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Gateways to Art Third Edition PDF – eBook

SKU: 0500841152

  • Authors: Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields (Author)
  • File Size: 232 MB
  • Format: PDF
  • Paperback: 720 pages
  • Publisher: Thames & Hudson; Third edition (November 15, 2018)
  • Language: English
  • ISBN-10: 0500841152
  • ISBN-13: 978-0500841150

Download Gateways to Art Third Edition PDF – eBook

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Description

  • Authors: Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields (Author)
  • File Size: 232 MB
  • Format: PDF
  • Paperback: 720 pages
  • Publisher: Thames & Hudson; Third edition (November 15, 2018)
  • Language: English
  • ISBN-10: 0500841152
  • ISBN-13: 978-0500841150

Download Gateways to Art Third Edition PDF – eBook

Contents

Organization and How to Use this Book ……………………………………. 14
New in this Edition ……………………………………………………. 15
Resources for Instructors……………………………………………….. 15
Resources for Students…………………………………………………. 16
The Authors …………………………………………………………. 17
Acknowledgments…………………………………………………….. 17
How to Use Gateway to Art and Other Features ………………………………. 18
What Is Art? …………………………………………………………. 20
Fine Art, Craft, and the Commercial Arts……………………………………. 22
The Visual World……………………………………………………… 24
Where Is Art? ………………………………………………………… 24
Art and Creativity …………………………………………………….. 26
Who Makes Art? ……………………………………………………… 27
The Power and Value of Art ……………………………………………… 30
Protest and Censorship of Art……………………………………………. 34
Studying Art…………………………………………………………. 35
FEATURES:
Gertrude Stein as an Art Patron………………………………………………. 29
Loongkoonan: The Value of Art to Keep Alive Knowledge and Culture …………………..31
Tracy Chevalier: Art Inspires a Novel and a Movie ………………………………… 33
Part 1 Fundamentals 40
Line ……………………………………………………………….. 42
Shape………………………………………………………………. 54
Contrast ……………………………………………………………. 55
FEATURES:
Gateway to Art: Kahlo, The Two Fridas Using Line to Guide and Direct a Viewer’s Attention … 50
Gateway to Art: Weems, Kitchen Table Series The Principle of Contrast and Dramatic Effect . . 56
Form ………………………………………………………………. 61
Form in Relief and in the Round …………………………………………..64
Volume …………………………………………………………….. 67
Mass ………………………………………………………………. 69
FEATURES:
The Guggenheim Museum, Bilbao ……………………………………………. 70
Brancusi and Rodin: Using Mass to Describe Love ………………………………… 72
Texture ……………………………………………………………. . 73
Value ………………………………………………………………. 77
Space ………………………………………………………………. 81
FEATURE:
Gateway to Art: Raphael, The School of Athens Perspective and the Illusion of Depth ……… 90
Color and Light ………………………………………………………. 95
Color and Pigment ……………………………………………………. 96
Additive and Subtractive Color…………………………………………… 96
Color Wheels ………………………………………………………… 97
Key Characteristics of Color ……………………………………………. 101
The Sensation of Color………………………………………………… 106
Interpreting Color Symbolism ………………………………………….. 108
The Psychology of Color……………………………………………….. 108
Motion ……………………………………………………………. 113
Time ……………………………………………………………… 120
FEATURE:
Gateway to Art: Ai Weiwei, Dropping a Han Dynasty Urn
Motion and Reproduction as a Metaphor for Time ………………………………121
Unity ……………………………………………………………… 125
Variety ……………………………………………………………. 131
Balance ……………………………………………………………. 134
FEATURES:
Gateway to Art: Hokusai, “The Great Wave off Shore at Kanagawa”
A Masterpiece of Unity and Harmony………………………………………. .126
Gateway to Art: The Taj Mahal Love and Perfection ……………………………… 136
Scale ……………………………………………………………… 140
Proportion …………………………………………………………. 144
FEATURE:
Gateway to Art: Raphael, The School of Athens
Scale and Proportion in a Renaissance Masterpiece……………………………. 146
Focal Point …………………………………………………………. 150
Emphasis ………………………………………………………….. 153
Subordination ………………………………………………………. 155
Focal Point and Emphasis in Action ………………………………………. 156
FEATURE:
Gateway to Art: Gentileschi, Judith Decapitating Holofernes
Using Focal Point for Dramatic Emphasis ……………………………………..152
Pattern ……………………………………………………………. 159
Rhythm……………………………………………………………. 163
FEATURE:
Gateway to Art: Maya Lintel Showing Shield Jaguar and Lady Xoc
Pattern Used to Emphasize Royal Power and Hierarchy…………………………. 162
Formal Analysis……………………………………………………… 170
Stylistic Analysis …………………………………………………….. 172
Iconographic Analysis ………………………………………………… 174
Contextual Analysis ………………………………………………….. 175
Analysis, Critique, and Interpretation …………………………………….. 179
Combined Analysis in Historical and Contemporary Art ………………………. 183
FEATURES:
Types of Analysis and Critique………………………………………………. .176
Research and Interpretation………………………………………………… 180
Part 2 Media And Processes 190
Functions of Drawing…………………………………………………. 192
The Materials of Drawing: Dry Media …………………………………….. 195
The Materials of Drawing: Wet Media ……………………………………..202
Paper………………………………………………………………205
Life Drawing ………………………………………………………..206
FEATURES:
Gateway to Art: Raphael, The School of Athens Drawing in the Design Process ………….. 194
Gateway to Art: Kahlo, The Two Fridas Artist Sketchbooks …………………………. 204
The First Paintings …………………………………………………… 210
Encaustic ………………………………………………………….. 210
Fresco …………………………………………………………….. 212
Tempera …………………………………………………………… 214
Oil ……………………………………………………………….. 216
Ink Painting …………………………………………………………220
Watercolor and Gouache ……………………………………………….220
Acrylic…………………………………………………………….. 221
