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E-grāmata: Art History 101 . . . Without the Exams: Looking Closely at Objects from the History of Art

3.70/5 (20 ratings by Goodreads)
  • Formāts: PDF+DRM
  • Izdošanas datums: 06-Sep-2022
  • Izdevniecība: Trinity University Press,U.S.
  • Valoda: eng
  • ISBN-13: 9781595348791
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  • Formāts: PDF+DRM
  • Izdošanas datums: 06-Sep-2022
  • Izdevniecība: Trinity University Press,U.S.
  • Valoda: eng
  • ISBN-13: 9781595348791

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Have you ever found art museums intimidating and art history a baffling mix of periods, names, and styles? Annie Labatt’s Art History 101 aims to remove this inaccessibility issue in the art world by breaking the history of art down into twenty accessible lessons, each built around a single, canonical piece considered a masterpiece from its era.

Beginning with prehistoric cave drawings and Greek statues; continuing through the Gothic, Byzantine, Baroque, and the Renaissance movements; and concluding with the Impressionist work of Monet and Picasso, Labatt asks us to consider each work and think about the artist who created it and what they wanted us to see. She frames our understanding of the historical and social context of the piece as well as the background of the artist and, in many cases, the patron who commissioned it.

Each period and its discussion stands alone and lends itself to be read individually and in no particular order. From the tiniest of details to the broadest cultural implications and meanings, Art History 101 helps us see why these works of art are considered masterpieces. In completing the full course, one sees how each piece contributes to a larger portrait--the full narrative of art history through the ages.


A millennia of art history condensed into 20 accessible chapters

Recenzijas

Dr. Labatts engaging introduction to looking at art uses a select number of great works from the prehistoric past to the present to demonstrate what can be learned from careful looking and study. She engages readers in thinking more deeply and broadly about the original meaning of her choices to their own times and their relevance to current issues. Remarkably readable, her connections of works to Texas, where she gave the talks on which the book is based, should encourage everyone to look around them and see how the art of the past is reflected in the present. Helen C. Evans, curator, Metropolitan Museum of Art

What a fun journey to travel with Annie Labatt to twenty iconic works of art! Through her words you will engage with science and history, following the hand of the maker, engaging with the context of both today and the world into which the work was once born. Best of all, no quiz! Mary Miller, director, Getty Research Institute

With this magnificent book, Annie Labatt leads the charge back to an object-centered Art History. A rigorous scholar, university professor, gallery director, and public educator, Dr. Labatt brings an at once sensitive and perceptive vision to works of art. Although the title suggests another version of Gardners Art Through the Ages or Jansons History of Art, the book is something more useful and enlightening: a series of twenty discussions of major monuments and works of art spanning fourteen thousand years of western visual art, architecture, and the arts of design. Labatt combines careful readings of each work or monumentwith discussions of the context of each work in its period and in the wider domain of the Humanities. Labatt brings an arsenal of up-to-date art historical tools to bear on her subjects. The book actually does cover much of the territory of a hypothetical Art 101 course. Readers will be well prepared if asked to take an exam. Marcus B. Burke, senior curator, Hispanic Society of America

This playfully titled book is a work of great erudition. Annie Labatt is at home explaining technical details in each art object, as she is in making inferences and associations anchored in the profound knowledge of the world. Her words are a tour de force, commingling with the visual objects to allow the reader to imagine and experience art in new and powerful ways. The result is a rare and almost phantasmagoric introduction to art history. Meredith Woo, president, Sweet Briar College

Perusing the paintings and reading the scholarly text, you will sense the depth and breadth of knowledge Dr. Labatt gained through years of study at Yale and the Metropolitan Museum of Art in New York. Charles Butt, chairman and president, H-E-B Grocery Company

Introduction: Altamira, ca. 12, 500 BCE 1(8)
Prehistoric Art: Ashurnasirpal II Killing Lions, ca. 883-859 BCE
9(20)
Assyrian Art: The Euphronios Krater, ca. 115 BCE
29(22)
Greek Art: Nike of Samothrace, ca. 190 BCE
51(22)
Greek Art: Villa at Boscotrecase, Last Decade of First Century BCE
73(20)
Roman Art: San Vitale, ca. 547
93(28)
Early Byzantine Art: Sant Climent de Taiill, ca. 1123
121(24)
Romanesque Art: Incense Burner of Amir Saif al-Dunya wa'l-Din ibn Muhammad al-Mawardi, ca. 1181-82 (ah 577)
145(24)
Islamic Art: Sainte-Chapelle, 1239-48
169(26)
Gothic Art: The Chora Church, ca. 1315-21
195(26)
Late Byzantine Art: Jan van Eyck, The Annunciation, ca. 1434-36
221(24)
Northern Renaissance Art: Botticelli, The Birth of Venus, ca. 1483-85
245(20)
Italian Renaissance Art: Bruegel the Elder, The Harvesters, 1565
265(24)
Netherlandish Art: Caravaggio, The Calling of Saint Matthew, 1599-1600
289(24)
Italian Baroque Art: Rembrandt, The Night Watch 1642
313(24)
Dutch Baroque Art: Velazquez, Las Hilanderas, 1655-60
337(28)
Spanish Baroque Art: Gericault, The Raft of the Medusa, 1818-19
365(22)
Romantic Art: Monet, Impression, Sunrise, 1872
387(22)
Impressionism: Sargent, Elfaleo, 1882
409(26)
American Art: Picasso, Les Demoiselles d'Avignon, 1907
435(28)
Modern Art
463(22)
Image Credits 485(11)
Suggested Reading 496(13)
Index 509
Annie Montgomery Labatt is Associate Professor of Visual Studies and Director of Galleries and Museums at Sweet Briar College in Virginia. She graduated with High Honors from Barnard College of Columbia University in 2002, and received her PhD from Yale University in 2011. While a graduate student, she won a two-year Rome Prize at the American Academy of Rome, and was also a fellow at Harvard Universitys Dumbarton Oaks Research Library and Collection. She has worked at the Metropolitan Museum of Art on two major exhibitions, once as a research assistant and once as a Chester Dale Fellow. Laboratory of Images: Emerging Iconographies in 8th- and 9th- Century Rome, her study of the development of Christian imageries, is forthcoming.