{"product_id":"art-history-for-dummies-isbn-9781119868668","title":"Art History For Dummies","description":"\u003cp\u003e\u003cb\u003eReady to discover the fascinating world of art history? Let’s (Van) Gogh!\u003c\/b\u003e  \u003c\/p\u003e\u003cp\u003eFine art might seem intimidating at first. But with the right guide, anyone can learn to appreciate and understand the stimulating and beautiful work of history’s greatest painters, sculptors, and architects. In \u003ci\u003eArt History For Dummies\u003c\/i\u003e, we’ll take you on a journey through fine art from all eras, from Cave Art to the Colosseum, and from Michelangelo to Picasso and the modern masters. Along the way, you’ll learn about how history has influenced art, and vice versa.  \u003c\/p\u003e\u003cp\u003eThis updated edition includes:  \u003c\/p\u003e\u003cul\u003e   \u003cli\u003eBrand new material on a wider array of renowned female artists\u003c\/li\u003e   \u003cli\u003eExplorations of the Harlem Renaissance, American Impressionism, and the Precisionists\u003c\/li\u003e   \u003cli\u003eDiscussions of art in the 20th and 21st centuries, including Dadaism, Constructivism, Surrealism, and today’s eclectic art scene\u003c\/li\u003e  \u003c\/ul\u003e  \u003cp\u003eIs there an exhibition in your town you want to see? Prep before going with \u003ci\u003eArt History For Dummies\u003c\/i\u003e and show your friends what an Art Smartie you are.   \u003c\/p\u003e\u003cp\u003eAn unbeatable reference for anyone looking to build a foundational understanding of art in a historical context, \u003ci\u003eArt History For Dummies\u003c\/i\u003e is your personal companion that makes fine art even finer!  \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003cb\u003e 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAbout This Book 1\u003c\/p\u003e \u003cp\u003eFoolish Assumptions 2\u003c\/p\u003e \u003cp\u003eIcons Used in This Book 2\u003c\/p\u003e \u003cp\u003eBeyond the Book 2\u003c\/p\u003e \u003cp\u003eWhere to Go from Here 3\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 1: Getting Started with Art History\u003c\/b\u003e\u003cb\u003e 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1: Art Tour through the Ages\u003c\/b\u003e\u003cb\u003e 7\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eConnecting Art Divisions and Culture 8\u003c\/p\u003e \u003cp\u003eIt’s Ancient History, So Why Dig It Up? 8\u003c\/p\u003e \u003cp\u003eMesopotamian period (3500 bc–500 bc) and Egyptian period (3100 bc–332 bc) 9\u003c\/p\u003e \u003cp\u003eAncient Greek period (c 850 bc–323 bc) and Hellenistic period (323 bc–32 bc) 9\u003c\/p\u003e \u003cp\u003eRoman period (300 bc–ad 476) 9\u003c\/p\u003e \u003cp\u003eDid the Art World Crash When Rome Fell, or Did It Just Switch Directions? 10\u003c\/p\u003e \u003cp\u003eByzantine period (ad 500–ad 1453) 10\u003c\/p\u003e \u003cp\u003eIslamic period (seventh century+) 10\u003c\/p\u003e \u003cp\u003eMedieval period (500–1400) 10\u003c\/p\u003e \u003cp\u003eHigh Renaissance (1495–1520) and Mannerism (1530–1580) 10\u003c\/p\u003e \u003cp\u003eBaroque period (1600–1750) and Rococo period (1715–1760s) 11\u003c\/p\u003e \u003cp\u003eIn the Machine Age, Where Did Art Get Its Power? 11\u003c\/p\u003e \u003cp\u003eNeoclassicism (1765–1830) 11\u003c\/p\u003e \u003cp\u003eRomanticism (late 1700s–early 1800s) 11\u003c\/p\u003e \u003cp\u003eThe Modern World and the Shattered Mirror 12\u003c\/p\u003e \u003cp\u003eResponding to modern pressures 12\u003c\/p\u003e \u003cp\u003eConceptualizing the craft 13\u003c\/p\u003e \u003cp\u003eExpressing mixed-up times 13\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2: Why People Make Art and What It All Means\u003c\/b\u003e\u003cb\u003e 15\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFocusing on the Artist’s Purpose 15\u003c\/p\u003e \u003cp\u003eRecording religion, ritual, and mythology 15\u003c\/p\u003e \u003cp\u003ePromoting politics and propaganda 16\u003c\/p\u003e \u003cp\u003eWhen I say jump: Art made for patrons 16\u003c\/p\u003e \u003cp\u003eFollowing a personal vision 17\u003c\/p\u003e \u003cp\u003eDetecting Design 17\u003c\/p\u003e \u003cp\u003ePerceiving pattern 17\u003c\/p\u003e \u003cp\u003eRolling with the rhythm 17\u003c\/p\u003e \u003cp\u003eWeighing the balance 17\u003c\/p\u003e \u003cp\u003eLooking for contrast 18\u003c\/p\u003e \u003cp\u003eExamining emphasis 18\u003c\/p\u003e \u003cp\u003eDecoding Meaning 19\u003c\/p\u003e \u003cp\u003eThe ABCs of visual narrative 19\u003c\/p\u003e \u003cp\u003eSorting symbols 19\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3: The Major Artistic Movements\u003c\/b\u003e\u003cb\u003e 21\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDistinguishing an Art Period from a Movement 21\u003c\/p\u003e \u003cp\u003eTracking Major 19th-Century Art Movements 22\u003c\/p\u003e \u003cp\u003eRealism (1840s–1880s) 22\u003c\/p\u003e \u003cp\u003eImpressionism (1869–late 1880s) 22\u003c\/p\u003e \u003cp\u003ePost-Impressionism (1886–1892) 22\u003c\/p\u003e \u003cp\u003eMoving Off the Rails in the 20th