{"product_id":"the-art-of-understanding-art-isbn-9780470658321","title":"The Art of Understanding Art","description":"\u003ci\u003eThe Art of Understanding Art\u003c\/i\u003e reveals to students and other readers new and meaningful ways of developing personal ideas and opinions about art and how to express them with confidence.\u003cbr\u003e \u003cbr\u003e   \u003cul\u003e \u003cli\u003eOffers an inquiry—unique among introductory art texts—into the learning process of understanding and appreciating art\u003c\/li\u003e \u003cli\u003eExamines the multiple issues and processes essential to making, analyzing and evaluating art\u003c\/li\u003e \u003cli\u003eUses cross-cultural examples to help readers develop comprehensive, yet personal, ways of looking at and thinking about art\u003c\/li\u003e \u003cli\u003eIncludes an annotated glossary of the 'Art World', institutions and individuals that play a role in defining art as well as diagrams, textboxes callouts and other visual elements to highlight information and enhance learning\u003c\/li\u003e \u003cli\u003eRichly illustrated with over 40 images\u003c\/li\u003e \u003cli\u003eSuggests innovative class assignments and projects useful for developing lesson plans, and offers an online companion site for additional illustrations and information\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eAcknowledgments xiii\u003c\/p\u003e \u003cp\u003eWhy Should Art Matter to You? A Message to Art Beginners xv\u003c\/p\u003e \u003cp\u003eIntroduction: What Is Art? xvi\u003c\/p\u003e \u003cp\u003eNavigating the Book: A User’s Guide xxi\u003c\/p\u003e \u003cp\u003eWhy Is Art Made? The Purposes of Art: A Brief Overview from A to Z xxiv\u003c\/p\u003e \u003cp\u003eThe Anatomy of a Work of Art xxxii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart One Making Art 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Artists and Patrons 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eArtists and Creators 3\u003c\/p\u003e \u003cp\u003eOriginality, Authorship, Authenticity 4\u003c\/p\u003e \u003cp\u003eAppropriations 8\u003c\/p\u003e \u003cp\u003eAttributions and Studio Practices 9\u003c\/p\u003e \u003cp\u003eCollaborations 11\u003c\/p\u003e \u003cp\u003eArtists and Multiple Works 12\u003c\/p\u003e \u003cp\u003eArtists and Artisans 12\u003c\/p\u003e \u003cp\u003eAnonymous Artists 13\u003c\/p\u003e \u003cp\u003eThe Creative Process: Inspiration and Influences 14\u003c\/p\u003e \u003cp\u003eSelf-Reflections 14\u003c\/p\u003e \u003cp\u003eThe Formative Years: Education, Family Life, and Personal Values 15\u003c\/p\u003e \u003cp\u003ePatronage 17\u003c\/p\u003e \u003cp\u003ePrivate Patronage 17\u003c\/p\u003e \u003cp\u003eReligious Patronage 18\u003c\/p\u003e \u003cp\u003eRoyal Patronage 19\u003c\/p\u003e \u003cp\u003eState, City, and Community Patronage 19\u003c\/p\u003e \u003cp\u003eToday’s Patronage: Corporations, Institutions, Foundations, and Grants 20\u003c\/p\u003e \u003cp\u003eSummary 21\u003c\/p\u003e \u003cp\u003eNotes 21\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Environment, Materials, and Other Resources 22\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEnvironment 23\u003c\/p\u003e \u003cp\u003eNatural Resources 23\u003c\/p\u003e \u003cp\u003eLocation 24\u003c\/p\u003e \u003cp\u003eClimate 24\u003c\/p\u003e \u003cp\u003eDialogues between the Environment and Art 25\u003c\/p\u003e \u003cp\u003eMaterials, Tools, and