Bibliographic Information

Janson's history of art

Penelope J.E. Davies ... [et al.]

Prentice Hall, c2012

8th ed., portable ed

  • bk. 3

Other Title

History of art

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Description based on bk. 3

bk. 3. The Renaissance through Rococo

Includes bibliographical references and index

Description and Table of Contents

Description

For courses in the History of Art. Rewritten and reorganized, this new edition weaves together the most recent scholarship, the most current thinking in art history, and the most innovative online supplements, including MyArtsLab and the Prentice Hall Digital Art Library. Experience the new Janson and re-experience the history of art. The Portable Edition of Janson's History of Art, Eighth Edition features four lightweight, paperback books packaged together along with optional access to a powerful student website, www.myartslab.com, making the text more student friendly than ever. Janson's History of Art is still available in the original hardcover edition and in Volume I and Volume II splits. The Portable Edition is comprised of four books, each representing a major period of art history: Long established as the classic and seminal introduction to art of the Western world, the Eighth Edition of Janson's History of Art is groundbreaking. When Harry Abrams first published the History of Art in 1962, John F. Kennedy occupied the White House, and Andy Warhol was an emerging artist. Janson offered his readers a strong focus on Western art, an important consideration of technique and style, and a clear point of view. The History of Art, said Janson, was not just a stringing together of historically significant objects, but the writing of a story about their interconnections, a history of styles and of stylistic change. Janson's text focused on the visual and technical characteristics of the objects he discussed, often in extraordinarily eloquent language. Janson's History of Art helped to establish the canon of art history for many generations of scholars. The new Eighth Edition, although revised to remain current with new discoveries and scholarship, continues to follow Janson's lead in important ways: It is limited to the Western tradition, with a chapter on Islamic art and its relationship to Western art. It keeps the focus of the discussion on the object, its manufacture, and its visual character. It considers the contribution of the artist as an important part of the analysis. This edition maintains an organization along the lines established by Janson, with separate chapters on the Northern European Renaissance, the Italian Renaissance, the High Renaissance, and Baroque art, with stylistic divisions for key periods of the modern era. Also embedded in this edition is the narrative of how art has changed over time in the cultures that Europe has claimed as its patrimony.

