Gardner's Art Through the Ages: A Concise Global History

Gardner's Art Through the Ages: A Concise Global History

Fred S. Kleiner

Language: English

Pages: 594

ISBN: 0495503460

Format: PDF / Kindle (mobi) / ePub

As fascinating as a real visit to the world's famous museums and architectural sites, GARDNER'S ART THROUGH THE AGES: A CONCISE GLOBAL HISTORY gives you a comprehensive, beautifully illustrated tour of the world's great artistic traditions--plus all the study tools you need to excel in your art history course! Easy to read and understand, this is the only textbook that includes a unique "scale" feature (accompanying the book's photographs of paintings and other artworks) that will help you better visualize the actual size of the artworks shown in the book. You'll also find materials that will help you master the key topics quickly and help you study for your exams--for example, "The Big Picture" overviews at the end of every chapter, a special global timeline, and ArtStudy Online (a free interactive study guide that includes flash cards of images and quizzes).

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referring to the ascension of the Virgin Mary to Heaven at the moment of her death), at Daphni, near Athens, Greece. The main elements of the late-11th-century pictorial program are intact, although the mosaics were restored in the 19th century. Gazing down from on high in the central dome (FIG. 4-21) is the fearsome image of Christ as Pantokrator (literally “ruler of all” in Greek but usually applied to Christ in his role as Last Judge of humankind). The dome mosaic is the climax of an elaborate

I-6 JOSEF A LBERS, Homage to the Square: “Ascending,” 1953. Oil on composition board, 3Ј 7 –12 Љ ϫ 3Ј 7 –12 Љ. Whitney Museum of American Art, New York. Josef Albers painted hundreds of canvases with the same composition but employed variations in color saturation and tonality in order to reveal the relativity and instability of color perception. Artists can manipulate the appearance of colors, however. One artist who made a systematic investigation of the formal aspects of art, especially

the name of the artist or architect, if known; the formal title (printed in italics), if assigned, description of the work, or name of the building; the provenance or place of production of the object or location of the building; the date; the material(s) used; the size; and the current location if the work is in a museum or private collection. As in previous editions, scales accompany all plans, but for the fi rst time scales now also appear next to each photograph of a painting, statue, or other

three-quarter rear view below Darius. And the subtle modulation of the horse’s rump through shading in browns and yellows far surpasses anything even a whiteground vase painter (FIG. 2-46) ever attempted. Other details are even more impressive. The Persian to the right of the rearing horse has fallen to the ground and raises, backward, a dropped Macedonian shield to protect himself from being trampled. Philoxenos recorded the reflection of the man’s terrified face on the polished surface of the

declined markedly. No longer could the Etruscans fi ll their tombs with golden jewelry and imported Greek vases or mural paintings and terracotta sarcophagi of the fi rst rank. But Etruscan art did not cease. The best known of these later Etruscan works—one of the most memorable portrayals of an animal in the history of world art—is the Capitoline Wolf (FIG. 3-7). The statue is a somewhat larger than life-size hollow-cast bronze portrayal of the legendary she-wolf that nursed Romulus and Remus

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