Century 23\u003c\/p\u003e \u003cp\u003eFauvism and Expressionism 23\u003c\/p\u003e \u003cp\u003eCubism, Futurism, Dada, and Surrealism 24\u003c\/p\u003e \u003cp\u003eAbstract Expressionism (1946–1950s) 25\u003c\/p\u003e \u003cp\u003ePop Art (1960s) 25\u003c\/p\u003e \u003cp\u003eConceptual art, performance art, and feminist art (late 1960s–1970s) 25\u003c\/p\u003e \u003cp\u003ePostmodernism (1970–) 25\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 2: From Caves to Colosseum: Ancient Art\u003c\/b\u003e\u003cb\u003e 27\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4: Magical Hunters and Psychedelic Cave Artists\u003c\/b\u003e\u003cb\u003e 29\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCool Cave Art or Paleolithic Painting: Why Keep It a Secret? 30\u003c\/p\u003e \u003cp\u003eHunting on a wall 31\u003c\/p\u003e \u003cp\u003ePsychedelic shamans with paintbrushes 31\u003c\/p\u003e \u003cp\u003eFlirting with Fertility Goddesses 32\u003c\/p\u003e \u003cp\u003eDominoes for Druids: Stonehenge, Menhirs, and Neolithic Architecture 33\u003c\/p\u003e \u003cp\u003eLiving in the New Stone Age: Çatalhöyük, Göbekli Tepe, and Skara Brae 33\u003c\/p\u003e \u003cp\u003eCracking the mystery of the megaliths and menhirs 34\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5: Fickle Gods, Warrior Art, and the Birth of Writing: Mesopotamian Art\u003c\/b\u003e\u003cb\u003e 37\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eClimbing toward the Clouds: Sumerian Architecture 38\u003c\/p\u003e \u003cp\u003eZigzagging to Heaven: Ziggurats 38\u003c\/p\u003e \u003cp\u003eThe Tower of Babel 39\u003c\/p\u003e \u003cp\u003eThe Eyes Have It: Scoping Out Sumerian Sculpture 39\u003c\/p\u003e \u003cp\u003eWorshipping graven images 40\u003c\/p\u003e \u003cp\u003eStare-down with God: Statuettes from Abu Temple 40\u003c\/p\u003e \u003cp\u003ePlaying Puabi’s Lyre 41\u003c\/p\u003e \u003cp\u003eUnraveling the Standard of Ur 42\u003c\/p\u003e \u003cp\u003eStalking Stone Warriors: Akkadian Art 43\u003c\/p\u003e \u003cp\u003eStamped in Stone: Hammurabi’s Code 43\u003c\/p\u003e \u003cp\u003eUnlocking Assyrian Art 44\u003c\/p\u003e \u003cp\u003eBabylon Has a Baby: New Babylon 45\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6: One Foot in the Tomb: Ancient Egyptian Art\u003c\/b\u003e\u003cb\u003e 47\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAncient Egypt 101 48\u003c\/p\u003e \u003cp\u003eSegmenting the Egyptian periods 48\u003c\/p\u003e \u003cp\u003eThanking the Nile 49\u003c\/p\u003e \u003cp\u003eThe Art of a Unified Egypt 49\u003c\/p\u003e \u003cp\u003eDepicting the unification 49\u003c\/p\u003e \u003cp\u003eNoting art as history in the Palette of Narmer 50\u003c\/p\u003e \u003cp\u003eThe Egyptian Style: Proportion and Orientation 51\u003c\/p\u003e \u003cp\u003eExcavating Old Kingdom Architecture 52\u003c\/p\u003e \u003cp\u003eEarly mastabas and step pyramids 52\u003c\/p\u003e \u003cp\u003eTurning to stone 53\u003c\/p\u003e \u003cp\u003eMaking the architecture great 53\u003c\/p\u003e \u003cp\u003eSpending life preparing for death 54\u003c\/p\u003e \u003cp\u003eThe In-Between Period and Middle Kingdom Realism 55\u003c\/p\u003e \u003cp\u003eNew Kingdom Art 56\u003c\/p\u003e \u003cp\u003eHatshepsut: A female phenom 56\u003c\/p\u003e \u003cp\u003eAkhenaten and Egyptian family values 56\u003c\/p\u003e \u003cp\u003eRaiding King Tut’s tomb treasures 58\u003c\/p\u003e \u003cp\u003eAdmiring the world’s most beautiful dead woman’s tomb 59\u003c\/p\u003e \u003cp\u003eDecoding Books of the Dead 59\u003c\/p\u003e \u003cp\u003eToo-big-to-forget sculpture 61\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7: Greek Art, the Olympian Ego, and the Inventors of the Modern World\u003c\/b\u003e\u003cb\u003e 63\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMingling with the Minoans: Snake Goddesses, Minotaurs, and Bull Jumpers 64\u003c\/p\u003e \u003cp\u003eGreek Sculpture: Stark Symmetry to a Delicate Balance 66\u003c\/p\u003e \u003cp\u003eKouros to Kritios Boy 66\u003c\/p\u003e \u003cp\u003eGolden Age sculptors: Myron, Polykleitos, and Phidias 68\u003c\/p\u003e \u003cp\u003eFourth-century sculpture 70\u003c\/p\u003e \u003cp\u003eFiguring Out Greek Vase Painting 71\u003c\/p\u003e \u003cp\u003eCool stick figures: The geometric style 71\u003c\/p\u003e \u003cp\u003eBlack-figure and red-figure techniques 72\u003c\/p\u003e \u003cp\u003eRummaging through Ruins: Greek Architecture 73\u003c\/p\u003e \u003cp\u003eGreece without Borders: Hellenism 76\u003c\/p\u003e \u003cp\u003eSculpting passion and struggle 76\u003c\/p\u003e \u003cp\u003eHonoring the classical in a new world 77\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8: Etruscan and Roman Art: It’s All Greek to Me! \u003c\/b\u003e\u003cb\u003e79\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Mysterious Etruscans 79\u003c\/p\u003e \u003cp\u003eTemple to tomb: Greek influence 79\u003c\/p\u003e \u003cp\u003eSmiles in stone: The eternally happy Etruscans 80\u003c\/p\u003e \u003cp\u003eInfusing Art with Roman Influence 80\u003c\/p\u003e \u003cp\u003eLinking the territory that was Rome 82\u003c\/p\u003e \u003cp\u003eArt as mirror: Roman realism and\u003c\/p\u003e \u003cp\u003eRepublican sculptural portraits 82\u003c\/p\u003e \u003cp\u003eProgressing on to propaganda 83\u003c\/p\u003e \u003cp\u003eShirking idealism for authenticity 84\u003c\/p\u003e \u003cp\u003eRealism in painting 85\u003c\/p\u003e \u003cp\u003eRoman mosaics 86\u003c\/p\u003e \u003cp\u003eRevealing Roman Architecture: A Marriage of Style and Engineering 87\u003c\/p\u003e \u003cp\u003eTemple of Portunus 87\u003c\/p\u003e \u003cp\u003eMaison Carrée 88\u003c\/p\u003e \u003cp\u003eRoman aqueducts 88\u003c\/p\u003e \u003cp\u003eThe Colosseum 88\u003c\/p\u003e \u003cp\u003eThe Pantheon 90\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 3: Art after the Fall of Rome: ad 500–ad 1760\u003c\/b\u003e\u003cb\u003e 93\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9: The Graven Image: Early Christian, Byzantine, and Islamic Art\u003c\/b\u003e\u003cb\u003e 95\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Rise and Fall of Constantinople 95\u003c\/p\u003e \u003cp\u003eChristianizing Rome 96\u003c\/p\u003e \u003cp\u003eAfter the fall: Divisions and schisms 96\u003c\/p\u003e \u003cp\u003eEarly Christian Art in the West 96\u003c\/p\u003e \u003cp\u003eRejecting paganism 97\u003c\/p\u003e \u003cp\u003eDrawing on Roman art and culture 97\u003c\/p\u003e \u003cp\u003eByzantine Art Meets Imperial Splendor 98\u003c\/p\u003e \u003cp\u003eJustinian and Early Byzantine architecture 98\u003c\/p\u003e \u003cp\u003eAmazing mosaics: Puzzle art 100\u003c\/p\u003e \u003cp\u003eSan Vitale: Justinian and Theodora mosaics 101\u003c\/p\u003e \u003cp\u003eThe mosaics of St Mark’s Basilica, Venice, Italy (Middle Byzantine) 103\u003c\/p\u003e \u003cp\u003eIcons and iconoclasm 103\u003c\/p\u003e \u003cp\u003eIslamic Art: Architectural Pathways to God 106\u003c\/p\u003e \u003cp\u003eThe Mosque of Córdoba 107\u003c\/p\u003e \u003cp\u003eThe dazzling Alhambra 109\u003c\/p\u003e \u003cp\u003eA temple of love: The Taj Mahal 110\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10: Mystics, Marauders, and Manuscripts: Medieval Art\u003c\/b\u003e\u003cb\u003e 113\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIrish Light: Illuminated Manuscripts 114\u003c\/p\u003e \u003cp\u003eA unique Christian mission 114\u003c\/p\u003e \u003cp\u003eBrowsing the Book of Kells, Lindisfarne Gospels, and other manuscripts 114\u003c\/p\u003e \u003cp\u003eDrolleries and the fun style 116\u003c\/p\u003e \u003cp\u003eCharlemagne: King of His Own Renaissance 117\u003c\/p\u003e \u003cp\u003eWeaving and Unweaving the Battle of Hastings: The Bayeux Tapestry 117\u003c\/p\u003e \u003cp\u003eProviding a battle blueprint 117\u003c\/p\u003e \u003cp\u003ePortraying everyday life in medieval England and France 118\u003c\/p\u003e \u003cp\u003ePeddling political propaganda 119\u003c\/p\u003e \u003cp\u003eMaking border crossings 119\u003c\/p\u003e \u003cp\u003eRomanesque Architecture: Churches That Squat 120\u003c\/p\u003e \u003cp\u003eSt Sernin 120\u003c\/p\u003e \u003cp\u003eDurham Cathedral 121\u003c\/p\u003e \u003cp\u003eRomanesque Sculpture 122\u003c\/p\u003e \u003cp\u003eNightmares in stone: Romanesque relief 123\u003c\/p\u003e \u003cp\u003eRoman sculpture revival 123\u003c\/p\u003e \u003cp\u003eRelics and Reliquaries: Miraculous Leftovers 123\u003c\/p\u003e \u003cp\u003eGothic Grandeur: Churches That Soar 125\u003c\/p\u003e \u003cp\u003eBuilding a church-and-state alliance 125\u003c\/p\u003e \u003cp\u003eBigger and brighter 125\u003c\/p\u003e \u003cp\u003eMaking something new from old parts 126\u003c\/p\u003e \u003cp\u003eFinishing touches and voilà! 127\u003c\/p\u003e \u003cp\u003eExpanding the Gothic dream 127\u003c\/p\u003e \u003cp\u003eStained-Glass Storytelling 127\u003c\/p\u003e \u003cp\u003eGothic Sculpture 128\u003c\/p\u003e \u003cp\u003eItalian Gothic 129\u003c\/p\u003e \u003cp\u003eGothic Painting: Cimabue, Duccio, and Giotto 130\u003c\/p\u003e \u003cp\u003eCimabue 130\u003c\/p\u003e \u003cp\u003eDuccio 132\u003c\/p\u003e \u003cp\u003eGiotto 133\u003c\/p\u003e \u003cp\u003eTracking the Lady and the Unicorn: The Mystical Tapestries of Cluny 134\u003c\/p\u003e \u003cp\u003eThemes of love and desire? 134\u003c\/p\u003e \u003cp\u003eThemes with religious connotation? 