Now in its second edition, this volume is an accessible introduction to the history of art. Using an international range of examples, it provides the reader with a toolkit of concepts, ideas and methods relevant to understanding art history. This new edition is fully updated with colour illustrations, increased coverage of non-western art and extended discussions of contemporary art theory. It introduces key ideas, issues and debates, exploring questions such as: What is art and what is meant by art history? What approaches and methodologies are used to interpret and evaluate art? How have ideas regarding medium, gender, identity and difference informed representation? What perspectives can psychoanalysis, semiotics and social art histories bring to the study of the discipline? How are the processes of postcolonialism, decolonisation and globalisation changing approaches to art history? Complete with helpful subject summaries, a glossary, suggestions for future reading and guidance on relevant image archives, this book is an ideal starting point for anyone studying art history as well as general readers with an interest in the subject.
The last few decades have been among the most dynamic within recent British cultural history. Artists across all genres and media have developed and re-fashioned their practice against a radically changing social and cultural landscape – both national and global. This book takes a fresh look at some of the themes, ideas and directions which have informed British art since the later 1980s through to the first decade of the new millennium. In addition to discussing some iconic images and examples, it also looks more broadly at the contexts in which a new ‘post-conceptual’ generation of artists, those typically born since the late 1950s and 1960s have approached and developed aspects of their professional practice. Contemporary British Art is an ideal introduction to the field. To guide the reader, the book is organised around genres or related practices – painting; sculpture and installation; and film, video and performance. The first chapter explores aspects of the contemporary art market and some of the contexts within which art is made, supported and exhibited. The chapters that discuss various genres of art practice also mention books that may be useful to support further reading. Extensively illustrated with a wide range of work (both known, and less well-known) from artists such as Chris Ofili, Rachel Whiteread, Damien Hirst, Banksy, Anthony Gormley, Jack Vettriano, Sam Taylor-Wood, Steve McQueen and Tracey Emin, and many more.
Art History: The Basics is a concise and accessible introduction for the general reader and the undergraduate approaching the history of art for the first time at college or university. It will give you answers to questions like: What is art and art history? What are the main methodologies used to understand art? How have ideas about form, sex and gender shaped representation? What connects art with psychoanalysis, semiotics and Marxism? How are globalization and postmodernism changing art and art history? Each chapter introduces key ideas, issues and debates in art history, including information on relevant websites and image archives. Fully illustrated with an international range of artistic examples, Art History: The Basics also includes helpful subject summaries, further ideas for reading in each chapter, and a useful glossary for easy reference.
More than a decade after his death, George Grant continues to stimulate, challenge, and inspire. During his lifetime he influenced a broad cross-section of Canadians, urging them to think more deeply about matters of social justice and individual responsibility. He wrote on subjects as diverse as technology, abortion, Canadian politics and nationalism, and the war in Vietnam, and was claimed equally by rightist and leftist causes. Grant's legacy includes six books and more than two hundred articles, as well as numerous broadcast transcripts, extensive correspondence, and a wealth of unpublished lectures, essays, and notes. In this projected eight-volume series, Grant's published and unpublished writings, including his complete correspondence, will be brought together for the first time. The texts are annotated, and each volume includes an introduction to the period that it covers. The series will not only make it possible to see the whole pattern of Grant's thought, but will also invite a reconsideration of the nature and importance of his work. Volume I covers Grant's intellectual development through his student years. Included are his early reviews, a brief journal written as he recovered from tuberculosis in 1942, and his earliest social and political writings about Canadian and international affairs. The most important of Grant's formative years were those spent at Oxford after the war, culminating in the writing of his DPhil thesis on the Scottish philosopher John Oman. In this dissertation, published here in full, we see the main themes of Grant's thought worked out for the first time.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
National Endowment for the Humanities Survey reveals that only 406 of 700 college seniors were able to answer correctly in which half-century the Civil War took place. This distressing statistic is not only an indictment of the nation's educational system, it also points an accusing finger at the textbooks & histories which line the shelves of libraries & bookstores. This book will not reform our school program. It will, however, present a different concept of the way that historical biographies may be written. In this book, the author, a retired Air Force colonel & former Director of Military History at The National War College, encapsulates the dominant personalities of the Civil War & many of the events into just 245 easily read pages. Despite its conciseness, the author analyzes Grant's attributes & failings & leads the reader through the legendary minefield of Grant myths to a clear understanding of this much maligned man. Thoroughly dissected are subjects as Grant's reputation as an alcoholic, his meteoric rise from despondent store clerk to Commanding General & the dark cloud of failure which hovered over him in civilian life. Blended with Grant's story are graphic descriptions of the bloody battles as well as his relations with Lincoln, Lee & others.
Grant was a prolific writer, engaged by subjects ranging from Canadian politics to ancient philosophy. The first book to bring together a comprehensive selection of his work, allowing readers to sample the whole range of his interests in one volume.
William Christian has selected some three hundred letters, postcards, telegrams, and journal entries which reveal much about Grant - both the troubled man and the daring thinker.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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