Gardner's Art through the Ages: A Global History, Volume 2 (14th Edition)

Gardner's Art through the Ages: A Global History, Volume 2 (14th Edition)

Fred S. Kleiner

Language: English

Pages: 674

ISBN: 2:00293750

Format: PDF / Kindle (mobi) / ePub


GARDNER'S ART THROUGH THE AGES, VOLUME II, 14TH EDITION provides you with a comprehensive, beautifully-illustrated tour of the world's great artistic traditions! Easy to read and understand, the fourteenth edition of the most widely-read art history book in the English language continues to evolve, providing a rich cultural backdrop for each of the covered periods and geographical locations, and incorporating new artists and art forms -- all reproduced according to the highest standards of clarity and color fidelity. A complete online environment, including all images and an eBook, is also available. The unique Scale feature will help you better visualize the actual size of the artworks shown in the book. A new timeline within each chapter, along with "The Big Picture" overviews at the end of every chapter, will help you review for exams. Please note that VOLUME II starts with Chapter 14 from VOLUME I for review purposes or for courses that break the material for the course at the 1300's. VOLUME II then moves from Chapter 14 to Chapter 20.

The Riddle of the Image: The Secret Science of Medieval Art

Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch

Escher (Art dossier Giunti)

Conceptualism in Latin American Art: Didactics of Liberation (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

Cut It Out

Anarchy and Art: From the Paris Commune to the Fall of the Berlin Wall

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Luke), the Roman painting academy, summed up this philosophy when he stated that drawing is the external physical manifestation (disegno esterno) of an internal intellectual idea or design (disegno interno). The de sign d imension of a rt production b ecame i ncreasingly important a s a rtists c ultivated t heir o wn s tyles. The e arly s tages of a rtistic t raining l argely f ocused o n i mitation a nd em ulation (see “Cennino C ennini on I mitation a nd Emulation,” Chapter 21, page 573), but

fascinating though repulsive details Bosch recorded. Beastly creatures devour people, while ot her condemned souls endure tortures tailored to t heir conduct while alive. A g lutton must vomit eternally. A m iser defecates gold coins. A spidery monster fondles a promiscuous woman. Scholars have traditionally interpreted Bosch’s t riptych a s a w arning o f t he f ate a waiting t he si nful, de cadent, a nd i mmoral, b ut a s a s ecular work, Garden of E arthly D elights m ay have b een i ntended

ereby i ncreasing th eir r evenues but making it more difficult for them to fulfi ll all of their responsibilities. By 1 517, d issatisfaction w ith t he C hurch had g rown so widespread that Luther felt free to challenge papal authority openly by posting in Wittenberg his Ninety-five Thes es, in which he enumerated his objections to Church practices, especially the sale o f i ndulgences. Indulgences we re C hurch-sanctioned re mittances (or re ductions) o f t ime C atholics had to s pend i n P

stylistic element in late medieval Italian art was the Byzantine tradition (see Chapter 9). Throughout the Middle Ages, the By zantine s tyle do minated I talian pa inting, b ut i ts i nfluence 404 1 ft. Confraternities, o rganizations c onsisting o f l aypersons w ho dedicated t hemselves to s trict rel igious obs ervance, a lso g rew i n popularity during the 14th and 15th centuries. The mission of confraternities i ncluded ten ding t he si ck, b urying t he de ad, si nging hymns, a nd p

ndicate b oth the d irection of t he light i lluminating t heir bodies a nd t he shadows (the d iminished l ight), t hereby g iving t he figures volume. In Lamentation, light falls upon the upper surfaces of the figures (especially the two central bending figures) and passes down to dark in their garments, separating the volumes one from the other and pushing one to t he fore, the other to t he rear. The graded continuum o f l ight a nd shade , d irected b y a n e ven, neu tral l ight f rom a si

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