135\u003c\/p\u003e \u003cp\u003eThe questions remain 136\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11: Born-Again Culture: The Early and High Renaissance\u003c\/b\u003e\u003cb\u003e 137\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Early Renaissance in Central Italy 138\u003c\/p\u003e \u003cp\u003eThe Great Door Contest: Brunelleschi versus Ghiberti — And the winner is! 138\u003c\/p\u003e \u003cp\u003eThe Duomo of Florence 139\u003c\/p\u003e \u003cp\u003eVanishing points and perspective 140\u003c\/p\u003e \u003cp\u003eSandro Botticelli: A garden-variety Venus 144\u003c\/p\u003e \u003cp\u003eDonatello: Putting statues back on their feet 145\u003c\/p\u003e \u003cp\u003eThe High Renaissance 146\u003c\/p\u003e \u003cp\u003eReviving self-respect 146\u003c\/p\u003e \u003cp\u003eElevating humanity in art 147\u003c\/p\u003e \u003cp\u003eLeonardo da Vinci: Renaissance man 147\u003c\/p\u003e \u003cp\u003eLeonardo’s techniques 147\u003c\/p\u003e \u003cp\u003eLeonardo’s greatest works 148\u003c\/p\u003e \u003cp\u003eMichelangelo: The main man 150\u003c\/p\u003e \u003cp\u003eMichelangelo’s greatest works 152\u003c\/p\u003e \u003cp\u003eRaphael: The prince of painters 153\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12: Venetian Renaissance, Late Gothic, and the Renaissance in the North\u003c\/b\u003e\u003cb\u003e 157\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eA Gondola Ride through the Venetian Renaissance 158\u003c\/p\u003e \u003cp\u003eFirst stop, Bellini 158\u003c\/p\u003e \u003cp\u003eA shortcut to Mantegna and Giorgione 160\u003c\/p\u003e \u003cp\u003eDürer’s Venice vacations 161\u003c\/p\u003e \u003cp\u003eTouring the 16th century with Titian 162\u003c\/p\u003e \u003cp\u003eThe Venice of Veronese 164\u003c\/p\u003e \u003cp\u003eTintoretto and Renaissance ego 165\u003c\/p\u003e \u003cp\u003eLa Tintoretta: Marietta Robusti 166\u003c\/p\u003e \u003cp\u003ePalladio: The king of classicism 167\u003c\/p\u003e \u003cp\u003eLate Gothic: Northern Naturalism 168\u003c\/p\u003e \u003cp\u003eJan van Eyck: The Late Gothic ace 168\u003c\/p\u003e \u003cp\u003eRogier van der Weyden: Front and center 169\u003c\/p\u003e \u003cp\u003eNorthern Exposure: The Renaissance in the Netherlands and Germany 172\u003c\/p\u003e \u003cp\u003eDecoding Bosch 172\u003c\/p\u003e \u003cp\u003eDeciphering the dark symbolism of Grünewald 174\u003c\/p\u003e \u003cp\u003eDining with Bruegel the Elder 175\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 13: Art That’ll Stretch Your Neck: Mannerism\u003c\/b\u003e\u003cb\u003e 177\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDetecting the Non-Rules of Mannerism 177\u003c\/p\u003e \u003cp\u003ePontormo: Front and Center 178\u003c\/p\u003e \u003cp\u003eBronzino’s Background Symbols and Scene Layering 179\u003c\/p\u003e \u003cp\u003eParmigianino: He’s Not a Cheese! 180\u003c\/p\u003e \u003cp\u003eContrasting proportions and balance 181\u003c\/p\u003e \u003cp\u003eA surreal feel 181\u003c\/p\u003e \u003cp\u003eArcimboldo: À la Carte Art 182\u003c\/p\u003e \u003cp\u003eSofonisba Anguissola (1532–1625): Invading Art History’s Guys’ Club 183\u003c\/p\u003e \u003cp\u003eFinding a place in the Spanish court 183\u003c\/p\u003e \u003cp\u003eRubbing elbows with the court painters 184\u003c\/p\u003e \u003cp\u003eEl Greco: Stretched to the Limit 185\u003c\/p\u003e \u003cp\u003eEvolving a unique Mannerist style 185\u003c\/p\u003e \u003cp\u003eDrawing inspiration from mysticism 185\u003c\/p\u003e \u003cp\u003eHow unappreciated was El Greco? 186\u003c\/p\u003e \u003cp\u003eLavinia Fontana: The First Professional Female Painter 187\u003c\/p\u003e \u003cp\u003eApplying a rich education and broad network 187\u003c\/p\u003e \u003cp\u003eSupplying the missing female storyline 187\u003c\/p\u003e \u003cp\u003eEndowing Jesus with more humanity 188\u003c\/p\u003e \u003cp\u003eFinding Your Footing in Giulio Romano’s Palazzo Te 189\u003c\/p\u003e \u003cp\u003eArchitectural surprises outside 190\u003c\/p\u003e \u003cp\u003eAn inside to die for 190\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 14: When the Renaissance Went Baroque\u003c\/b\u003e\u003cb\u003e 193\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eBaroque Origin, Purpose, and Style 194\u003c\/p\u003e \u003cp\u003eAnnibale Carracci: Heavenly Ceilings 194\u003c\/p\u003e \u003cp\u003eShedding Light on the Subject: Caravaggio and His Followers 195\u003c\/p\u003e \u003cp\u003eElements of Caravaggio style 195\u003c\/p\u003e \u003cp\u003eCaravaggio style applied 196\u003c\/p\u003e \u003cp\u003eOrazio Gentileschi: Baroque’s gentle side, more or less 197\u003c\/p\u003e \u003cp\u003eShadow and light dramas: Artemisia Gentileschi 197\u003c\/p\u003e \u003cp\u003eElisabetta Sirani and an Art School for Women 199\u003c\/p\u003e \u003cp\u003eSirani’s notable career 199\u003c\/p\u003e \u003cp\u003ePortraying brave and capable women 200\u003c\/p\u003e \u003cp\u003eThe Ecstasy and the Ecstasy: Bernini Sculpture 202\u003c\/p\u003e \u003cp\u003eEmbracing Baroque Architecture 203\u003c\/p\u003e \u003cp\u003eMaderno and the launch of Baroque architecture 203\u003c\/p\u003e \u003cp\u003eBernini: Transforming St Peter’s Basilica 203\u003c\/p\u003e \u003cp\u003eBaroque style migrates northward 204\u003c\/p\u003e \u003cp\u003eFischer: Harmonizing Baroque style 204\u003c\/p\u003e \u003cp\u003eDutch and Flemish Realism 205\u003c\/p\u003e \u003cp\u003eRubens: Fleshy, flashy, and holy 206\u003c\/p\u003e \u003cp\u003eRembrandt: Self-portraits and life in the shadows 207\u003c\/p\u003e \u003cp\u003eLaughing with Hals 209\u003c\/p\u003e \u003cp\u003eBold Strokes: Judith Leyster 209\u003c\/p\u003e \u003cp\u003eVermeer: Musicians, maids, and girls with pearls 212\u003c\/p\u003e \u003cp\u003eFrench Flourish and Baroque Light Shows 213\u003c\/p\u003e \u003cp\u003ePoussin the Perfect 213\u003c\/p\u003e \u003cp\u003eCandlelit reverie and Georges de La Tour 213\u003c\/p\u003e \u003cp\u003eVersailles: Architecture as propaganda and the Sun King 214\u003c\/p\u003e \u003cp\u003eIn the Limelight with Caravaggio: The Spanish Golden Age 215\u003c\/p\u003e \u003cp\u003eRibera and Zurbarán: In the shadow of Caravaggio 215\u003c\/p\u003e \u003cp\u003eVelázquez: Kings and princesses 216\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 15: Going Loco with Rococo\u003c\/b\u003e\u003cb\u003e 219\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhat You Get in Rococo Art 220\u003c\/p\u003e \u003cp\u003eBreaking with Baroque: Antoine Watteau 221\u003c\/p\u003e \u003cp\u003eFragonard and Boucher: Lush, Lusty, and Lavish 222\u003c\/p\u003e \u003cp\u003eFrançois Boucher 222\u003c\/p\u003e \u003cp\u003eJean-Honoré Fragonard 222\u003c\/p\u003e \u003cp\u003eFlying High: Giovanni Battista Tiepolo 223\u003c\/p\u003e \u003cp\u003eRococo Lite: The Movement in England 223\u003c\/p\u003e \u003cp\u003eWilliam Hogarth 224\u003c\/p\u003e \u003cp\u003eThomas Gainsborough 224\u003c\/p\u003e \u003cp\u003eSir Joshua Reynolds 226\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 4: The Industrial Revolution Revs Up Art’s Evolution: 1760–1900\u003c\/b\u003e\u003cb\u003e 229\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 16: All Roads Lead Back to Rome and Greece: Neoclassical Art\u003c\/b\u003e\u003cb\u003e 231\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhen Philosophers and Artists Join Forces 232\u003c\/p\u003e \u003cp\u003eThe promotion of reason 232\u003c\/p\u003e \u003cp\u003eEnlightened views and political progress 232\u003c\/p\u003e \u003cp\u003eAngelica Kauffman: The Queen of Neoclassicism 233\u003c\/p\u003e \u003cp\u003eFocusing on women and brother- or sisterhood 233\u003c\/p\u003e \u003cp\u003eNot everyone loved the depictions 235\u003c\/p\u003e \u003cp\u003eJacques-Louis David: The King of Neoclassicism 235\u003c\/p\u003e \u003cp\u003eGrand, formal, and retro 236\u003c\/p\u003e \u003cp\u003ePropagandist for all sides 237\u003c\/p\u003e \u003cp\u003eJean Auguste Dominique Ingres: The Prince of Neoclassical Portraiture 238\u003c\/p\u003e \u003cp\u003eÉlisabeth Vigée Le Brun: Portraitist of the Queen and Fashion Setter 239\u003c\/p\u003e \u003cp\u003eIllustrating fashion trends 240\u003c\/p\u003e \u003cp\u003eFleeing for her life 241\u003c\/p\u003e \u003cp\u003eAdélaïde Labille-Guiard: From Ideal to Real and Royals to Revolutionaries 241\u003c\/p\u003e \u003cp\u003eStarting with socially acceptable miniatures 242\u003c\/p\u003e \u003cp\u003eGraduating to sizeable self-portraiture 242\u003c\/p\u003e \u003cp\u003eWorking with the Revolutionaries 243\u003c\/p\u003e \u003cp\u003eCanova and Houdon: Greek Grace and Neoclassical Sculpture 243\u003c\/p\u003e \u003cp\u003eAntonio Canova: Ace 18th-century sculptor 243\u003c\/p\u003e \u003cp\u003eJean-Antoine Houdon: In living stone 244\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 17: Romanticism: Reaching Within and Acting Out\u003c\/b\u003e\u003cb\u003e 247\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKissing Isn’t Romantic, but Having a Heart Is 247\u003c\/p\u003e \u003cp\u003eRomancing independence 248\u003c\/p\u003e \u003cp\u003eRomancing spirituality 248\u003c\/p\u003e \u003cp\u003eRomancing the wild 249\u003c\/p\u003e \u003cp\u003eFar Out with William Blake and Henry Fuseli: Personal Mythologies 249\u003c\/p\u003e \u003cp\u003eUnifying body and soul 249\u003c\/p\u003e \u003cp\u003eDrawing on imagination 250\u003c\/p\u003e \u003cp\u003eInside Out: Caspar David Friedrich 251\u003c\/p\u003e \u003cp\u003eThe Revolutionary French Romantics: Gericault and Delacroix 252\u003c\/p\u003e \u003cp\u003eThéodore Gericault 252\u003c\/p\u003e \u003cp\u003eEugène Delacroix 253\u003c\/p\u003e \u003cp\u003eFrancisco Goya and the Grotesque 255\u003c\/p\u003e \u003cp\u003eJ. M. W. Turner Sets the Skies on Fire 257\u003c\/p\u003e \u003cp\u003eRebels with a Cause 260\u003c\/p\u003e \u003cp\u003eCourbet and Daumier: Painting Peasants and Urban Blight 261\u003c\/p\u003e \u003cp\u003eGustave Courbet 261\u003c\/p\u003e \u003cp\u003eHonoré Daumier: Guts and grit 262\u003c\/p\u003e \u003cp\u003eThe Barbizon School and the Great Outdoors 263\u003c\/p\u003e \u003cp\u003eJean-François Millet: The noble peasants 263\u003c\/p\u003e \u003cp\u003eJean-Baptiste-Camille Corot: From naked truth to dressed-up reality 264\u003c\/p\u003e \u003cp\u003eRosa Bonheur: From a Horse Fair to Buffalo Bill 265\u003c\/p\u003e \u003cp\u003ePortraying the Paris horse fair 266\u003c\/p\u003e \u003cp\u003eGaining world-wide renown 267\u003c\/p\u003e \u003cp\u003eKeeping It Real in America 267\u003c\/p\u003e \u003cp\u003eAlong came Thomas Cole 267\u003c\/p\u003e \u003cp\u003eWestward ho! with Albert Bierstadt 269\u003c\/p\u003e \u003cp\u003eGeorge Catlin, painter of western Indian tribes 271\u003c\/p\u003e \u003cp\u003eEdmonia Lewis 272\u003c\/p\u003e \u003cp\u003eNavigating sun, storm, and sea with Winslow Homer 272\u003c\/p\u003e \u003cp\u003eBoating through America with Thomas Eakins 273\u003c\/p\u003e \u003cp\u003eThe Pre-Raphaelite Brotherhood: Medieval Visions and Painting Literature 273\u003c\/p\u003e \u003cp\u003eDante Gabriel Rossetti: Leader of the Pre-Raphaelites 274\u003c\/p\u003e \u003cp\u003eMarie Spartali Stillman: From model to artist 275\u003c\/p\u003e \u003cp\u003eJohn Everett Millais and soft-spoken symbolism 276\u003c\/p\u003e \u003cp\u003eThe Ten: America’s First Art Movement 276\u003c\/p\u003e \u003cp\u003eCelebrating the leisure class 277\u003c\/p\u003e \u003cp\u003eCreating art for art’s sake 278\u003c\/p\u003e \u003cp\u003eAshcan Artists: Capturing the Grit of Urban Life 278\u003c\/p\u003e \u003cp\u003ePresenting the urban underbelly 278\u003c\/p\u003e \u003cp\u003eIllustrating the rough life 279\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 19: First Impressions: Impressionism\u003c\/b\u003e\u003cb\u003e 281\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eM \u0026amp; M: Manet and Monet 282\u003c\/p\u003e \u003cp\u003eÉdouard Manet: Breaking the rules 283\u003c\/p\u003e \u003cp\u003eClaude Monet: From patches to flecks 284\u003c\/p\u003e \u003cp\u003ePretty Women and Painted Ladies: Renoir and Degas 286\u003c\/p\u003e \u003cp\u003eImpressionists and the movement’s midlife crisis 287\u003c\/p\u003e \u003cp\u003ePretty as a picture: Pierre-Auguste Renoir 287\u003c\/p\u003e \u003cp\u003eThe dancers of Edgar Degas 288\u003c\/p\u003e \u003cp\u003eCassatt, Morisot, and Other Female Impressionists 289\u003c\/p\u003e \u003cp\u003eMary Cassatt 290\u003c\/p\u003e \u003cp\u003eBerthe Morisot 291\u003c\/p\u003e \u003cp\u003eEva Gonzalès 292\u003c\/p\u003e \u003cp\u003eAmerican Impressionism 293\u003c\/p\u003e \u003cp\u003eWilliam Merritt Chase: An Impressionist with Realist ties 293\u003c\/p\u003e \u003cp\u003eFrieseke in the Giverny American Art Colony 294\u003c\/p\u003e \u003cp\u003eJane Peterson 295\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 20: Making Their Own Impression: The Post-Impressionists\u003c\/b\u003e\u003cb\u003e 297\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eYou’ve Got a Point: Pointillism, Georges-Pierre Seurat and Paul Signac 297\u003c\/p\u003e \u003cp\u003eObserving the science of color 297\u003c\/p\u003e \u003cp\u003eApplying the science of color 298\u003c\/p\u003e \u003cp\u003eRed-Light Art: Henri de Toulouse-Lautrec 299\u003c\/p\u003e \u003cp\u003eTracking the “Noble Savage”: Paul Gauguin 300\u003c\/p\u003e \u003cp\u003eBrittany paintings 301\u003c\/p\u003e \u003cp\u003eTahiti paintings 302\u003c\/p\u003e \u003cp\u003eGauguin’s influence 302\u003c\/p\u003e \u003cp\u003ePainting Energy: Vincent van Gogh 303\u003c\/p\u003e \u003cp\u003eTrading the ministry for art 303\u003c\/p\u003e \u003cp\u003eExpanding artistic energy 303\u003c\/p\u003e \u003cp\u003ePainting while confined 304\u003c\/p\u003e \u003cp\u003eLove Cast in Stone: Rodin and Claudel 304\u003c\/p\u003e \u003cp\u003eAuguste Rodin 305\u003c\/p\u003e \u003cp\u003eCamille Claudel 306\u003c\/p\u003e \u003cp\u003eThe Mask behind the Face: James Ensor 306\u003c\/p\u003e \u003cp\u003eThe Hills Are Alive with Geometry: Paul Cézanne 308\u003c\/p\u003e \u003cp\u003eArt Nouveau: Curves, Swirls, and Asymmetry 309\u003c\/p\u003e \u003cp\u003eArt Nouveau: Not a painting style 309\u003c\/p\u003e \u003cp\u003eMaking functionality pretty 310\u003c\/p\u003e \u003cp\u003eFairy-Tale Fancies and the Sandcastle Cathedral of Barcelona: Antoni Gaudí 310\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 5: Twentieth and Twenty-First Century Art\u003c\/b\u003e\u003cb\u003e 313\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 21: From Fauvism to Expressionism\u003c\/b\u003e\u003cb\u003e 315\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFauvism: Colors Fighting like Animals 315\u003c\/p\u003e \u003cp\u003eHenri Matisse 316\u003c\/p\u003e \u003cp\u003eAndré Derain 317\u003c\/p\u003e \u003cp\u003eMaurice de Vlaminck 317\u003c\/p\u003e \u003cp\u003eGerman Expressionism: Form Based on Feeling 318\u003c\/p\u003e \u003cp\u003eDie Brücke and World War I 318\u003c\/p\u003e \u003cp\u003eDer Blaue Reiter 321\u003c\/p\u003e \u003cp\u003eAustrian Expressionism: From Dream to Nightmare 324\u003c\/p\u003e \u003cp\u003eGustav Klimt and his languorous ladies 325\u003c\/p\u003e \u003cp\u003eEgon Schiele: Turning the self inside out 325\u003c\/p\u003e \u003cp\u003eOskar Kokoschka: Dark dreams and interior storms 326\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 22: Cubist Puzzles and Finding the Fast Lane with the Futurists \u003c\/b\u003e\u003cb\u003e329\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCubism: All Views At Once 329\u003c\/p\u003e \u003cp\u003ePablo Picasso 330\u003c\/p\u003e \u003cp\u003eAnalytic Cubism: Breaking things apart 332\u003c\/p\u003e \u003cp\u003eSynthetic Cubism: Gluing things together 332\u003c\/p\u003e \u003cp\u003eFernand Léger: Cubism for the commoner 333\u003c\/p\u003e \u003cp\u003eFuturism: Art That Broke the Speed Limit 333\u003c\/p\u003e \u003cp\u003eUmberto