Technology 27\u003c\/p\u003e \u003cp\u003eMaterials and Artistic Values 27\u003c\/p\u003e \u003cp\u003eThe Attributes of Materials 28\u003c\/p\u003e \u003cp\u003eThe “Purity” of Materials and Mixed Media 29\u003c\/p\u003e \u003cp\u003eMaterials as Sources for Meaning 29\u003c\/p\u003e \u003cp\u003e“Unusual” Art Materials 31\u003c\/p\u003e \u003cp\u003eFound Objects 32\u003c\/p\u003e \u003cp\u003eThe Body as Art Material 32\u003c\/p\u003e \u003cp\u003eTools and Technology 34\u003c\/p\u003e \u003cp\u003eOther Resources: Knowledge and Information 36\u003c\/p\u003e \u003cp\u003eSummary 37\u003c\/p\u003e \u003cp\u003eNotes 37\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Context 38\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCultural Context 39\u003c\/p\u003e \u003cp\u003eArtistic Context 39\u003c\/p\u003e \u003cp\u003eArt Organizations, Institutions, and Events 40\u003c\/p\u003e \u003cp\u003eCulture, Science and Ideas 41\u003c\/p\u003e \u003cp\u003eHistorical, Political, and Religious Context 43\u003c\/p\u003e \u003cp\u003eHistorical Context and Current Events 43\u003c\/p\u003e \u003cp\u003ePolitical Context 44\u003c\/p\u003e \u003cp\u003eReligious Context 47\u003c\/p\u003e \u003cp\u003eSocietal Context 48\u003c\/p\u003e \u003cp\u003eEveryday Life 49\u003c\/p\u003e \u003cp\u003eThe Mass Media 49\u003c\/p\u003e \u003cp\u003eMoral Values 50\u003c\/p\u003e \u003cp\u003eSocial Context 51\u003c\/p\u003e \u003cp\u003eSummary 52\u003c\/p\u003e \u003cp\u003eNotes 52\u003c\/p\u003e \u003cp\u003eConclusion to Part One 53\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Two Disseminating Art 55\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 The Dissemination of Original Art 57\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eInstitutions 57\u003c\/p\u003e \u003cp\u003eMuseums 57\u003c\/p\u003e \u003cp\u003eCollections and Foundations 67\u003c\/p\u003e \u003cp\u003eGalleries 68\u003c\/p\u003e \u003cp\u003eAcademic-Affiliated Art Institutions 70\u003c\/p\u003e \u003cp\u003eBeyond Institutional Walls 71\u003c\/p\u003e \u003cp\u003eAlternative Spaces 71\u003c\/p\u003e \u003cp\u003ePublic Art 71\u003c\/p\u003e \u003cp\u003ePropaganda Art 72\u003c\/p\u003e \u003cp\u003eArt and Business 73\u003c\/p\u003e \u003cp\u003eThe Art Market and other Financial Matters 73\u003c\/p\u003e \u003cp\u003eArt Patrons, Collectors, Dealers, and Sponsors 74\u003c\/p\u003e \u003cp\u003eArtists and Business 75\u003c\/p\u003e \u003cp\u003eSummary 76\u003c\/p\u003e \u003cp\u003eNotes 76\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 The Dissemination of Art through Reproductions, and Other Issues 77\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePublications, Presentations, and Lectures 78\u003c\/p\u003e \u003cp\u003eBooks, Catalogues, and Periodicals (Articles, Essays, and Reviews) 78\u003c\/p\u003e \u003cp\u003eLectures, Courses, and Presentations 79\u003c\/p\u003e \u003cp\u003eThe Mass Media 80\u003c\/p\u003e \u003cp\u003eFilms, Documentaries, and DVDs 80\u003c\/p\u003e \u003cp\u003eThe Web 82\u003c\/p\u003e \u003cp\u003eArt and Popular Culture 84\u003c\/p\u003e \u003cp\u003eToday’s Art World 86\u003c\/p\u003e \u003cp\u003eThe Decontextualization of Art 87\u003c\/p\u003e \u003cp\u003eOriginal Context and Contemporary Times 88\u003c\/p\u003e \u003cp\u003e“The Art World” 89\u003c\/p\u003e \u003cp\u003eSummary 89\u003c\/p\u003e \u003cp\u003eNotes 