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Atlas of Western Art History. Artists, Sites and Movements from Ancient Greece to the Modern Age.

Steer, John & White, Anthony.

5 valoraciones por Goodreads
ISBN 10: 081602457X / ISBN 13: 9780816024575
Editorial: Facts on File Publications, New York, 1994
Condición: Fine Encuadernación de tapa dura
Librería: Lawrence Jones Books (Ashmore, Australia)

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Descripción

335pp, index, 150 maps, 300 ills. Or red cloth in jacket. As new. From Greek sculpture and Etruscan art to the Grand Tour of artists in the 18th century and modern movements in 20th century architecture, this book illuminates the places, trends, and artists that have influenced the Western artistic tradition for more than 2000 years. Size: Folio. N° de ref. de la librería 004010

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Detalles bibliográficos

Título: Atlas of Western Art History. Artists, Sites...

Editorial: Facts on File Publications, New York

Año de publicación: 1994

Encuadernación: Hard Cover

Condición del libro:Fine

Condición de la sobrecubierta: Fine

Edición: Apparent First.

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Sinopsis:

This is a visual companion to the many narrative histories of art. Using colour reproductions, maps and other illustrations, it illuminates all the movements, trends and artists that have infludenced Western artistic tradition for more than 2000 years. Edited by a team of distinguished art historians, arranged chronologically and grouped by period and style, this volume fixes art history to actual sites, with the intention of making it easier for students, historians and art lovers to make sense of the vast waves of artistic movement.

From Booklist:

Overlapping and backtracking pathways of artistic influence can be confusing to even the most astute art history student. The Atlas of Western Art History introduces a "cartographic approach to western art history" in which "maps explain the historical context of artistic developments, the rise of particular styles, the locations where individual artists worked, and the sites of thousands of important works of art." It is designed to be a "visual companion to narrative histories of art" rather than competing with such standard surveys as H. W. Janson's History of Art. Although the atlas has some shortcomings, it is a visually appealing publication that generally accomplishes its goals. Steer is professor emeritus of art history at London University, and White is professor of art history at the University of Calgary and Columbia University.

The atlas consists of about 150 two-page spreads on specific aspects of art history. Text appears on the left-hand page, with one or more thematic maps on the right. The essays were written by contributors who are listed, without credentials, in the front of the book. They are intended to "provide a general introduction to someone approaching each subject for the first time." Chapters are arranged chronologically from "The Greek World and its Colonies" (from the eighth to the fourth century B.C) to "American Art 1900-1950." They are distributed among five major sections corresponding to the traditional divisions of western art history. Each section begins with an introduction, one or more large colorplates, and several maps establishing the political context of the artistic developments of the period. For example, the three maps in the section "The Medieval World" depict "Byzantine Europe," "The Europe of Charlemagne," and "Europe in the Fourteenth Century." Most of the thematic maps fall into several categories: maps with symbols indicating types of artistic activity, site, or style (e.g., ivory carving, printing press, monastery); maps of cities or regions with locations of individual artists or monuments indicated; and maps with arrows tracing artistic exchange ("Art and Architecture in the Holy Land and its Influence on the West") or routes of materials ("Italian Art: Sources of Stone"). Small locator maps appear at the tops of the pages. The excellent illustrations--200 color and 100 black and white--often present less-familiar monuments rather than the best-known examples of the style or period.

Some chapters are more successful than others. The best are lucid overviews of complex subjects for the nonspecialist. "Cistercian Architecture," for example, provides an excellent introduction to this austere monastic style. The map indicates mother houses, affiliated houses, and outposts far from the order's French origins. Symbols on the map are easy to read, and the color photo of the Abbey Church of Senanque across a field of lavender is striking. The article will make nonspecialists want to learn more about Cistercian architecture. Unfortunately, readers will find no suggestions for further reading. The most successful maps present information that is not easily available graphically and with easily distinguishable colors and symbols. Most city maps ("Trecento Siena," "Venetian Architecture") fit this description, as do those tracing movements of artistic styles. In "Artists' Travels in the 17th Century," for example, an arrow from Naples to Malta represents Caravaggio's journey of 1607-08.

Other chapters will be less clear to the nonspecialist. "Art and Architecture from Constantine to Theodoric" refers to artworks as though the reader should already be familiar with them and without placing them geographically. The article "Early Medieval Ravenna" refers to a "peristyle courtyard," and the article "Viking Art" to "dendochronological studies," without explaining the terms. The use of colors and symbols is also problematic. Many maps use small symbols filled with subtle colors to indicate monuments, dates, or styles. "North Italian Architecture and Sculpture in the 15th and 16th Centuries," for example, uses numbered squares filled with pale yellow and green to indicate major architectural sites. Unfortunately, it is difficult to distinguish the colors. In "Medieval Secular Architecture," so many symbols for dates and types of architecture are clustered around Paris and London that it is difficult to tell which dates go with which types of architecture.

The atlas ends with an index to place names, artists, styles, and movements. Names of artworks are generally not included (e.g., Bear Run, Pennsylvania, is listed in the index, but not Frank Lloyd Wright's Fallingwater, although it is shown on the map and in a photograph). Text references are in regular type, maps in boldface, and illustrations in bold italic type.

The value of this innovative geographic approach to art history and the quality of most of the chapters more than compensate for the awkwardness of some maps and essays. The Atlas of Western Art History is recommended for academic and public libraries.

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