Boccioni 335\u003c\/p\u003e \u003cp\u003eGino Severini 335\u003c\/p\u003e \u003cp\u003ePrecisionism: Geometry as Art 336\u003c\/p\u003e \u003cp\u003eThe Harlem Renaissance and the Jazz Age 338\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 23: Nonobjective Art: Dada, Surrealism, and Abstract Expressionism\u003c\/b\u003e\u003cb\u003e 343\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSuprematism: Kazimir Malevich’s Reinvention of Space 343\u003c\/p\u003e \u003cp\u003eThe path to Suprematism 344\u003c\/p\u003e \u003cp\u003eReinventing the world in shape and color 344\u003c\/p\u003e \u003cp\u003eConstructivism: Showing Off Your Skeleton 345\u003c\/p\u003e \u003cp\u003eTatlin’s Tower 346\u003c\/p\u003e \u003cp\u003eA dance between time and space: Naum Gabo 346\u003c\/p\u003e \u003cp\u003ePiet Mondrian and the De Stijl Movement 347\u003c\/p\u003e \u003cp\u003eDada Turns the World on Its Head 347\u003c\/p\u003e \u003cp\u003eDada, the ground floor, and Cabaret Voltaire 348\u003c\/p\u003e \u003cp\u003eDada: Influencee and influencer 348\u003c\/p\u003e \u003cp\u003eMarcel Duchamp: Nudes, urinals, and hat racks 349\u003c\/p\u003e \u003cp\u003eHans (Jean) Arp: In and out of Dadaland 350\u003c\/p\u003e \u003cp\u003eSurrealism and Disjointed Dreams 351\u003c\/p\u003e \u003cp\u003eMax Ernst and his alter ego, Loplop 351\u003c\/p\u003e \u003cp\u003eSalvador Dalí: Melting clocks, dreamscapes, and ants 352\u003c\/p\u003e \u003cp\u003eRené Magritte: Help, my head’s on backwards! 354\u003c\/p\u003e \u003cp\u003eDissecting Frida Kahlo 354\u003c\/p\u003e \u003cp\u003eJoan Miro 356\u003c\/p\u003e \u003cp\u003eMy House Is a Machine: Modernist Architecture 357\u003c\/p\u003e \u003cp\u003eFrank Lloyd Wright: Bringing the outside in 357\u003c\/p\u003e \u003cp\u003eBauhaus boxes: Walter Gropius 359\u003c\/p\u003e \u003cp\u003eLe Corbusier: Machines for living and Notre-Dame du Haut 359\u003c\/p\u003e \u003cp\u003eAbstract Expressionism: Fireworks on Canvas 361\u003c\/p\u003e \u003cp\u003eArshile Gorky 361\u003c\/p\u003e \u003cp\u003eJackson Pollock: Flick, fling, drip, splash, swirl — action painting 362\u003c\/p\u003e \u003cp\u003eLee Krasner: Almost patterns 363\u003c\/p\u003e \u003cp\u003eWillem de Kooning 364\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 24: Anything-Goes Art: Fab Fifties and Psychedelic Sixties\u003c\/b\u003e\u003cb\u003e 365\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eArtsy Cartoons: Pop Art 365\u003c\/p\u003e \u003cp\u003eThe many faces of Andy Warhol 366\u003c\/p\u003e \u003cp\u003eBlam! Comic books on canvas: Roy Lichtenstein 367\u003c\/p\u003e \u003cp\u003eFantastic Realism 368\u003c\/p\u003e \u003cp\u003eErnst Fuchs: The father of the Fantastic Realists 368\u003c\/p\u003e \u003cp\u003eHundertwasser: Organic architecture and art 369\u003c\/p\u003e \u003cp\u003eLouise Nevelson: Picking up the Trash and Assemblage 370\u003c\/p\u003e \u003cp\u003eLouise Bourgeois: Sexualized sculpture 371\u003c\/p\u003e \u003cp\u003eLess-Is-More Art: Rothko, Newman, Stella, Frankenthaler, and Others 372\u003c\/p\u003e \u003cp\u003eColor Fields of dreams: Rothko and Newman 372\u003c\/p\u003e \u003cp\u003eHelen Frankenthaler 373\u003c\/p\u003e \u003cp\u003eMinimalism, more or less 373\u003c\/p\u003e \u003cp\u003ePhotorealism 374\u003c\/p\u003e \u003cp\u003eRichard Estes: Always in focus 374\u003c\/p\u003e \u003cp\u003eClinical close-ups: Chuck Close 375\u003c\/p\u003e \u003cp\u003eHelen Hardin: Native American Futurism 375\u003c\/p\u003e \u003cp\u003ePerformance Art and Installations 376\u003c\/p\u003e \u003cp\u003eFluxus: Intersections of the arts 376\u003c\/p\u003e \u003cp\u003eJoseph Beuys: Fanning out from Fluxus 377\u003c\/p\u003e \u003cp\u003eCarolee Schneemann: Body art and breaking taboos 378\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 25: Photography: From Science to Art\u003c\/b\u003e\u003cb\u003e 381\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Birth of Photography 381\u003c\/p\u003e \u003cp\u003eTransitioning from Science to Art 382\u003c\/p\u003e \u003cp\u003eAn early attempt to “artify” photography 383\u003c\/p\u003e \u003cp\u003eFocusing on documentary photography 384\u003c\/p\u003e \u003cp\u003eAlfred Stieglitz: Reliving the Moment 384\u003c\/p\u003e \u003cp\u003eRecognition for photography as high art 385\u003c\/p\u003e \u003cp\u003ePicturesque pictures 385\u003c\/p\u003e \u003cp\u003eHenri Cartier-Bresson’s uncanny eye 386\u003c\/p\u003e \u003cp\u003eFrom painting to photography 386\u003c\/p\u003e \u003cp\u003eStealth and the “Decisive Moment” 386\u003c\/p\u003e \u003cp\u003eGroup f\/64: Edward Weston, Imogen Cunningham, and Ansel Adams 387\u003c\/p\u003e \u003cp\u003eDorothea Lange: Depression to Dust Bowl 388\u003c\/p\u003e \u003cp\u003eMargaret Bourke-White: From Industrial Beauty to Political Statements 389\u003c\/p\u003e \u003cp\u003ePhotographing for Fortune 389\u003c\/p\u003e \u003cp\u003ePhotographing for Life 389\u003c\/p\u003e \u003cp\u003eFast-Forward: The Next Generation 391\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 26: The New World: Postmodern Art\u003c\/b\u003e\u003cb\u003e 393\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFrom Modern Pyramids to Titanium Twists: Postmodern Architecture 393\u003c\/p\u003e \u003cp\u003eViva Las Vegas! 