Janson's History of Art Portable Edition Book 4: The Modern World Plus MyArtsLab with eText -- Access Card Package

ALERT: Before you purchase, check with your instructor or review your course syllabus to ensure that you select the correct ISBN. Several versions of Pearson's MyLab & Mastering products exist for each title, including customized versions for individual schools, and registrations are not transferable. In addition, you may need a CourseID, provided by your instructor, to register for and use Pearson's MyLab & Mastering products.   Packages Access codes for Pearson's MyLab & Mastering products may not be included when purchasing or renting from companies other than Pearson; check with the seller before completing your purchase.   Used or rental books If you rent or purchase a used book with an access code, the access code may have been redeemed previously and you may have to purchase a new access code.   Access codes Access codes that are purchased from sellers other than Pearson carry a higher risk of being either the wrong ISBN or a previously redeemed code. Check with the seller prior to purchase.   --For courses in the History of Art.   Rewritten and reorganized, this new edition weaves together the most recent scholarship, the most current thinking in art history, and the most innovative online supplements, including MyArtsLab and the Prentice Hall Digital Art Library. Experience the new Janson and re-experience the history of art.   The Portable Edition of Janson’s History of Art, Eighth Edition features four lightweight, paperback books packaged together along with optional access to a powerful student website, www.myartslab.com, making the text more student friendly than ever.  Janson’s History of Art is still available in the original hardcover edition and in Volume I and Volume II splits. The Portable Edition is comprised of four books, each representing a major period of art history:   Long established as the classic and seminal introduction to art of the Western world, the Eighth Edition of Janson's History of Art is groundbreaking. When Harry Abrams first published the History of Art in 1962, John F. Kennedy occupied the White House, and Andy Warhol was an emerging artist.  Janson offered his readers a strong focus on Western art, an important consideration of technique and style, and a clear point of view. The History of Art, said Janson, was not just a stringing together of historically significant objects, but the writing of a story about their interconnections, a history of styles and of stylistic change. Janson’s text focused on the visual and technical characteristics of the objects he discussed, often in extraordinarily eloquent language. Janson’s History of Art helped to establish the canon of art history for many generations of scholars.   The new Eighth Edition, although revised to remain current with new discoveries and scholarship, continues to follow Janson’s lead in important ways: It is limited to the Western tradition, with a chapter on Islamic art and its relationship to Western art. It keeps the focus of the discussion on the object, its manufacture, and its visual character. It considers the contribution of the artist as an important part of the analysis. This edition maintains an organization along the lines established by Janson, with separate chapters on the Northern European Renaissance, the Italian Renaissance, the High Renaissance, and Baroque art, with stylistic divisions for key periods of the modern era. Also embedded in this edition is the narrative of how art has changed over time in the cultures that Europe has claimed as its patrimony.

Table of Contents:
Preface xiv Faculty and Student Resources for Teaching and Learning with Janson’s History of Art xix Introduction xxi   PART FOUR: THE MODERN WORLD   Chapter 23: Art in the Age of the Enlightenment, 1750—1789 ROME TOWARD 1760: THE FONT OF NEOCLASSICISM 787 Artistic Foundations of Neoclassicism: Mengs and Hamilton 788 ROMANTICISM IN ROME: PIRANESI 789 NEOCLASSICISM IN BRITAIN 790 Sculpture and Painting: Historicism, Morality, and Antiquity 791 MATERIALS AND TECHNIQUES: Josiah Wedgwood and Neoclassical Jasperware 792 The Birth of Contemporary History Painting 793 Grand Manner Portraiture in the Neoclassical Style: Joshua Reynolds 795 THE ART HISTORIAN’S LENS: The Elusive Meaning of West’s The Death of General Wolfe 795 Architecture and