Mixed-Media Painting ………………………………………………… 222
Mural Art and Spray Paint ……………………………………………… 223
FEATURES:
José Clemente Orozco: Fresco Painting Inspired by the Mexican Revolution ……………..213
Gateway to Art: Gentileschi, Judith Decapitating Holofernes The Artist in the Act of Painting . . 219
Context of Printmaking ……………………………………………….. 227
Relief Printmaking …………………………………………………… 227
Intaglio Printmaking ………………………………………………….230
Collagraphy ………………………………………………………… 233
Lithography ………………………………………………………… 234
Serigraphy (Silkscreen Printing)…………………………………………. 235
Editions …………………………………………………………… 236
Monotypes and Monoprints ……………………………………………. 237
Print Shops and Digital Reproduction Services ……………………………… 238
Contemporary Directions in Printmaking …………………………………. 238
FEATURE:
Gateway to Art: Hokusai, “The Great Wave off Shore at Kanagawa”
Using the Woodblock Printing Method……………………………………… 229
Approaches to Three Dimensions in Sculpture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Bas-Relief and High Relief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244
Methods of Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Pushing beyond Traditional Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
FEATURES:
Gateway to Art: Maya Lintel Showing Shield Jaguar and Lady Xoc
Varying Degrees of Relief for Emphasis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Michelangelo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Antony Gormley: Asian Field. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Structure, Function, and Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Ancient Construction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Classical Architectural Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
The Emergence of the Methods and Materials of the Modern World. . . . . . . . . . . . . . . . . . . 274
The Postmodern Reaction to Modernism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Currents in Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
FEATURES:
Abbot Suger and the Dynamics of Gothic Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Gateway to Art: The Taj Mahal Engineering Eternity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Contrasting Ideas in Modern Architecture: Le Corbusier’s Villa Savoye
and Frank Lloyd Wright’s Fallingwater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Zaha Hadid: A Building for Exciting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Ceramics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290
Metalwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Fiber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Wood. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
FEATURES:
Hyo-In Kim: Art or Craft: What’s the Difference? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
San Ildefonso-Style Pottery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Faith Ringgold, Tar Beach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
The Visual Character of Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
The Communicative Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Layout Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Web Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
FEATURES:
Influence of the Bauhaus on Visual Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
April Greiman: Does It Make Sense? Greiman’s Design Quarterly #133, 1986 . . . . . . . . . . . . . . . . . 308
Color in Visual Communication Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312
Recording the Image: Film to Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
The Dawn of Photography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Negative/Positive Process in Black and White. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
In Living Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Photojournalism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Photocollage and Photomontage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Postmodern Return to Historic Processes………………………………….. 327
The Art of Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .330
Traditional and Alternative Darkroom Methods …………………………………. 319
Steve McCurry ………………………………………………………….. 324
Gateway to Art: Weems, Kitchen Table Series Story Telling and Sto-re-telling ………….. 329
Moving Images before Film …………………………………………….. 335
Silent and Black-and-White Film ………………………………………… 336
Sound and Color …………………………………………………….. 337
Animation and Special Effects…………………………………………… 339
Film Genres ………………………………………………………… 342
Film as Art …………………………………………………………. 343
FEATURE:
Bill Viola: How Did Video Become Art? ……………………………………….. 346
Context of Alternative Media…………………………………………….350
Conceptual Art ……………………………………………………… 351
Performance Art …………………………………………………….. 353
Installation and Environments………………………………………….. 356
Out of the Shadows and into the Light: Enlivened Gallery Space …………………. 358
FEATURES:
Gateway to Art: Ai Weiwei, Dropping a Han Dynasty Urn and Colored Vases
Art that Resists Categories: Interactions with the Individual …………………….. 357
Molly Gochman: Bringing Light to the Scars ……………………………………. 360
Part 3 History And Context 362
Timeline ……………………………………………………………364
Prehistoric Art in Europe and the Mediterranean ……………………………. 367
Mesopotamia: The Cradle of Civilization ………………………………….. 370
Ancient Egypt ………………………………………………………. 374