394\u003c\/p\u003e \u003cp\u003eChestnut Hill: Case in point 394\u003c\/p\u003e \u003cp\u003ePhilip Johnson and urban furniture 395\u003c\/p\u003e \u003cp\u003eThe prismatic architecture of I M Pei 395\u003c\/p\u003e \u003cp\u003eDeconstructivist architecture of Peter Eisenman, Frank Gehry, and Zaha Hadid 396\u003c\/p\u003e \u003cp\u003eMaking It or Faking It? Postmodern Photography and Painting 399\u003c\/p\u003e \u003cp\u003eCindy Sherman: Morphing herself 399\u003c\/p\u003e \u003cp\u003eGerhard Richter: Reading between the layers 400\u003c\/p\u003e \u003cp\u003eInstallation Art and Earth Art 401\u003c\/p\u003e \u003cp\u003eJudy Chicago: A dinner table you can’t sit at 401\u003c\/p\u003e \u003cp\u003eIt’s a wrap: Christo and Jeanne-Claude 402\u003c\/p\u003e \u003cp\u003eRobert Smithson and earth art: Can you dig it? 403\u003c\/p\u003e \u003cp\u003eGlow-in-the-Dark Bunnies and Living, Genetic Art 404\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 6: The Part of Tens\u003c\/b\u003e\u003cb\u003e 407\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 27: Ten Must-See Art Museums\u003c\/b\u003e\u003cb\u003e 409\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Louvre (Paris) 409\u003c\/p\u003e \u003cp\u003eThe Uffizi (Florence) 410\u003c\/p\u003e \u003cp\u003eThe Vatican Museums (Rome) 410\u003c\/p\u003e \u003cp\u003eThe National Gallery (London) 410\u003c\/p\u003e \u003cp\u003eThe Metropolitan Museum of Art (NYC) 410\u003c\/p\u003e \u003cp\u003eThe Prado (Madrid) 411\u003c\/p\u003e \u003cp\u003eThe National Gallery of Art (D.C.) 411\u003c\/p\u003e \u003cp\u003eThe Rijksmuseum (Amsterdam) 411\u003c\/p\u003e \u003cp\u003eBritish Museum (London) 412\u003c\/p\u003e \u003cp\u003eThe Kunsthistorisches Museum (Vienna) 412\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 28: Ten Great Books by Ten Great Artists\u003c\/b\u003e\u003cb\u003e 413\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eOn Painting, by Leonardo da Vinci 413\u003c\/p\u003e \u003cp\u003eLives of the Most Eminent Painters, Sculptors, and Architects, by Giorgio Vasari 413\u003c\/p\u003e \u003cp\u003eComplete Poems and Selected Letters of Michelangelo 414\u003c\/p\u003e \u003cp\u003eThe Journal of Eugène Delacroix 414\u003c\/p\u003e \u003cp\u003eVan Gogh’s Letters 414\u003c\/p\u003e \u003cp\u003eRodin on Art, by Paul Gsell 414\u003c\/p\u003e \u003cp\u003eDer Blaue Reiter Almanac, edited by Wassily Kandinsky and Franz Marc 414\u003c\/p\u003e \u003cp\u003eConcerning the Spiritual in Art, by Wassily Kandinsky 415\u003c\/p\u003e \u003cp\u003eThe Diary of Frida Kahlo: An Intimate Self-Portrait 415\u003c\/p\u003e \u003cp\u003eHundertwasser Architecture: For a More Human Architecture in Harmony with Nature, by Friedensreich Hundertwasser 415\u003c\/p\u003e \u003cp\u003eAnd Others 415\u003c\/p\u003e \u003cp\u003eIndex 417\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJesse Bryant Wilder\u003c\/b\u003e is the founder, publisher, and editor of NEXUS, a series of interdisciplinary textbooks used in high schools around the country. He has written several textbooks on art and art history and was an art critic for \u003ci\u003eThe Plain Dealer\u003c\/i\u003e and Cleveland.com.\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eTurn your brain into an art academy\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eArt History For Dummies\u003c\/i\u003e is a time machine that guides you through the most beautiful, shocking, and influential moments in the history of human creativity. You’ll learn your Picasso from your Warhol, your Realism from your Rococo—and we’ll help you figure out why it all matters, anyway. In this new edition, you’ll discover more female artists, the Harlem Renaissance, and additional prominent art movements. Take a deep dive into art history with this full-color book, and impress your friends with how knowledgeable you’ve become. \u003c\/p\u003e\u003cp\u003e\u003cb\u003eInside…\u003c\/b\u003e \u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eCave paintings and ancient art\u003c\/li\u003e \u003cli\u003eThe classics of Greece and Rome\u003c\/li\u003e \u003cli\u003eThe art of architecture\u003c\/li\u003e \u003cli\u003eMedieval illuminations and religious art\u003c\/li\u003e \u003cli\u003eAll about the Renaissance\u003c\/li\u003e \u003cli\u003eAmerican Impressionism and Precisionism\u003c\/li\u003e \u003cli\u003e20\u003csup\u003eth\u003c\/sup\u003e century and Postmodern art\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"For Dummies","offers":[{"title":"Default Title","offer_id":47988763263205,"sku":"NP9781119868668","price":34.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119868668.jpg?v=1761781497","url":"https:\/\/k12savings.com\/products\/art-history-for-dummies-isbn-9781119868668","provider":"K12savings","version":"1.0","type":"link"}