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Janson's History of Art


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Preface xivFaculty and Student Resources for Teaching and Learning with Janson's History of Art xixIntroduction xxi PART ONE: THE ANCIENT WORLD Chapter 1: Prehistoric Art PALEOLITHIC ART 2MATERIALS AND TECHNIQUES: Cave Painting 5Interpreting Prehistoric Painting 5Paleolithic Carving 7INFORMING ART: Telling Time: Labels and Periods 9Paleolithic houses 11NEOLITHIC ART 11Settled Societies and Neolithic Art 11Architecture in Europe: Tombs and Rituals 15INFORMING ART: Dating Techniques 17 Chapter 2: Ancient Near Eastern Art SUMERIAN ART 22Temple Architecture: Linking Heaven and Earth 23MATERIALS AND TECHNIQUES: Mud Brick 23Sculpture and Inlay 25PRIMARY SOURCES: The Gilgamesh Epic 25Visual Narratives 27Cylinder Seals 29THE ART HISTORIAN'S LENS: Losses Through Looting 29ART OF AKKAD 30Sculpture: Power and Narrative 30NEO-SUMERIAN REVIVAL 32Architecture: The Ziggurat of Ur 32Sculpture: Figures of Gudea 32PRIMARY SOURCES: Texts on Gudea Figures from Lagash and Surrounding Areas, ca. 2100 33BABYLONIAN ART 33The Code of Hammurabi 34ASSYRIAN ART 34PRIMARY SOURCES: The Code of Hammurabi 35Art of Empire: Expressing Royal Power 37LATE BABYLONIAN ART 37The Royal Palace 38REGIONAL NEAR EASTERN ART 38The Hittites 40The Phoenicians 40The Hebrews 41IRANIAN ART 41Early Iranian Art 42The Persian Empire: Cosmopolitan Heirs to the Mesopotamian Tradition 43Mesopotamia Between Persian and Islamic Dominion 46
Chapter 3: Egyptian Art PREDYNASTIC AND EARLY DYNASTIC ART 50The Palette of King Narmer 50INFORMING ART: Egyptian Gods and Goddesses 52THE OLD KINGDOM: A GOLDEN AGE 53Old Kingdom Funerary Complexes 53INFORMING ART: Major Periods in Ancient Egypt 54The Pyramids at Giza: Reflecting a New Royal Role 55MATERIALS AND TECHNIQUES: Building the Pyramids 56PRIMARY SOURCES: Excerpt from the Pyramid Text of Unis (r. 2341-2311 BCE) 58Representing the Human Figure 59THE MIDDLE KINGDOM: REASSERTINGTRADITION THROUGH THE ARTS 62Royal Portraiture: Changing Expressions and Proportions 62Funerary Architecture 63THE NEW KINGDOM: RESTORED GLORY 65Royal Burials in the Valley of the Kings 65Temples to the Gods 67Block Statues 70Images in New Kingdom Tombs 71AKHENATEN AND THE AMARNA STYLE 72The Amarna Style 72Tutankhamun and the Aftermath of Amarna 75THE ART HISTORIAN'S LENS: Interpreting Ancient Travel Writers 75PAPYRUS SCROLLS: THE BOOK OF THE DEAD 77PRIMARY SOURCES: The Book of the Dead 77LATE EGYPT 78 Chapter 4: Aegean Art EARLY CYCLADIC ART 82MINOAN ART 84The "Palace" at Knossos 84Wall Paintings: Representing Rituals and Nature 86THE ART HISTORIAN'S LENS: Two Excavators, Legend, and Archaeology 87Minoan Pottery 89Carved Minoan Stone Vessels 90Late Minoan Art 92MYCENAEAN ART 93Architecture: Citadels 93Mycenaean Tombs and Their Contents 96Sculpture 99 Chapter 5: Greek Art THE EMERGENCE OF GREEK ART: THE GEOMETRIC STYLE 104INFORMING ART: Greek Gods and Goddesses 105Geometric Style Pottery 105Geometric Style Sculpture 107THE ORIENTALIZING STYLE: HORIZONS EXPAND 107Miniature Vessels 108ARCHAIC ART: ART OF THE CITY-STATE 109The Rise of Monumental Temple Architecture 109STONE SCULPTURE 113Architectural Sculpture: The Building Comes Alive 115Vase Painting: Art of the Symposium 119THE CLASSICAL AGE 123Classical Sculpture 123MATERIALS AND TECHNIQUES: The Indirect Lost-Wax Process 128Architecture and Sculpture on the Athenian Akropolis 131PRIMARY SOURCES: Aristotle (384-322 BCE) 133THE ART HISTORIAN'S LENS: Repatriation of Cultural Heritage 134PRIMARY SOURCES: Plutarch (ca. 46-after 119 CE) 136THE LATE CLASSICAL PERIOD 141Late Classical Architecture: Civic and Sacred 141Late Classical sculpture 142Painting in the Late Classical Age 145THE AGE OF ALEXANDER AND THE HELLENISTIC PERIOD 147Architecture: The Scholarly Tradition and Theatricality 148City Planning 150Hellenistic Sculpture: Expression