Art of Ancient Greece …………………………………………………. 379
Etruscan Art………………………………………………………… 385
Roman Art …………………………………………………………. 386
FEATURES:
Hieroglyphs ……………………………………………………………. 376
Zahi Hawass: The Golden Mask of Tutankhamun………………………………… 378
Classical Architectural Orders………………………………………………. 380
Controversy about the Parthenon Marbles …………………………………….. 382
Stylistic Changes in the Sculpture of Ancient Greece……………………………… 384
Art of Late Antiquity and Early Christianity ………………………………… 391
Byzantine Art……………………………………………………….. 394
Manuscripts and the Middle Ages………………………………………… 398
Pilgrimage in the Middle Ages………………………………………….. .400
The Rise of the Gothic………………………………………………… .406
From the Gothic to Early Renaissance in Italy………………………………. .408
FEATURES:
Three Religions of the Middle Ages ………………………………………….. 394
Iconoclasm: Destruction of Religious Images …………………………………… 396
India ……………………………………………………………… 411
China …………………………………………………………….. 416
Japan……………………………………………………………… 421
Korea………………………………………………………………424
Southeast Asia ……………………………………………………….426
FEATURES:
Philosophical and Religious Traditions in Asia…………………………………… .411
Gateway to Art: The Taj Mahal The Gardens of Paradise in the Taj Mahal……………… 412
The Spread of the Image of Buddha along the Silk Road……………………………. 414
Gateway to Art: Ai Weiwei, Dropping a Han Dynasty Urn
The Value of Art: Questions of History and Authenticity………………………… 419
The Three Perfections: Calligraphy, Painting, Poetry ……………………………… 420
Sonoko Sasaki: Arts and Tradition in Japan …………………………………….. 422
Gateway to Art: Hokusai, “The Great Wave off Shore at Kanagawa”
Mount Fuji: The Sacred Mountain of Japan ………………………………….. 425
When’s the Beginning? …………………………………………………429
South America ……………………………………………………….430
Mesoamerica ………………………………………………………..433
North America……………………………………………………… .440
FEATURES:
Gateway to Art: Maya Lintel Showing Shield Jaguar and Lady Xoc
Invoking Ancestors through Bloodletting……………………………………. 436
“We Are the Mirrors”: Legislation and Activism to Protect Native Rights and Land……….. 444
Art of Africa …………………………………………………………447
African Architecture …………………………………………………..450
Art of the Pacific Islands………………………………………………..453
FEATURE:
Paul Tacon: Australian Rock Art……………………………………………… 455
The Early Renaissance in Italy …………………………………………… 461
The Renaissance in Northern Europe …………………………………….. .464
The High Renaissance in Italy ……………………………………………468
Late Renaissance and Mannerism………………………………………… 471
Italian Baroque ……………………………………………………… 477
Northern Baroque……………………………………………………. 481
FEATURES:
Van Eyck, Panofsky, and Iconographic Analysis …………………………………. 466
Gateway to Art: Raphael, The School of Athens Past and Present in the Painting …………. 470
Protestant Reformation and Catholic Counter-Reformation:
A Comparison through Last Suppers ……………………………………….. 474
Gateway to Art: Gentileschi, Judith Decapitating Holofernes The Influence of Caravaggio ….. 478
Depictions of David………………………………………………………. 480
Rococo …………………………………………………………….487
Rejecting the Rococo: Sentimentality in Painting……………………………..489
Neoclassicism ………………………………………………………. 491
Romanticism ……………………………………………………….. 497
FEATURES:
The French Academy of Painting and Sculpture: Making a Living as an Artist …………… 492
Slavery and Colonialism in Eighteenth-Century Art ………………………………. 496
Art Academies and Modernism………………………………………….. 501
Realism…………………………………………………………… .504
A Revolutionary Invention: Photography and Art
in the Nineteenth Century …………………………………………….506
Impressionism……………………………………………………… .508
Post-Impressionism ………………………………………………….. 514
Symbolism …………………………………………………………. 517
Fin de Siècle and Art Nouveau ……………………………………………520
Expressionism ………………………………………………………. 521
FEATURES:
Influences on the Impressionists: Japanese Woodcuts and Photography ………………. 510
Gateway to Art: Gentileschi, Judith Decapitating Holofernes Variations on a Theme ………. 519
The Revolution of Color and Form……………………………………….. 524
Dada ……………………………………………………………… 528
Surrealism ………………………………………………………….530
The Influence of Cubism ………………………………………………. 533
Early Twentieth-Century Art in America…………………………………… 536
Abstract Expressionism ……………………………………………….. 538
PopArt …………………………………………………………….540
Minimalism ………………………………………………………… 542
FEATURES:
Gateway to Art: Kahlo, The Two Fridas Was She a Surrealist?……………………….. 532
Modern and Postmodern Architecture………………………………………… 543
Conceptual Art ………………………………………………………546
Performance and Body Art ……………………………………………..548
Earthworks………………………………………………………….549
Postmodernism, Identity, and Multiculturalism ……………………………..549
Narratives of Fact and Fiction …………………………………………… 555
Installation…………………………………………………………. 557
Socially Engaged Art………………………………………………….. 559
FEATURES:
Borrowing an Image ……………………………………………………… 547
Gateway to Art: Weems, Kitchen Table Series Personal and Cultural Narrative………….. .551
Inside, Outside, Upside Down: Ideas Recontextualized ……………………………. 554
Gabriel Dawe: Materializing Light, Inverting Constructs …………………………… 558
Part 4 Themes 562
Places to Gather………………………………………………………564
Art by and for the Community ………………………………………….. 567
Mountains ………………………………………………… 568
Rituals and Art of Healing and Community Solidarity ………………………… 572
Art in the Public Sphere ……………………………………………….. 573
FEATURES:
Art, Super-Sized…………………………………………………………. 570
Richard Serra: A Sculptor Defends His Work……………………………………. 574