90\u003c\/p\u003e \u003cp\u003eConclusion to Part Two 90\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Three Analyzing Art 91\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Visual Resources Used to Analyze Art 93\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Work of Art 94\u003c\/p\u003e \u003cp\u003eForm and Content 94\u003c\/p\u003e \u003cp\u003eThe Physical Condition of the Work of Art 98\u003c\/p\u003e \u003cp\u003eOriginals and Reproductions 100\u003c\/p\u003e \u003cp\u003eThe Preservation and Conservation of Art 101\u003c\/p\u003e \u003cp\u003eScientific Tools 103\u003c\/p\u003e \u003cp\u003eVisual Documentation and Research 103\u003c\/p\u003e \u003cp\u003eArtists’ “Body of Work” (Oeuvre) 104\u003c\/p\u003e \u003cp\u003eArtistic and Visual Context of the Time 104\u003c\/p\u003e \u003cp\u003eDrawings, Architectural Plans, and other Visual Resources 105\u003c\/p\u003e \u003cp\u003eNew Art\/Archaeological Discoveries 105\u003c\/p\u003e \u003cp\u003eSymbols in Art 106\u003c\/p\u003e \u003cp\u003eSummary 107\u003c\/p\u003e \u003cp\u003eNotes 108\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Textual and Other Resources Used to Analyze Art 109\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePrimary Textual Sources 110\u003c\/p\u003e \u003cp\u003eArchival Material 110\u003c\/p\u003e \u003cp\u003eArtists’ Letters, Notes, and Statements 111\u003c\/p\u003e \u003cp\u003eProvenance 114\u003c\/p\u003e \u003cp\u003eSecondary Textual Sources 114\u003c\/p\u003e \u003cp\u003eArt-Historical Literature 115\u003c\/p\u003e \u003cp\u003eOriginal Context and History 115\u003c\/p\u003e \u003cp\u003eToday’s Art History, Criticism, and Context 116\u003c\/p\u003e \u003cp\u003eAdditional Resources for Research 117\u003c\/p\u003e \u003cp\u003eArt Institutions and Exhibitions 117\u003c\/p\u003e \u003cp\u003eOnline and Other Sources 117\u003c\/p\u003e \u003cp\u003eComparisons 119\u003c\/p\u003e \u003cp\u003e“Conventional” Art Comparisons 119\u003c\/p\u003e \u003cp\u003eCross-Chronological and Cross-Cultural Comparisons 123\u003c\/p\u003e \u003cp\u003eVisual Culture and Interdisciplinary Comparisons 124\u003c\/p\u003e \u003cp\u003eSummary 125\u003c\/p\u003e \u003cp\u003eNotes 125\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 A Critical Examination of Art Classification 126\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eReflections on Art Classification 126\u003c\/p\u003e \u003cp\u003eIdentifying the Category of “Art” 126\u003c\/p\u003e \u003cp\u003eThe Roots of Art Classification 129\u003c\/p\u003e \u003cp\u003eCriteria for Art Classification 130\u003c\/p\u003e \u003cp\u003eChronology and Artistic Periods 130\u003c\/p\u003e \u003cp\u003eMedia 132\u003c\/p\u003e \u003cp\u003eFine Art\/High Art 132\u003c\/p\u003e \u003cp\u003ePainting, Drawings, Prints, and Sculptures 133\u003c\/p\u003e \u003cp\u003ePhotography 134\u003c\/p\u003e \u003cp\u003eMixed Media 134\u003c\/p\u003e \u003cp\u003eNew Media 135\u003c\/p\u003e \u003cp\u003eMultimedia 136\u003c\/p\u003e \u003cp\u003eGraphic Arts 137\u003c\/p\u003e \u003cp\u003e“Minor Arts” 137\u003c\/p\u003e \u003cp\u003eDecorative Arts 138\u003c\/p\u003e \u003cp\u003eCrafts 138\u003c\/p\u003e \u003cp\u003eArchitecture 138\u003c\/p\u003e \u003cp\u003eOther Categories 139\u003c\/p\u003e \u003cp\u003e“Low” Art and Popular Culture 139\u003c\/p\u003e \u003cp\u003e“Outsider” Art 140\u003c\/p\u003e \u003cp\u003eNaïve