Interiors: The Palladian Revival 796 EARLY ROMANTICISM IN BRITAIN 798 Architecture and Landscape Design: The Sublime and the Picturesque 799 Early Romantic Painting in Britain 801 Romanticism in Grand Manner Portraiture: Thomas Gainsborough 805 NEOCLASSICISM IN FRANCE 806 Architecture: Rational Classicism 806 The Sublime in Neoclassical Architecture: The Austere and the Visionary 808 Painting and Sculpture: Expressing Enlightenment Values 810 PRIMARY SOURCES: Denis Diderot (1713—1784) 812 The Climax of Neoclassicism: The Paintings of Jacques-Louis David 813 PRIMARY SOURCES: Étienne-Jean Delécluze (1781—1863) 813 Neoclassical Portraiture: Marie-Louise-Élisabeth Vigée-Lebrun 816 ITALIAN NEOCLASSICISM TOWARD 1785 817 Neoclassical Sculpture: Antonio Canova 817   Chapter 24: Art in the Age of Romanticism, 1789—1848 PAINTING 823 Spain: Francisco Goya 823 Britain: Spiritual Intensity and the Bond with Nature 825 MATERIALS AND TECHNIQUES: Blake’s Printing Process 827 PRIMARY SOURCES: John Constable (1776—1837) 829 Germany: Friedrich’s Pantheistic Landscape 831 America: Landscape as Metaphor 832 France: Neoclassical Romanticism 835 France: Painterly Romanticism and Romantic Landscape 840 PRIMARY SOURCES: Eugène Delacroix (1798—1863) 845 Romantic Landscape Painting 847 ROMANTIC SCULPTURE 850 ROMANTIC REVIVALS IN ARCHITECTURE 851 Britain: The Sublime and the Picturesque 851 Germany: Creating a New Athens 854 America: An Ancient Style for a New Republic 854 France: Empire Style 856   Chapter 25: The Age of Positivism: Realism, Impressionism, and the Pre-Raphaelites, 1848—1885 REALISM IN FRANCE 860 Realism in the 1840s and 1850s: Painting Contemporary Social Conditions 861 The Realist Assault on Academic Values and Bourgeois Taste 866 Impressionism: A Different Form of Realism 871 PRIMARY SOURCES: Lila Cabot Perry (1848?—1933) 872 MATERIALS AND TECHNIQUES: Impressionist Color Theory 874 BRITISH REALISM 881 The Pre-Raphaelite Brotherhood 881 The Aesthetic Movement: Personal Psychology and Repressed Eroticism 884 PRIMARY SOURCES: James Abbott McNeill Whistler (1834—1903) 885 REALISM IN AMERICA 887 Scientific Realism: Thomas Eakins 887 Iconic Imagery: Winslow Homer 888 THE ART HISTORIAN’S LENS: An Artist's Reputation and Changes in Art Historical Methodology 889 PHOTOGRAPHY: A MECHANICAL MEDIUM FOR MASS-PRODUCED ART 890 First Innovations 891 Recording the World 891 Reporting the News: Photojournalism 894 Photography as Art: Pictorialism and Combination Printing 895 PRIMARY SOURCES: Charles Baudelaire (1821—1867) 896 ARCHITECTURE AND THE INDUSTRIAL REVOLUTION 897 Ferrovitreous Structures: Train Sheds and Exhibition Palaces 898 Historic Eclecticism and Technology 899 Announcing the Future: The Eiffel Tower 900   Chapter 26: Progress and Its Discontents: Post-Impressionism, Symbolism, and Art Nouveau, 1880—1905 POST-IMPRESSIONISM 905 Paul Cézanne: Toward Abstraction 905 PRIMARY SOURCES: Paul Cézanne (1839—1906) 907 Georges Seurat: Seeking Social and Pictorial Harmony 908 Henri de Toulouse-Lautrec: An Art for the Demimonde 911 MATERIALS AND TECHNIQUES: Lithography 911 Vincent van Gogh: Expression Through Color and Symbol 912 Paul Gauguin: The Flight from Modernity 915 PRIMARY SOURCES: Paul Gauguin (1848—1903) 917 SYMBOLISM 917 The Nabis 917 Other Symbolist Visions in France 918 Symbolism Beyond France 920 Symbolist Currents in American Art 922 THE ART HISTORIAN’S LENS: Feminist Art History 923 The Sculpture of Rodin 924 ART NOUVEAU AND THE SEARCH FOR MODERN DESIGN 927 The Public and Private Spaces of Art Nouveau 927 AMERICAN ARCHITECTURE: THE CHICAGO SCHOOL 931 Henry Hobson Richardson: Laying the Foundation for Modernist Architecture 931 Louis Sullivan and Early Skyscrapers 932 Frank Lloyd Wright and the Prairie House 934 PHOTOGRAPHY AND THE ADVENT OF FILM 936 Pictorialist Photography and the Photo Secession 936 Documentary Photography 939 Motion Photography and Moving Pictures 940   Chapter 27: Toward Abstraction: The Modernist Revolution, 1904—1914 FAUVISM 946 CUBISM 950 Reflecting and Shattering Tradition: Les Demoiselles d’Avignon 950 THE ART HISTORIAN’S LENS: The Myth of the Primitive 951 Analytic Cubism: Picasso and Braque 952 Synthetic Cubism: The Power of Collage 953 THE IMPACT OF FAUVISM AND CUBISM 955 German Expressionism 955 MATERIALS AND TECHNIQUES: The Woodcut in German Expressionism 958 PRIMARY SOURCES: Vasily Kandinsky (1866—1944) 960 Austrian Expressionism 