- Study Guide Modules that contain a variety of exercises and features designed to help students with self-study. These modules include:
- chapter objectives that help students organize key concepts to be learned
- essay questions that help strengthen critical thinking skills
- quizzes with multiple-choice and fill-in questions that supply instant scoring and feedback on student mastery of core material
- built-in email routing option that gives students the ability to forward essay responses and quizzes to their instructors.
- Reference Modules that contain Web Destinations and Net Search options provide the opportunity to expand upon the information presented in the text. Whether through a directory of websites relevant to the subject matter of a chapter or by simplifying key-term searching by automatically inserting terms from the chapter into major search engines, these reference features enable students to quickly reach related information on the web.
- Communication Modules include tools such as Live Chat and Message Boards to facilitate online collaboration and communication.
- PersonalizationModules include our enhanced Help feature that contains a test page for browsers and plug-ins.
- The Faculty Module includes resources for teaching. This may include Lecture Hints, Class Activities, and graphics from text, all coordinated to each chapter. This module is accessed via a password provided by your local Prentice Hall representative.
- The Syllabus Manager tool provides an easy-to-follow process for creating, posting, and revising a syllabus online that is accessible from any point within the companion website. This resource allows instructors and students to communicate both inside and outside of the classroom at the click of a button.
The Companion Website makes integrating the Internet into your course exciting and easy. Join us online at the address above and enter a new world of teaching and learning possibilities and opportunities.
An interactive CD-ROM accompanies the text, and consists of 6 interviews with artists. Each gives personal insight into the process they used to create artworks that are discussed in ARTFORMS.
|Edition description:||Older Edition|
|Product dimensions:||8.26(w) x 10.70(h) x 1.04(d)|
Table of Contents
|Discovering Art CD-Rom - An Overview|
|Part 1||Art is||1|
|1||The Nature of Art||2|
|What Is Art?||2|
|Is Art a Necessity?||3|
|Purposes and Functions of Art||5|
|Biography: Jazz, Memory, and Metaphor: Romare Bearden||11|
|2||Awareness, Creativity, and Communication||15|
|Perception and Awareness||15|
|Looking and Seeing||16|
|Aesthetics, Art, and Beauty||18|
|Art and Experience||20|
|Essay: Early Encounters with the Artist Within||21|
|Untrained and Folk Artists||23|
|Art and Appearances||26|
|Form and Content||31|
|Seeing and Responding to Form||32|
|Biography: A Personal Vision: Georgia O'Keeffe||34|
|Artists at Work: Carlos Fresquez||38|
|Part 2||The Language of Visual Experience||39|
|Biography: Going Beyond Tradition: Henry Moore||48|
|Time and Motion||56|
|Artists at Work: Jones and Ginzel||57|
|4||Principles of Design||72|
|Unity and Variety||72|
|Emphasis and Subordination||80|
|Repetition and Rhythm||82|
|Scale and Proportion||84|
|Biography: Expression Is Foremost: Henri Matisse||90|
|Biography: Art as Social Conscience: Kathe Kollwitz||101|
|Biography: Found Joy as Source: Louise Nevelson||103|
|6||Evaluation and Criticism||104|
|Biography: A Discriminating Eye: Robert Hughes||109|
|Essay: On Visiting an Art Museum||110|
|Part 3||Two-Dimensional Arts||111|
|Biography: A Life's Work in Ten Years: Vincent van Gogh||117|
|Purposes of Drawing||118|
|Essay: Art as Activism: The Great Wall of Los Angeles||137|
|Essay: Handmade Originals in an Age of Mechanical Reproduction||152|
|10||Camera Arts and Computer Imaging||153|
|Biography: "A Photographer at My Very Core:" Margaret Bourke-White||162|
|Film: The Moving Image||165|
|Television and Video||175|
|Digital Art Forms||177|
|Artists at Work: James Johnson||181|
|Essay: The Digital Revolution in the Art World||182|
|11||Graphic Design and Illustration||183|
|Part 4||Three-Dimensional Arts||193|
|Freestanding and Relief Sculpture||194|
|Methods and Materials||196|
|Artists at Work: Scott Chamberlin||197|
|Biography: Art That Moves: Alexander Calder||206|
|Installations and Site-Specific Sculpture||209|
|13||Clay, Glass, Metal, Wood, Fiber||212|
|Biography: Shaping Her People's Heritage: Nampeyo||215|