and Movement 154THE ART HISTORIAN'S LENS: J.J. Winckelmann and the Apollo Belvedere 157Hellenistic Painting 161 Chapter 6: Etruscan ArtFUNERARY ART 165Tombs and Their Contents 166MATERIALS AND TECHNIQUES: Etruscan Gold-Working 169ARCHITECTURE 173City Planning 174SCULPTURE 175Dynamism in Terra Cotta and Bronze 175 Chapter 7: Roman ArtEARLY ROME AND THE REPUBLIC 181THE ART HISTORIAN'S LENS: Recognizing Copies: The Case of the Laocooen 183NEW DIRECTIONS IN ARCHITECTURE 183Sculpture 188PRIMARY SOURCES: Cicero (106-43 BCE) 192MATERIALS AND TECHNIQUES: Copying Greek Sculptures 193Painting and Mosaic 194PRIMARY SOURCES: Polybius (ca. 200-ca. 118 BCE) 194THE EARLY EMPIRE 195Architecture 196THE ART HISTORIAN'S LENS: Two Pantheon Problems 202Portrait Sculpture 203Relief Sculpture 207PRIMARY SOURCES: Josephus (37/8-ca. 100 CE) 210Art and Architecture in the Provinces 213Domestic Art and Architecture 216THE LATE EMPIRE 222Architecture 222MATERIALS AND TECHNIQUES: Painted Stone in Greece and Rome 223Architecture in the Provinces 227Portrait Sculpture 228Relief Sculpture 229 PART TWO: THE MIDDLE AGES Chapter 8: Early Jewish, Early Christian, and Byzantine ArtEARLY JEWISH ART 237EARLY CHRISTIAN ART 240Christian Art before Constantine 240INFORMING ART: The Life of Jesus 241PRIMARY SOURCES: The Book of the Popes (Liber Pontificalis) 244Christian Art after Official Recognition of Christianity 245MATERIALS AND TECHNIQUES: Mosaics 248BYZANTINE ART 254Early Byzantine Art 254PRIMARY SOURCES: Procopius of Caesarea (Sixth Century) 258The Iconoclastic Controversy 265Middle Byzantine Art 265PRIMARY SOURCES: St. Theodore the Studite (759-826 CE) 266Late Byzantine Art 273INFORMING ART: Biblical and Celestial Beings 273 Chapter 9: Islamic ArtReligious Architecture 280PRIMARY SOURCES: Muhammad Ibn Mahmud Al-Amuli (Iran, 14th Century) 280THE FORMATION OF ISLAMIC ART 281INFORMING ART: Islam and Its Messenger 283Secular Architecture 284THE DEVELOPMENT OF ISLAMIC STYLE 285Religious Architecture 285Luxury Arts 287ISLAMIC ART AND THE PERSIAN INHERITANCE 287Architecture 287Figural Art Forms in Iran 288THE CLASSICAL AGE 290THE ART HISTORIAN'S LENS: Spanish Islamic Art and Europe in the Middle Ages 290The Fatimid Artistic Impact 291The Ayyubids and the Seljuk Turks of Asia Minor 292LATER CLASSICAL ART AND ARCHITECTURE 294Mongol Patronage 295Timurid Patronage 295Mamluk Patronage 296Nasrid Patronage: The Alhambra 299THE THREE LATE EMPIRES 300PRIMARY SOURCES: The Ottoman Sultan Selim II (1524-1574) 300 MATERIALS AND TECHNIQUES: The Oriental Carpet 301The Ottomans in Europe and Asia 302The Safavid Period in Iran 304The Mughal Period in India 308PRIMARY SOURCES: Abd Al-Hamid Lahori (d. 1654) 309CONTINUITY AND CHANGE IN ISLAMIC ART 310 Chapter 10: Early Medieval ArtANGLO-SAXON ART 314MATERIALS AND TECHNIQUES: Metalwork 315The Animal Style 316HIBERNO-SAXON ART 318Manuscripts 318PRIMARY SOURCES: Lindisfarne Gospels 320VIKING ART 322CAROLINGIAN ART 324Sculpture 324Illuminated Books 325Architecture 328PRIMARY SOURCES: Hariulf (ca.1060-1143) 331PRIMARY SOURCES: St. Angilbert (ca. 750-814) 332OTTONIAN ART 333Architecture 333Metalwork 336Ivories and Manuscripts: Conveyors of Imperial Grandeur 340Sculpture 343 Chapter 11: Romanesque ArtFIRST EXPRESSIONS OF ROMANESQUE STYLE 349Architecture 349Monumental Stone Sculpture 350MATURE ROMANESQUE 351Pilgrimage Churches and Their Art 351PRIMARY SOURCES: The Pilgrim's Guide 352Cluniac Architecture and Sculpture 356PRIMARY SOURCES: St. Bernard of Clairvaux (1090-1153) 359Cluniac Wall Painting 365Cistercian Architecture and Art 366Other Benedictine Architecture and Wall Painting 367Book Illustration 368THE ART HISTORIAN'S LENS: Preserving and Restoring Architecture 369 OTHER REGIONAL VARIANTS OF ROMANESQUE STYLE 372Western France: Poitou 372Southeastern France: Provence 373The Holy Land 374Tuscany 375Germany 378The Meuse Valley: Mosan Style 379MATERIALS AND TECHNIQUES: Vaulting 380Normandy