Gardner's Art Through the Ages: The Western Perspective, Volume 2 (13th Edition)

Gardner's Art Through the Ages: The Western Perspective, Volume 2 (13th Edition)

Fred S. Kleiner

Language: English

Pages: 499

ISBN: 2:00114110

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: THE WESTERN PERSPECTIVE 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 13th Edition of the most widely read history of art book in the English language 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. Three levels of review including extended image captions, "The Big Picture" overviews at the end of every chapter, and a special global timeline will help you study for your exams. You'll also find materials that will help you master the key topics quickly in the ArtStudy Online (a free interactive study guide that includes flash cards of images and quizzes).

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1 ft. 14-10 Duccio di Buoninsegna, Virgin and Child Enthroned with Saints, principal panel of the Maestà altarpiece, from Siena Cathedral, Siena, Italy, 1308–1311. Tempera and gold leaf on wood, 7Ј ϫ 13Ј (center panel). Museo dell’Opera del Duomo, Siena. Duccio derived the formality and symmetry of his composition from Byzantine tradition, but relaxed the rigidity and frontality of the figures, softened the drapery, and individualized the faces. (Virgin Enthroned in Majesty; FIG. 14-10),

from 1200 to 1400. And The Western Perspective is now also available in a special backpack edition consisting of four, rather than the traditional two, paperback volumes: Book A (Antiquity: chapters 1–7), Book B (The Middle Ages: chapters 8–14), Book C (Renaissance and Baroque: chapters 14–20), and Book D (Modern Europe and America: chapters 21–25). These books can also be purchased separately. Rounding out the features in the book itself is a Glossary containing definitions of all terms

Parisians at leisure and of the industrialization of 19th-century France stand in forceful opposition to that era’s government-sponsored academic art featuring traditional religious, historical, and mythological subjects and highly polished technique. In contrast, Monet painted the people and places around him, and he did so outdoors (en plein air) directly on white canvases without any preliminary sketches and using short, clearly visible brush strokes. The canvas that he is painting

reduced 454 Chapter 16 ITALY, 1400 TO 1500 the size of the figure’s feet, which, as he must have known, would cover much of the body if properly represented. Thus, tempering naturalism with artistic license, Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely poignant depiction of a biblical tragedy. The painter’s harsh, sharp line seems to cut the surface as if it were metal and conveys, by its grinding edge, the theme’s corrosive emotion.

design for Saint Peter’s basilica (FIGS. 17-23 and 17-24), the painting of the Sistine Chapel ceiling (FIG. 17-1), the decoration of the papal apartments (FIG. 17-9), and the construction of his tomb (FIGS. 17-15 and 17-16). 1 ft. 17-7 Raphael, Marriage of the Virgin, from the Chapel of Saint Joseph, San Francesco, Città di Castello, Italy, 1504. Oil on wood, 5Ј 7Љ ϫ 3Ј 10 –12 Љ. Pinacoteca di Brera, Milan. In this early work depicting the marriage of the Virgin to Saint Joseph, Raphael

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