Gods, Deities, and Enlightened Beings…………………………………….. 578
Spirits and Ancestors ………………………………………………….580
Connecting with the Gods ……………………………………………… 582
Sacred Places ………………………………………………………..586
Personal Paths to Spirituality …………………………………………… 589
FEATURE:
Judgment and the Afterlife…………………………………………………. 584
Life’s Beginnings and Endings…………………………………………… 591
Marking Time ………………………………………………………. 595
Lineage and Ancestors ………………………………………………… 597
Mortality and Immortality …………………………………………….. 599
FEATURES:
Gateway to Art: The Taj Mahal Mumtaz Mahal: A Life Remembered…………………. 594
Christian Marclay, The Clock: “Glue” by Darian Leader…………………………….. 596
Vanitas: Reminders of Transience ……………………………………………. 600
Art Celebrating Science ………………………………………………..603
Astronomy and Space Exploration in Art …………………………………..605
Using Science and Mathematics to Create Art……………………………….. 607
Perception, Senses, and Psychology ……………………………………….608
Science as a Tool to Understand and Care for Art …………………………….. 611
Art as an Illusionistic Window ………………………………………….. 615
Illusionism as Trickery …………………………………………………620
Illusion and the Transformation of Ideas ………………………………….. 623
FEATURES:
Gateway to Art: Raphael, The School of Athens Architectural Illusion …………………..617
Satirizing Illusionism: Hogarth’s False Perspective ………………………………… 619
Art and Spiritual Transformation…………………………………………….. 624
Iconic Portraiture of Leaders……………………………………………. 628
Female Rulers……………………………………………………….. 631
Art Used by Rulers to Regulate Society……………………………………..634
FEATURE:
Gateway to Art: Maya Lintel Showing Shield Jaguar and Lady Xoc
Queens in Support of Their Husbands………………………………………. 632
Documenting the Tragedies of War ………………………………………. 638
Warriors and Battle Scenes ……………………………………………..640
The Artist’s Response to War …………………………………………….644
Remembrance and Memorials……………………………………………649
FEATURE:
Wafaa Bilal: Domestic Tension: An Artist’s Protest against War………………………. 648

