ISBN-10:
0130899798
ISBN-13:
9780130899798
Pub. Date:
03/06/2001
Publisher:
Pearson
Artforms: An Introduction to the Visual Arts / Edition 7

Artforms: An Introduction to the Visual Arts / Edition 7

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Overview

To further the student's sense of process, we have also prepared a Prentice Hall exclusive Companion We6siteT` that accompanies ARTFORMS, seventh edition. This CW offers unique tools and support that make it easy for students and instructors to integrate this online study guide with the text. The site is a comprehensive resource that is organized according to the chapters within the text and features a variety of learning and teaching modules:

For students:

  • 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.

For instructors:

  • 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.

CD-ROM
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.

Product Details

ISBN-13: 9780130899798
Publisher: Pearson
Publication date: 03/06/2001
Edition description: Older Edition
Pages: 531
Product dimensions: 8.26(w) x 10.70(h) x 1.04(d)

Table of Contents

Preface
Acknowledgments
Discovering Art CD-Rom - An Overview
Part 1Art is1
1The Nature of Art2
What Is Art?2
Is Art a Necessity?3
Purposes and Functions of Art5
Biography: Jazz, Memory, and Metaphor: Romare Bearden11
2Awareness, Creativity, and Communication15
Visual Thinking15
Perception and Awareness15
Looking and Seeing16
Aesthetics, Art, and Beauty18
Art and Experience20
Creativity20
Essay: Early Encounters with the Artist Within21
Untrained and Folk Artists23
Trained Artists26
Visual Communication26
Art and Appearances26
Form and Content31
Seeing and Responding to Form32
Biography: A Personal Vision: Georgia O'Keeffe34
Iconography35
Artists at Work: Carlos Fresquez38
Part 2The Language of Visual Experience39
3Visual Elements40
Line41
Shape44
Mass46
Biography: Going Beyond Tradition: Henry Moore48
Space49
Time and Motion56
Artists at Work: Jones and Ginzel57
Light59
Color62
Texture69
4Principles of Design72
Unity and Variety72
Balance75
Emphasis and Subordination80
Directional Forces80
Contrast82
Repetition and Rhythm82
Scale and Proportion84
Design Summary88
Biography: Expression Is Foremost: Henri Matisse90
5Style91
Cultural Style92
Period Style93
Regional Style95
Group Style97
Personal Style99
Biography: Art as Social Conscience: Kathe Kollwitz101
Biography: Found Joy as Source: Louise Nevelson103
6Evaluation and Criticism104
Evaluation104
Art Criticism107
Biography: A Discriminating Eye: Robert Hughes109
Essay: On Visiting an Art Museum110
Part 3Two-Dimensional Arts111
7Drawing112
Biography: A Life's Work in Ten Years: Vincent van Gogh117
Purposes of Drawing118
Dry Media121
Liquid Media124
8Painting126
Watercolor127
Tempera130
Oil130
Acrylic133
Encaustic134
Fresco135
Essay: Art as Activism: The Great Wall of Los Angeles137
9Printmaking139
Relief140
Intaglio142
Lithography146
Screenprinting150
Current Directions151
Essay: Handmade Originals in an Age of Mechanical Reproduction152
10Camera Arts and Computer Imaging153
Photography153
Biography: "A Photographer at My Very Core:" Margaret Bourke-White162
Film: The Moving Image165
Television and Video175
Digital Art Forms177
Artists at Work: James Johnson181
Essay: The Digital Revolution in the Art World182
11Graphic Design and Illustration183
Design Disciplines183
Graphic Design184
Illustration190
Part 4Three-Dimensional Arts193
12Sculpture194
Freestanding and Relief Sculpture194
Methods and Materials196
Artists at Work: Scott Chamberlin197
Kinetic Sculpture205
Biography: Art That Moves: Alexander Calder206
Mixed Media207
Installations and Site-Specific Sculpture209
13Clay, Glass, Metal, Wood, Fiber212
Clay213
Biography: Shaping Her People's Heritage: Nampeyo215
Glass218
Metal218
Wood221
Fiber222
Biography: Stitched into History: Faith Ringgold228
14Architecture and Environmental Design229
Architecture229
Biography: Deconstructing a Building: Zaha Hadid245
Biography: Radical Innovator: Frank Lloyd Wright249
Environmental Design250
Essay: Where We Live252
Part 5Art as Cultural Heritage253
15Prehistoric to Early Civilization254
The Paleolithic Period255
The Neolithic Period258
The Beginnings of Civilization260
16Ancient Through Medieval in the Middle East and Europe261
Mesopotamia261
Egypt263
Greece266
Rome271
Early Christian and Byzantine Art274
The Middle Ages in Europe279
17Renaissance and Baroque, Europe286
The Renaissance286
Biography: The Artist as Scientist: Leonardo da Vinci293
Biography: Temperamental Genius: Michelangelo Buonarroti294
Baroque302
Biography: Insight and Compassion: Rembrandt van Rijn306
Essay: Where Were the Women?310
Essay: The Uphill Battle of Art Restoration312
18Traditional Arts of Asia314
India314
Southeast Asia321
China324
Biography: "Strange and Great:" Bada Shanren333
Japan334
19The Islamic World341
Arab Lands342
Spain343
Persia344
India: The Mughal Empire345
Biography: Islam's Greatest Architect: Sinan348
20Africa, Oceania, and the Americas349
Africa349
Oceania and Australia356
Native North America360
Biography: Warrior, Captive, and Artist: Howling Wolf365
Pre-Columbian Central and South America366
Essay: On Returning Cultural Property: Whose Culture? Whose Property?370
Part 6The Modern World371
21Late Eighteenth and Nineteenth Centuries372
Neoclassicism372
Romanticism374
Photography378
Realism380
Biography: Flouting Social Conventions: Rosa Bonheur383
Impressionism387
Biography: Devoted to Light: Claude Monet389
The Post-Impressionist Period393
Biography: Nature as Source: Paul Cezanne396
Biography: Struggling Idealist: Paul Gauguin401
22Early Twentieth Century404
Toward Abstraction404
Essay: A Judge Confronts Abstract Sculpture: Brancusi vs the United States407
The Fauves and Expressionism408
Cubism412
Biography: Restless Creativity: Pablo Picasso417
The Modern Spirit in America418
Futurism and the Celebration of Motion420
23Between World Wars422
Dada422
Fantasy and Metaphysics425
Surrealism426
Biography: Compelling Autobiographer: Frida Kahlo429
The Influence of Cubism430
Building a New Society432
Political Protest435
Biography: Painting for the People: Diego Rivera438
American Painting440
24Accelerated Change: Modern Art After 1945443
Abstract Expressionism and Related Art443
Photography and Architecture at Mid-Century449
Neo-Dada451
Biography: Art and Ordinary Life: Robert Rauschenberg452
Events and Happenings454
Pop Art455
Minimal and Hard-Edge459
Conceptual Art461
Site Works and Earthworks461
Installations and Environments464
Early Feminism465
Performance Art468
Artists at Work: Meirle Ukeles469
Photorealist Painting and Superrealist Sculpture469
Essay: Who Wants to Censor?472
25Recent Diversity473
Postmodern Architecture474
Painting476
Photography479
Sculpture481
Public Art483
Artists at Work: R. M. Fischer485
Issue-Oriented Art485
The Global Present489
Essay: Cultural Casualties of September 11494
Timeline495
Glossary499
Pronunciation Guide506
Notes508
Suggested Readings511
Suggested Websites513
Index515

Preface

PREFACE

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 editions—clear organizational structure, straightforward writing, and high quality images—and 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.

Patrick Frank

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