and Folk Art 141\u003c\/p\u003e \u003cp\u003eVernacular Art 141\u003c\/p\u003e \u003cp\u003eVisual and Material Culture 141\u003c\/p\u003e \u003cp\u003eSummary 142\u003c\/p\u003e \u003cp\u003eNotes 142\u003c\/p\u003e \u003cp\u003eConclusion to Part Three 142\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Four Interpreting Art 143\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Interpreting Art: Criteria and Values 145\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePreconceived Ideas about Art 146\u003c\/p\u003e \u003cp\u003eModern Art and the Audience 148\u003c\/p\u003e \u003cp\u003eArtistic Values and Art Appreciation 150\u003c\/p\u003e \u003cp\u003eModernism 152\u003c\/p\u003e \u003cp\u003eThe Avant-Garde 152\u003c\/p\u003e \u003cp\u003eThe Modernist Artist 153\u003c\/p\u003e \u003cp\u003eModernism and Global Traditions 153\u003c\/p\u003e \u003cp\u003eOriginality and the Original 154\u003c\/p\u003e \u003cp\u003eSystem of Values 154\u003c\/p\u003e \u003cp\u003ePostmodernism 155\u003c\/p\u003e \u003cp\u003eMulticulturalism 155\u003c\/p\u003e \u003cp\u003eOriginality and the Original (Imitation\/Appropriation\/Re-purposing) 156\u003c\/p\u003e \u003cp\u003eThe Postmodern Artist 156\u003c\/p\u003e \u003cp\u003eSystem of Values 156\u003c\/p\u003e \u003cp\u003eInterpreting Art: Getting Started 157\u003c\/p\u003e \u003cp\u003eUnderstanding Images 157\u003c\/p\u003e \u003cp\u003eLooking at and Interpreting Art 158\u003c\/p\u003e \u003cp\u003eSummary 161\u003c\/p\u003e \u003cp\u003eNotes 161\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Methodologies of Art 162\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Art Methodologies 163\u003c\/p\u003e \u003cp\u003eBiography\/Autobiography 163\u003c\/p\u003e \u003cp\u003eConnoisseurship 164\u003c\/p\u003e \u003cp\u003eContext 165\u003c\/p\u003e \u003cp\u003eDeconstruction 166\u003c\/p\u003e \u003cp\u003eFeminism 167\u003c\/p\u003e \u003cp\u003eFormalism and Style 167\u003c\/p\u003e \u003cp\u003eGender 168\u003c\/p\u003e \u003cp\u003eIconography 169\u003c\/p\u003e \u003cp\u003eMulticulturalism 169\u003c\/p\u003e \u003cp\u003ePostcolonialism 170\u003c\/p\u003e \u003cp\u003ePsychoanalysis 170\u003c\/p\u003e \u003cp\u003eSemiotics 171\u003c\/p\u003e \u003cp\u003eStructuralism\/Poststructuralism 172\u003c\/p\u003e \u003cp\u003eVisual Culture 172\u003c\/p\u003e \u003cp\u003eArt Interpretation: Case Study 173\u003c\/p\u003e \u003cp\u003eSummary 179\u003c\/p\u003e \u003cp\u003eNotes 179\u003c\/p\u003e \u003cp\u003eConclusion 180\u003c\/p\u003e \u003cp\u003eAppendix 1 The Art World 182\u003c\/p\u003e \u003cp\u003eAppendix 2 Creative Assignments and Writing Projects 189\u003c\/p\u003e \u003cp\u003eAppendix 3 Glossary 194\u003c\/p\u003e \u003cp\u003eAppendix 4 “Tools of the Trade” Diagrams: Form and Content (1–5) and Art Media (6–8) 210\u003c\/p\u003e \u003cp\u003eList of Figures and Color Plates 218\u003c\/p\u003e \u003cp\u003eBibliography 220\u003c\/p\u003e \u003cp\u003eIndex 227\u003c\/p\u003e \u003cb\u003eIrina D. Costache, Ph.D.\u003c\/b\u003e, is an art historian and Professor of Art History at California State University Channel Islands. Her innovative teaching methodologies have been recognized with awards and grants. She has curated several exhibitions, including \u003ci\u003ePostmodern Calligraphies\u003c\/i\u003e, \u003ci\u003eNature and\/or Technology\u003c\/i\u003e and \u003ci\u003eLine and Color\u003c\/i\u003e. Her presentations and publications include \u003ci\u003eThis is Not a Painting: Art History and the Internet\u003c\/i\u003e,\u003ci\u003e Visual Culture\/ Virtual Art\u003c\/i\u003e, \u003ci\u003eItalian Futurism and the Decorative Arts\u003c\/i\u003e, and \u003ci\u003eFuturist Film: an Incomplete Project\u003c\/i\u003e.