|Biography: Stitched into History: Faith Ringgold||228|
|14||Architecture and Environmental Design||229|
|Biography: Deconstructing a Building: Zaha Hadid||245|
|Biography: Radical Innovator: Frank Lloyd Wright||249|
|Essay: Where We Live||252|
|Part 5||Art as Cultural Heritage||253|
|15||Prehistoric to Early Civilization||254|
|The Paleolithic Period||255|
|The Neolithic Period||258|
|The Beginnings of Civilization||260|
|16||Ancient Through Medieval in the Middle East and Europe||261|
|Early Christian and Byzantine Art||274|
|The Middle Ages in Europe||279|
|17||Renaissance and Baroque, Europe||286|
|Biography: The Artist as Scientist: Leonardo da Vinci||293|
|Biography: Temperamental Genius: Michelangelo Buonarroti||294|
|Biography: Insight and Compassion: Rembrandt van Rijn||306|
|Essay: Where Were the Women?||310|
|Essay: The Uphill Battle of Art Restoration||312|
|18||Traditional Arts of Asia||314|
|Biography: "Strange and Great:" Bada Shanren||333|
|19||The Islamic World||341|
|India: The Mughal Empire||345|
|Biography: Islam's Greatest Architect: Sinan||348|
|20||Africa, Oceania, and the Americas||349|
|Oceania and Australia||356|
|Native North America||360|
|Biography: Warrior, Captive, and Artist: Howling Wolf||365|
|Pre-Columbian Central and South America||366|
|Essay: On Returning Cultural Property: Whose Culture? Whose Property?||370|
|Part 6||The Modern World||371|
|21||Late Eighteenth and Nineteenth Centuries||372|
|Biography: Flouting Social Conventions: Rosa Bonheur||383|
|Biography: Devoted to Light: Claude Monet||389|
|The Post-Impressionist Period||393|
|Biography: Nature as Source: Paul Cezanne||396|
|Biography: Struggling Idealist: Paul Gauguin||401|
|22||Early Twentieth Century||404|
|Essay: A Judge Confronts Abstract Sculpture: Brancusi vs the United States||407|
|The Fauves and Expressionism||408|
|Biography: Restless Creativity: Pablo Picasso||417|
|The Modern Spirit in America||418|
|Futurism and the Celebration of Motion||420|
|23||Between World Wars||422|
|Fantasy and Metaphysics||425|
|Biography: Compelling Autobiographer: Frida Kahlo||429|
|The Influence of Cubism||430|
|Building a New Society||432|
|Biography: Painting for the People: Diego Rivera||438|
|24||Accelerated Change: Modern Art After 1945||443|
|Abstract Expressionism and Related Art||443|
|Photography and Architecture at Mid-Century||449|
|Biography: Art and Ordinary Life: Robert Rauschenberg||452|
|Events and Happenings||454|
|Minimal and Hard-Edge||459|
|Site Works and Earthworks||461|
|Installations and Environments||464|
|Artists at Work: Meirle Ukeles||469|
|Photorealist Painting and Superrealist Sculpture||469|
|Essay: Who Wants to Censor?||472|
|Artists at Work: R. M. Fischer||485|
|The Global Present||489|
|Essay: Cultural Casualties of September 11||494|
From the first edition in 1972, ARTFORMS has been as visually exciting as the individual works of art that are reproduced in it. ARTFORMS grew out of a desire to introduce art through an engaging visual experience. It is written and designed to help readers build an informed foundation for individual understanding and enjoyment of art. By introducing art theory, practice, and history in a single volume, this book aims to draw students into a new or expanded awareness of the visual arts. The goal is to engage readers in the process of realizing their own innate creativity.
In keeping with this philosophy, the seventh edition of ARTFORMS is a careful blending of the strengths of its earlier editionsclear organizational structure, straightforward writing, and high quality imagesand a number of important changes. Twenty-eight new illustrations of contemporary art works have been added, including those of many new artists in a wide range of media, from graphic design and architecture to installation and ceramics. Contemporary artists represented in this book for the first time include Willie Cole, Rachel Whiteread, Mel Chin, Zaha Hadid, Sarah Charlesworth, Xu Bing, Tunga, Charles Ray, William Kentridge, Tibor Kalman, and others. Moreover, I have continued the effort begun in the last edition to reflect the ever-broadening canon of art history by making this edition the most inclusive yet. I have added works by Sonia Delaunay, Tarsila do Amaral, Norman Lewis, Carlos Frésquez, and Alicia Candiani, among others, to make this book the best available survey of the world-wide range of art production.