Table of Contents

Preface xiv Faculty and Student Resources for Teaching and Learning with Janson's History of Art xix Introduction xxi PART THREE: THE RENAISSANCE THROUGH ROCOCO Chapter 13: Art in Thirteenth- and Fourteenth-Century Italy THE GROWTH OF MENDICANT ORDERS AND THE VISUAL ARTS IN ITALY 438 The Franciscans at Assisi and Florence 438 Churches and Their Furnishings in Urban Centers 441 MATERIALS AND TECHNIQUES: Fresco Painting and Conservation 441 Pulpits in Pisan Churches 442 Expanding Florence Cathedral 445 Building for the City Government: The Palazzo della Signoria 448 PAINTING IN TUSCANY 449 Cimabue and Giotto 449 Siena: Devotion to Mary in Works by Duccio and Simone 453 PRIMARY SOURCES: Agnolo di Tura del Grasso 454 THE ART HISTORIAN'S LENS: The Social Work of Images 455 Pietro and Ambrogio Lorenzetti 458 Artists and Patrons in Times of Crisis 461 PRIMARY SOURCES: Inscriptions on the Frescoes in the Palazzo Pubblico, Siena 461 NORTHERN ITALY 465 Venice: Political Stability and Sumptuous Architecture 465 Milan: The Visconti Family and Northern Influences 465 Chapter 14: Artistic Innovations in Fifteenth-Century Northern Europe COURTLY ART: THE INTERNATIONAL GOTHIC 471 Sculpture for the French Royal Family 471 Illuminated Manuscripts: Books of Hours 473 Bohemia and England 474 URBAN CENTERS AND THE NEW ART 476 Robert Campin in Tournai 477 Jan van Eyck in Bruges 479 MATERIALS AND TECHNIQUES: Panel Painting in Tempera and Oil 479 Rogier van der Weyden in Brussels 485 PRIMARY SOURCES: Cyriacus of Ancona (1449) 485 LATE FIFTEENTH-CENTURY ART IN THE NETHERLANDS 487 Aristocratic Tastes for Precious Objects, Personal Books, and Tapestries 487 THE ART HISTORIAN'S LENS: Scientific and Technical Study of Paintings 488 Panel Paintings in the Southern Netherlands 490 The Northern Netherlands 492 REGIONAL RESPONSES TO THE EARLY NETHERLANDISH STYLE 494 France 494 PRIMARY SOURCES: Fray Jose De Siguenza (1544?-1606) 494 Spain 495 Central Europe 495 PRIMARY SOURCES: From the Contract for the St. Wolfgang Altarpiece 499 PRINTING AND THE GRAPHIC ARTS 499 Printing Centers in Colmar and Basel 501 MATERIALS AND TECHNIQUES: Printmaking 501 Chapter 15: The Early Renaissance in Fifteenth-Century Italy FLORENCE IN THE FIFTEENTH CENTURY 507 The Baptistery Competition 507 PRIMARY SOURCES: In Praise of the City of Florence (ca. 1403-04) by Leonardo Bruni 507 Architecture and Antiquity in Florence 509 PRIMARY SOURCES: Lorenzo Ghiberti (ca. 1381-1455) 509 MATERIALS AND TECHNIQUES: Brunelleschi's Dome 512 PRIMARY SOURCES: Leon Battista Alberti on what makes a building beautiful 514 Ancient Inspirations in Florentine Sculpture 515 MATERIALS AND TECHNIQUES: Perspective 516 Painting in Florentine Churches and Chapels 525 THE ART HISTORIAN'S LENS: Patronage Studies 525 Florentine Painters in the Age of the Medici 530 DOMESTIC LIFE: PALACES, FURNISHINGS, AND PAINTINGS IN MEDICEAN FLORENCE 533 Palace Architecture 533 PRIMARY SOURCES: Domenico Veneziano Solicits Work 534 Paintings for Palaces 536 PRIMARY SOURCES: Giovanni Dominici Urges Parents to Put Religious Images in Their Homes 539 Portraiture 541 RENAISSANCE ART THROUGHOUT ITALY, 1450-1500 543 Piero della Francesca in Central Italy 543 Alberti and Mantegna in Mantua 546 Venice 550 Rome and the Papal States 553 Chapter 16: The High Renaissance in Italy, 1495-1520 THE HIGH RENAISSANCE IN FLORENCE AND MILAN 558 Leonardo da Vinci in Florence 559 Leonardo in Milan 559 PRIMARY SOURCES: Leonardo da Vinci (1452-1519) 562 Leonardo Back in Florence and Elsewhere 564 ROME RESURGENT 566 Bramante in Rome 566 Michelangelo in Rome and Florence 568 PRIMARY SOURCES: Michelangelo Interprets the Vatican Pieta 568 Michelangelo in the Service of Pope Julius II 571 MATERIALS AND TECHNIQUES: Drawings 575 Raphael in Florence and Rome 577 THE ART HISTORIAN'S LENS: Cleaning and Restoring Works of Art 578 PRIMARY SOURCES: On Raphael's Death 583 VENICE 584 Giorgione 584 Titian 585 Chapter 17: The Late Renaissance and Mannerism in Sixteenth-Century Italy LATE RENAISSANCE FLORENCE: THE CHURCH, THE COURT, AND MANNERISM 593 Florentine Religious Painting in the 1520s 593 The Medici in Florence: From Dynasty to Duchy 595 PRIMARY SOURCES: Benvenuto Cellini (1500-1571) 600 ROME REFORMED 603 Michelangelo in Rome 603 PRIMARY SOURCES: Michelangelo the Poet 603 The Catholic Reformation and Il Gesu 607 NORTHERN ITALY: DUCAL COURTS AND URBAN CENTERS 609 The Palazzo del Te 609 PARMA AND CREMONA 611 Correggio and Parmigianino in Parma 611 Cremona 613 VENICE: THE SERENE REPUBLIC 613 Sansovino in Venice 613 Andrea Palladio and Late Renaissance Architecture 614 PRIMARY SOURCES: Andrea Palladio (1508-1580) 616 Titian 617 MATERIALS AND TECHNIQUES: Oil on Canvas 618 