By Laurie Adams
Acceptable for one-semester paintings historical past surveys or historically-focused artwork appreciation sessions, A heritage of Western Art, 5th variation, combines sound scholarship, lavish visuals, and a full of life narrative to supply scholars with an obtainable and fascinating advent to paintings background. targeting the Western canon, the textual content offers a compelling chronological narrative from prehistory to the current. A non-Western complement, World perspectives: subject matters in Non-Western Art, addresses particular components of non-Western paintings and augments the Western chronology by means of illustrating moments of thematic relationships and cross-cultural touch.
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Extra resources for A History of Western Art
Museum of Modern Art, New York. Purchase. 12c Theo van Doesburg, Study 3 for Composition (The Cow), 1917. Pencil on paper, 4 5⁄8 × 6¼ in. 9 cm). Museum of Modern Art, New York. Gift of Nelly van Doesburg. 1917; dated 1916. Tempera, oil, and charcoal on paper, 15 5⁄8 × 22¾ in. 8 cm). Museum of Modern Art, New York. Purchase. 1917. Oil on canvas, 14¾ × 25 in. 5 cm). Museum of Modern Art, New York. Purchase. 12. His drawing of a cow evolved from image (a), which could be called naturalistic, figurative, or representational, to the abstract arrangement of flat squares and rectangles in (e).
A medieval castle was not only a place to live, but also a fortress requiring defensive features such as a moat, towers, small windows, and thick walls. Beyond function, the next most important consideration in architecture is its use of space. The scale (size) of buildings and the fact that, with very few exceptions, they can enclose us make our response to them significantly different from our reactions to pictures and sculptures. Pictures convey only the illusion of space. Sculptures occupy actual, three-dimensional space, but the observer generally remains on the outside of that space looking in.
A good example of relief is the Venus of Laussel (fig. 2), which also has traces of red ocher pigment (see Box). The pelvis and breasts are exaggerated, although the arms are slightly more prominent than those of the Venus of Willendorf. In her right hand, the Venus of Laussel holds an animal horn decorated with incised lines. In addition to female figurines, Paleolithic artists pro duced small sculptures of animals. Most often found are horses, bison, and oxen; less frequently found are deer, mammoths, antelope, boar, rhinoceroses, foxes, wolves, bears, and an occasional fish or bird.
A History of Western Art by Laurie Adams