and England 381THE PARADOXICAL MEANING OF ROMANESQUE 386 Chapter 12: Gothic ArtEARLY GOTHIC ART IN FRANCE 391Saint-Denis: Suger and the Beginnings of Gothic Architecture 391PRIMARY SOURCES: Suger of Saint-Denis (1081-1151) 393Chartres Cathedral 395Laon Cathedral 397Cathedral of Notre-Dame in Paris 398HIGH GOTHIC ART IN FRANCE 399The Rebuilding of Chartres Cathedral 400PRIMARY SOURCES: Theophilus Presbyter (12th Century) 402MATERIALS AND TECHNIQUES: Stained Glass 405THE ART HISTORIAN'S LENS: Modules and Proportions 406Amiens Cathedral 408Reims Cathedral 408RAYONNANT OR COURT STYLE 413Sainte-Chapelle 413Saint-Urbain in Troyes 415Manuscript Illumination 416LATE GOTHIC ART IN FRANCE 418Manuscript Illumination 418Sculpture 420Architecture: The Flamboyant Phase 422THE SPREAD OF GOTHIC ART 423Spain 423England 426Germany 430 PART THREE: THE RENAISSANCE THROUGH ROCOCO Chapter 13: Art in Thirteenth- and Fourteenth-Century ItalyTHE GROWTH OF MENDICANT ORDERS AND THE VISUAL ARTS IN ITALY 438The Franciscans at Assisi and Florence 438Churches and Their Furnishings in Urban Centers 441MATERIALS AND TECHNIQUES: Fresco Painting and Conservation 441Pulpits in Pisan Churches 442Expanding Florence Cathedral 445Building for the City Government: The Palazzo della Signoria 448PAINTING IN TUSCANY 449Cimabue and Giotto 449Siena: Devotion to Mary in Works by Duccio and Simone 453PRIMARY SOURCES: Agnolo di Tura del Grasso 454THE ART HISTORIAN'S LENS: The Social Work of Images 455Pietro and Ambrogio Lorenzetti 458Artists and Patrons in Times of Crisis 461PRIMARY SOURCES: Inscriptions on the Frescoes in the Palazzo Pubblico, Siena 461NORTHERN ITALY 465Venice: Political Stability and Sumptuous Architecture 465Milan: The Visconti Family and Northern Influences 465 GlossaryBibliographyIndexCredits

About the Author

Penelope J. E. Davies is Associate Professor at the University of Texas, Austin. She is a scholar of Greek and Roman art and architecture as well as a field archaeologist. She is author of Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius, winner of the Vasari Award. Walter B. Denny is a Professor of Art History at the University of Massachusetts at Amherst. In addition to exhibition catalogues, his publications include books on Ottoman Turkish carpets, textiles, and ceramics, and articles on miniature painting, architecture and architectural decoration. Frima Fox Hofrichter is Professor and former Chair of the History of Art and Design department at Pratt Institute. She is author of Judith Leyster, A Dutch Artist in Holland's Golden Age, which received CAA's Millard Meiss Publication Fund Award. Joseph Jacobs is an independent scholar, critic, and art historian of modern art in New York City. He was the curator of modern art at the John and Mable Ringling Museum of Art in Sarasota, Florida, director of the Oklahoma City Art Museum, and curator of American art at The Newark Museum, Newark, New Jersey. David L. Simon is Jette Professor of Art at Colby College, where he received the Basset Teaching Award in 2005. Among his publications is the catalogue of Spanish and southern French Romanesque sculpture in the Metropolitan Museum of Art and The Cloisters. Ann M. Roberts, Professor of Art at Lake Forest College has published essays, articles and reviews on both Northern and Italian Renaissance topics. Her research focuses on women in the Renaissance, and her most recent publication is entitled Dominican Women and Renaissance Art:The Convent of San Domenico of Pisa. H. W. Janson was a legendary name in art history. During his long career as a teacher and scholar, he helped define the discipline through his impressive books and other publications. Anthony F. Janson forged a distinguished career as a professor, scholar, museum professional and writer. From the time of his father's death in 1982 until 2004, he authored History of Art.

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