Art as Protest and Activism …………………………………………….. 652
Art as the Victim of Protest: Censorship and Destruction………………………. 655
Art that Raises Social Awareness………………………………………….658
FEATURES:
Gateway to Art: Ai Weiwei, Dropping a Han Dynasty Urn and Colored Vases
The Art of Activism: Speaking out at all Costs………………………………… 654
Censorship of Art: The Nazi Campaign against Modern Art………………………… 657
Gateway to Art: Hokusai, “The Great Wave off Shore at Kanagawa”
Using Famous Art to Make a Social Difference ……………………………….. 661
Archetypal Images of the Body ………………………………………….. 663
Ideal Proportion ……………………………………………………..664
Notions of Beauty …………………………………………………….666
Performance Art: The Body Becomes the Artwork……………………………. 670
The Body in Pieces……………………………………………………. 673
The Body Reframed ………………………………………………….. 677
FEATURES:
Reclining Nudes …………………………………………………………. 668
Spencer Tunick: Human Bodies as Installations …………………………………. 672
Henri Matisse: The Blue Nude: Cutouts and the Essence of Form …………………….. 675
Gateway to Art: Kahlo, The Two Fridas A Body in Pain …………………………….. 676
Self-Portraits ………………………………………………………..680
Challenging the Status Quo ……………………………………………..684
Culture on Display ……………………………………………………686
Identity and Ambiguity ………………………………………………..689
FEATURES:
Gateway to Art: Gentileschi, Judith Decapitating Holofernes
Self-Expression in the Judith Paintings ……………………………………… 681
Cindy Sherman: The Artist and Her Identity ……………………………………. 683
Gateway to Art: Weems, Kitchen Table Series Cultural Diplomacy …………………… 687
Glossary …………………………………………………………… 692
Further Reading …………………………………………………….. 697
Sources of Quotations ………………………………………………… 699
Illustration Credits…………………………………………………… 701
Index………………………………………………………………706

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