\u003cbr\u003e  \u003ci\u003eThe Art of Understanding Art\u003c\/i\u003e is a truly innovative textbook that presents and explains “behind the scene” activities, methods and tools involved in the creation, dissemination, analysis and interpretation of art. Addressing topics not usually covered in traditional introductory texts—provenance, art conservation, art classification, primary and secondary textual research sources, museums and the web, copyrights—the book is a comprehensive guide to deciphering and appreciating the riotous visual world that is now backdrop to our daily lives.\u003cbr\u003e  \u003cbr\u003e Rather than offering an inventory of masterpieces and artists, \u003ci\u003eThe Art of Understanding Art\u003c\/i\u003e reveals a novel pedagogical vision designed to educate readers to develop a global visual literacy, and an understanding of art that is distinctly related to, and transformative of, the way they view the world.   Ample pedagogical material—useful introductions, text boxes, a glossary of institutions and individuals, innovative class assignments, projects useful for developing lesson plans, and an accompanying companion website enables \u003ci\u003eThe Art of Understanding Art\u003c\/i\u003e to expose new possibilities for teaching, learning, and reflecting about art.  “Through its refreshing, innovative approach to its subject, its short, thoughtful essays, and its selective case studies, Irina Costache's The Art of Understanding Art gives students and educators of art history a valuable new resource.”\u003cbr\u003e - \u003ci\u003eClare Kunny, The J. Paul Getty Museum\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003e   \u003cp\u003e“The Art of Understanding Art offers the readers multi-layered approaches to the visual history of being human, and to interpreting these visual representations; and it has very engaging creative assignments and writing projects for each chapter.”\u003cbr\u003e - \u003ci\u003eLaura Ruby, University of Hawai’i–Manoa\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“Costache goes far beyond any other introductory text in its range of inquiry and examples, and the extent to which she maps out the art world, including the academic world the students who will be using the book find themselves in.  Instead of talking about only works by Monet and Van Gogh, in museums that none will visit, she connects the dots between the odd and perplexing stuff students are likely to see being made around them by fellow art students or faculty, and the art hanging in museums.\"\u003cbr\u003e - \u003ci\u003eBruce Robertson, Professor, History of Art and Architecture, and Acting Director, Art, Design \u0026amp; Architecture Museum, UC Santa Barbara\u003c\/i\u003e\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47990162981093,"sku":"NP9780470658321","price":93.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780470658321.jpg?v=1761786745","url":"https:\/\/k12savings.com\/products\/the-art-of-understanding-art-isbn-9780470658321","provider":"K12savings","version":"1.0","type":"link"}