-fertilizations with other traditions - including the art of Latin America, the Soviet Union, India, Africa (and Afro-Caribbean), Australia, and Canada. Professor Kemp and his team similarly deal generously with the applied arts and reproductive media such as photography and prints. The result is a vibrant, vigorous, and revolutionary account of Western art serving both as an inspirational introduction for the general reader and an authoritative source of reference and guidance for students.About the Author:
Martin Kemp, British Academy Wolfson Professor (1993-8) and Professor of the History of Art, University of Oxford, is one of the UK's most distinguished art historians. His many publications include Leonardo da Vinci: Artist, Scientist, Inventor; The Science of Art; and Behind the Picture: Art andEvidence in the Italian Renaissance. He lives in the U.K.
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Descripción Oxford University Press, 2000. Hardcover. Estado de conservación: New. Nº de ref. de la librería P110198600127
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Descripción Oxford University Press, Oxford, 2000. TAPA BLANDA. Estado de conservación: New. Nº de ref. de la librería 100019662
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Descripción Oxford University Press, USA, 2000. Hardcover. Estado de conservación: New. Nº de ref. de la librería DADAX0198600127
Descripción Oxford University Press, 2000. Estado de conservación: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: PrefaceProf Martin Kemp: IntroductionPart 1: The Foundations: Greece and Rome c.600 BC-AD 410Prof Martin Kemp: IntroductionProf Andrew Stewart, USA: Greek SculptureProf Stella G. Miller, USA: Greek Pictorial ArtsDr Nigel Spivey, UK: Greek Art Beyond GreeceProf Katherine Welch, USA: Roman SculptureProf Stella G. Miller, USA: Roman Painting and MosaicsProf R. R. R. Smith, UK: Theory and CriticismProf Christopher H. Hallett, USA: Ancient Paradigms, Augustus to MussoliniPart 2: Church and State. The Establishing of European Visual Culture 410-1527Prof Martin Kemp: IntroductionDr John Richards, UK: Early Christian ArtDr Martin Kauffmann, UK, and Dr John Lowden, USA: Illuminated ManuscriptsT. A. Heslop, UK: Ars Sacra to c.1200Dr Kathleen Lane, UK: Monumental Sculpture to c.1300Sarah Brown, UK: Stained GlassRobert Gibbs, UK: Painting in the Middle AgesDr Louise Bourdua, UK: The AltarpieceAndrew Spira, UK: Ars Sacra c.1200-1527Dr Frances Ames-Lewis (UK): Monumental Sculpture c.1300-1527Prof Martin Kemp and Dr John Richards, UK: The New Painting: Italy and the NorthBeth L. Holman, USA: Domestic ArtsDr Patricia A. Emison, USA: The PrintPart 3: The Art of Nations: European Visual Regimes 1527-1770Prof Martin Kemp: IntroductionDr Robert Williams, USA: The International StyleDr Charles Avery, UK: Forms in Space 1527-c.1600Dr Carole Paul, USA: Forms in Space c.1600-c.1700Christopher Baker, UK: Free-standing Sculpture c.1600-c.1700Dr Pauline Maguire, USA: The Picture: Italy and FranceDr Peter Cherry, IR, and Helena Ciechanowska, UK: The Picture: SpainDr Walter Liedtke, USA: The Picture: Dutch and FlemishDr Ilaria Bignamini, UK: The Picture: EnglandDr Linda Hults, USA: The PrintDr Maurice Howard, UK: The InteriorDr Malcolm Baker: Forms in Space c.1700-1770Dr Karen Edis-Barzman, USA: Academies, Theories, and CriticsDr Tania Costa Tribe, UK: The International DiasporaPart 4: The Era of Revolutions 1770-1914Prof Martin Kemp: IntroductionDr John Goodman, USA: Pictures and PublicsProf Alison W. Yarrington, Dr Philip Ward-Jackson, and Dr Malcolm Baker, all UK:Sculptures and PublicsDr Linda C. Hults, USA: The PrintDr Ian Jeffrey, UK: PhotographyCharlotte Benton, UK: Design and IndustryDr Paul Crowther, UK: The Rise of Art HistoryDr Carol M. Armstrong, USA: Art Criticism and Aesthetic IdealsProf Carol Duncan, USA: Art Museums and GalleriesPart 5: Modernism and After 1914-2000Prof Martin Kemp: IntroductionMichael O'Mahony, UK; and Prof Martin Kemp: The International StyleDr Ken Hay, UK: Alternative MediaDr Ian Jeffrey, UK: PhotographyDr David Jackson, UK: Alternative Centres: The Soviet UnionDr Tania Costa Tribe, UK: Alternative Centres: Latin AmericaDr Clare Harris, UK: Alternative Centres: IndiaDr Salah M. Hassan, USA, and Dr Petrine Archer-Straw, UK: Alternative Centres:Africa/Afro-CaribbeanKyla C. Gutche, UK and Rebecca Hossack, UK: Alternative Centres: Canada andAustraliaDr Paul Crowther, UK: PostmodernismDr Paul Crowther, UK: Art HistoryDr Malcolm Gee, UK: Critics and CriticismProf Brandon Taylor, UK: Art Museums and GalleriesProf Martin Kemp: EpilogueChronologyGlossaryFurther ReadingPicture creditsIndex. Nº de ref. de la librería ABE_book_new_0198600127
Descripción Oxford University Press, 2000. Hardcover. Estado de conservación: New. book. Nº de ref. de la librería 0198600127