PRIMARY SOURCES: From a Session of the Inquisition Tribunal in Venice of Paolo Veronese 620 Titian's Legacy 621 Chapter 18: Renaissance and Reformation in Sixteenth-Century Northern Europe FRANCE: COURTLY TASTES FOR ITALIAN FORMS 625 Chateaux and Palaces: Translating Italian Architecture 626 Art for Castle Interiors 628 MATERIALS AND TECHNIQUES: Making and Conserving Renaissance Tapestries 629 SPAIN: GLOBAL POWER AND RELIGIOUS ORTHODOXY 631 The Escorial 632 El Greco and Religious Painting in Spain 633 CENTRAL EUROPE: THE REFORMATION AND ART 634 Catholic Contexts: The Isenheim Altarpiece 635 Albrecht Durer and the Northern Renaissance 638 PRIMARY SOURCES: Albrecht Durer (1471-1528) 641 Religious and Courtly Images in the Era of Reform 643 Painting in the Cities: Humanist Themes and Religious Turmoil 646 ENGLAND: REFORMATION AND POWER 647 PRIMARY SOURCES: Elizabethan Imagery 649 THE NETHERLANDS: WORLD MARKETPLACE 650 The City and the Court: David and Gossaert 651 THE ART HISTORIAN'S LENS: The Economics of Art 651 Antwerp: Merchants, Markets, and Morality 652 PRIMARY SOURCES: Karel van Mander Writes About Pieter Bruegel the Elder 656 Chapter 19: The Baroque in Italy and Spain PAINTING IN ITALY 663 Caravaggio and the New Style 664 Artemisia Gentileschi 667 PRIMARY SOURCES: Artemisia Gentileschi (1593-ca. 1653) 669 Ceiling Painting and Annibale Carracci 670 ARCHITECTURE IN ITALY 675 The Completion of St. Peter's and Carlo Maderno 675 Bernini and St. Peter's 676 Architectural Components in Decoration 678 A Baroque Alternative: Francesco Borromini 679 The Baroque in Turin: Guarino Guarini 682 The Baroque in Venice: Baldassare Longhena 684 SCULPTURE IN ITALY 684 Early Baroque Sculpture: Stefano Maderno 684 The Evolution of the Baroque: Gianlorenzo Bernini 684 A Classical Alternative: Alessandro Algardi 687 MATERIALS AND TECHNIQUES: Bernini's Sculptural Sketches 688 PAINTING IN SPAIN 689 Spanish Still Life: Juan Sanchez Cotan 690 Naples and the Impact of Caravaggio: Jusepe de Ribera 690 Diego Velazquez: From Seville to Court Painter 691 Monastic Orders and Zurbaran 695 PRIMARY SOURCES: Antonio Palomino (1655-1726) 695 Culmination in Devotion: Bartolome Esteban Murillo 696 Chapter 20: The Baroque in the Netherlands FLANDERS 701 Peter Paul Rubens and Defining the Baroque 701 PRIMARY SOURCES: Peter Paul Rubens (1577-1640) 704 Anthony van Dyck: History and Portraiture at the English Court 707 Local Flemish Art and Jacob Jordaens 708 The Bruegel Tradition 709 Still-Life Painting 710 THE DUTCH REPUBLIC 713 The Haarlem Academy: Hendrick Goltzius 713 The Caravaggisti in Holland: Hendrick Terbrugghen 713 The Haarlem Community and Frans Hals 714 The Next Generation in Haarlem: Judith Leyster 717 Rembrandt and the Art of Amsterdam 718 THE ART HISTORIAN'S LENS: Authenticity and Workshops: Rubens and Rembrandt 718 MATERIALS AND TECHNIQUES: Etching, Drypoint, and Selective Wiping 722 THE MARKET: LANDSCAPE, STILL-LIFE, AND GENRE PAINTING 725 Landscape Painting: Jan van Goyen 725 City Views: Jacob van Ruisdael 726 Architectural Painting: Pieter Saenredam 728 Still-life Painting: Willem Claesz. Heda 729 Flower Painting: Rachel Ruysch 730 Genre Painting: Jan Steen 730 Intimate Genre Painting: Jan Vermeer 732 Exquisite Genre Painting: Gerard ter Borch 734 Chapter 21: The Baroque in France and England FRANCE: THE STYLE OF LOUIS XIV 738 Painting and Printmaking in France 739 PRIMARY SOURCES: Nicolas Poussin (ca. 1594-1665) 742 THE ART HISTORIAN'S LENS: Forgeries and The Book of Truth 747 French Classical Architecture 748 Sculpture: The Impact of Bernini 754 BAROQUE ARCHITECTURE IN ENGLAND 754 Inigo Jones and the Impact of Palladio 755 Sir Christopher Wren 757 John Vanbrugh and Nicholas Hawksmoor 760 Chapter 22: The Rococo FRANCE: THE RISE OF THE ROCOCO 762 Painting: Poussinistes versus Rubenistes 763 PRIMARY SOURCES: Jean de Jullienne (1686-1767) 766 MATERIALS AND TECHNIQUES: Pastel Painting 769 Chinoiserie 771 The French Rococo Interior 772 THE ROCOCO IN WESTERN EUROPE OUTSIDE OF FRANCE 774 William Hogarth and the Narrative 774 Canaletto 775 THE ROCOCO IN CENTRAL EUROPE 776 Johann Fischer von Erlach 777 Egid Quirin Asam 779 Dominikus Zimmermann 779 Balthasar Neumann 780 Giovanni Battista Tiepolo and Illusionistic Ceiling Decoration 781 Glossary Bibliography Index Credits

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Details

  • NCID
    BB13269531
  • ISBN
    • 9780205161140
  • Country Code
    us
  • Title Language Code
    eng
  • Text Language Code
    eng
  • Place of Publication
    Upper Saddle River ; Tokyo
  • Pages/Volumes
    xxvii, 437-820 p.
  • Size
    28 cm
  • Classification
  • Subject Headings
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