962 Cubism after Picasso and Braque: Paris 963 Italian Futurism: The Visualization of Movement and Energy 964 Cubo-Futurism and Suprematism in Russia 966 PRIMARY SOURCES: Kazimir Malevich (1878—1935) 968 Cubism and Fantasy: Marc Chagall and Giorgio de Chirico 969 MARCEL DUCHAMP AND THE ADVENT OF AN ART OF IDEAS 970 CONSTANTIN BRANCUSI AND THE BIRTH OF MODERNIST SCULPTURE 972 AMERICAN ART 974 America’s First Modernists: Arthur Dove and Marsden Hartley 975 EARLY MODERN ARCHITECTURE IN EUROPE 976 Austrian and German Modernist Architecture 976 German Expressionist Architecture 979   Chapter 28: Art Between the Wars DADA 985 Zurich Dada: Jean Arp 985 New York Dada: Marcel Duchamp 986 Berlin Dada 987 Cologne Dada 991 PRIMARY SOURCES: Hannah Höch (1889—1978) 991 Paris Dada: Man Ray 992 SURREALISM 993 Picasso and Surrealism 993 Surrealism in Paris: Spurring the Imagination 995 Representational Surrealism: Magritte and Dalí 996 Surrealism and Photography 999 The Surrealist Object 999 ORGANIC SCULPTURE OF THE 1930S 1000 Alexander Calder in Paris 1001 Henry Moore and Barbara Hepworth in England 1002 PRIMARY SOURCES: Barbara Hepworth (1903—1975) 1003 CREATING UTOPIAS 1003 Russian Constructivism: Productivism and Utilitarianism 1003 De Stijl and Universal Order 1005 The Bauhaus: Creating the “New Man” 1007 PRIMARY SOURCES: Piet Mondrian (1872—1944) 1007 The Machine Aesthetic in Paris 1011 PRIMARY SOURCES: Le Corbusier (1886—1965) 1012 MATERIALS AND TECHNIQUES: Reinforced Concrete 1013 ART IN AMERICAN: MODERNITY, SPIRITUALITY, AND REGIONALISM 1015 The City and Industry 1015 Art Deco and the International Style 1020 Seeking the Spiritual 1021 Regionalism and National Identity 1023 The Harlem Renaissance 1024 MEXICAN ART: SEEKING A NATIONAL IDENTITY 1025 Diego Rivera 1025 THE EVE OF WORLD WAR II 1028 America: The Failure of Modernity 1028 Europe: The Rise of Fascism 1030   Chapter 29: Postwar to Postmodern, 1945—1980 EXISTENTIALISM IN NEW YORK: ABSTRACT EXPRESSIONISM 1036 The Bridge from Surrealism to Abstract Expressionism: Arshile Gorky 1036 Abstract Expressionism: Action Painting 1038 PRIMARY SOURCES: Jackson Pollock (1912—1956) 1038 Abstract Expressionism: Color-Field Painting 1040 New York Sculpture: David Smith and Louise Nevelson 1041 EXISTENTIALISM IN EUROPE: FIGURAL EXPRESSIONISM 1042 Jean Dubuffet 1042 Francis Bacon 1043 REJECTING ABSTRACT EXPRESSIONISM: AMERICAN ART OF THE 1950s AND 1960s 1044 Re-Presenting Life and Dissecting Painting 1044 Environments and Performance Art 1046 Pop Art: Consumer Culture as Subject 1049 PRIMARY SOURCES: Roy Lichtenstein (1923—1997) 1050 FORMALIST ABSTRACTION OF THE 1950s AND 1960s 1053 Formalist Painting 1053 Formalist Sculpture: Minimal Art 1056 PRIMARY SOURCES: Frank Stella (b. 1936) 1056 THE PLURALIST 1970s: POST-MINIMALISM 1058 Post-Minimal Sculpture: Geometry and Emotion 1058 Earthworks and Site-Specific Art 1059 THE ART HISTORIAN’S LENS: Studying the Absent Object 1059 Conceptual Art: Art as Idea 1062 Television Art: Nam June Paik 1063 ART WITH A SOCIAL AGENDA 1064 Street Photography 1064 African-American Art: Ethnic Identity 1065 PRIMARY SOURCES: Romare Bearden (1911—1988) 1066 Feminist Art: Judy Chicago and Gender Identity 1068 LATE MODERNIST ARCHITECTURE 1069 Continuing the International Style: Ludwig Mies van der Rohe 1069 Sculptural Architecture: Referential Mass 1070   Chapter 30: The Postmodern Era: Art Since 1980 ARCHITECTURE 1077 Postmodern Architecture: A Referential Style 1077 New Modernisms: High-Tech Architecture 1080 Deconstructivism: Countering Modernist Authority 1082 MATERIALS AND TECHNIQUES: Computer-Aided Design in Architecture 1085 POSTMINIMALISM AND PLURALISM: LIMITLESS POSSIBILITIES IN FINE ART 1085 The Return of Painting 1085 Sculpture 1089 APPROPRIATION ART: DECONSTRUCTING IMAGES 1091 PRIMARY SOURCES: Cindy Sherman (b. 1954) 1091 Photography and LED Signs 1092 Context and Meaning in Art: The Institutional Critique and Art as Commodity 1094 MULTICULTURALISM AND POLITICAL ART 1096 African-American Identity 1096 The AIDS Pandemic and a Preoccupation with the Body 1098 The Power of Installation, Video, and Large-Scale Photography 1100 PRIMARY SOURCES: Ilya Kabakov (b. 1933) 1102 THE ART HISTORIAN’S LENS: The Changing Art Market 1104 GLOBAL ART 1105 El Anatsui, Adinkra Signs, and Postmodern Ambiguity 1105 Cai Guo Qing: Projects for Extraterrestrials 1106 Glossary Bibliography Index Credits