Inaddition, I have done major updating in several sections to reflect recent developments in art issues and advances in scholarship. Essays on restoration of art works, censorship, and return of cultural property have been rewritten with new information. I included a photograph of the back view of the Venus of Lespugue to show recent groundbreaking research on textile arts from the Stone Age. The chapter on Islamic Arts has been expanded.
The most important change in this edition, however, is in the bridges it builds to the digital world. A new section of Chapter 10 describes art made on computers, with an historical overview and contemporary works. A new essay, "The Digital Revolution and the Arts," highlights how all areas of art creation, preservation, and study have been affected by the advent of digital technology. This book itself makes groundbreaking use of that technology, displaying interviews with contemporary artists on an interactive CD-ROM that is included with the book. A new feature in the text, Artists at Work, introduces six artists and cues the reader to the CD in which the artists themselves discuss their creations. Thus the page of text is linked to the digital image.
Part One: Art Is . . . (Chapters 1 and 2) introduces the nature of art, aesthetics, and creativity, and discusses the purposes of art and visual communication. Strongly believing that we are all artists at heart, we include an essay on children and their "Early Encounters with the Artist Within," and a section on the works of untrained artists.
Part Two: The Language of Visual Experience (Chapters 3-6) presents the language of vision: visual elements, principles of design, and style. Experience with the language of visual form introduced in Chapters 3 through 5 provides a foundation for developing critical thinking and for considering evaluation and art criticism, discussed in Chapter 6.
The visual and verbal vocabulary covered in Part Two prepares the reader to sample the broad range of art disciplines, media, and processes presented in Part Three: Two-Dimensional Arts (Chapters 7-11) and Part Four: Three-Dimensional Arts (Chapters 12-14). In these two parts we discuss the classical media used in drawing, painting, sculpture, and architecture and the latest developments in photography, video, film, computer imaging, craft, and environmental art.
Part Five: Art as Cultural Heritage (Chapters 1520) and Part Six: The Modern World (Chapters 21-25) introduce historic world styles and related cultural values. Part Six devotes four comprehensive chapters to the many artistic developments of the modern Western world from the late eighteenth century to the present. That each new technique in the history of art relies heavily on its predecessors becomes obvious in these chapters. Chapter 25: Recent Diversity discusses art of the last two decades and the multifaceted and changing roles of artists today. It ends with a section on the Global Present, emphasizing the international aspects of the contemporary art world.
In addition to a revised Glossary, Pronunciation Guide, and Selected Readings, the back matter of ARTFORMS includes an annotated listing of Web sites related to art: images, artists, museums, art organizations, magazines, and other sources. The threepage Timeline is illustrated and includes additional information on both Western and nonwestern art.
The seventh edition of ARTFORMS offers a variety of updated ancillaries, including a large collection of highquality slides (available to qualified adopters), carefully selected to represent the diversity of artists shown in the book; and an ARTFORMS Web site with links to museums and other Web sites, videotapes of interviews with artists, an audio pronunciation guide, and chapter guides with summaries and learning objectives.
The title of this book has a dual meaning. It evolved from the original title, which was a condensation of the concluding sentences of the draft for the first edition: "Man creates art. Art creates man." Man Creates Art Creates Man was further condensed to contain the idea in one word, ARTFORMS: As we create forms, we are in turn formed by what we have created.
Beyond fostering appreciation of major works of art, this book's primary concern is to open eyes and minds to the richness of the visual arts as unique forms of human communication and to convey the idea that the arts enrich life best when we experience, understand, and enjoy them as integral parts of the process of living.
Although ARTFORMS is filled with pictures of art objects, the subject is not just human accomplishment; it is human potential. These works are shown for themselves and for what they indicate about the process that brought them into being. The arts enable us to experience the past, see the present, and anticipate the future. We hope that readers will share our conviction that the arts give voice to the heart of humanity.