Art History: The Basics

Art History: The Basics

Grant Pooke

Language: English

Pages: 288

ISBN: 0415373085

Format: PDF / Kindle (mobi) / ePub

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.

Andy Warhol and the Can that Sold the World

Creating the Future: Art and Los Angeles in the 1970s

A History of Japanese Art: From Prehistory to the Taisho Period (Tuttle Classics)

The Cézanne Chase (Inspector Jack Oxby, Book 2)

Renaissance Art

In Praise of the Backside













Mark (2006) Gayatri Chakravorty Spivak: Live Theory, London and New York: Continuum. Sanderson, Colin and Lodder, Christina (1985) ‘Catalogue Raisonné of the Constructions and Sculptures’, in Steven A. Nash and Jörn Merkert (eds) Naum Gabo: Sixty Years of Constructivism, Munich, Germany: Prestel-Verlag, 193–272. Sardar, Ziauddin (2000) Thomas Kuhn and the Science Wars, Cambridge: Icon Books. Saussure, Ferdinand de (1983) [1916] Course in General Linguistics, translated by Roy Harris, London:

Now look at War Memorial II. Stylistically, although these compositional motifs are still apparent they are less defined and in some cases fragmented. The specific features which were clearly apparent in the first painting meld into each other to form a mosaic of shapes across and around the canvas, with foreground, background and horizon line less differentiated. Although there is a suggestion of depth, the pigment texture or impasto in War Memorial II makes the materiality of the painted

be designed to arouse the viewer. The different elements, however, contrast the pleasures and the dangers of sexual desire. Like the Cranach, it stigmatises the feminine as dangerous but irresistible; objectified yet stimulating. This further develops the gender oppositions and differences: Male Female Seduced Seducer Viewer Object Detached Engaged Audience Performer The very ambiguity of the image reflects male anxieties concerning women. This is not simply a fantasy of feminine

refers to those areas outside Europe, America and Australia. nude the objectified representation of the unclothed human body traditionally created to satisfy the needs of the male gaze. objets d’art French for ‘art objects’, a categorisation which includes textiles, silverware, lacquer boxes, rather than the narrower definition of ‘fine art’. oeuvre a French word used to describe the collective work of an artist or workshop. (the) other characterises non-Western peoples, societies and

Annamarie (1996) Queer Theory, Carlton South, Victoria: Melbourne University Press. Jakobson, Roman and Halle, Morris (1956) Fundamentals of Language, The Hague: Mouton. Jameson, Fredric (1991) Postmodernity, or The Cultural Logic of Late Capitalism, London: Verso. Jencks, Charles (1989) What is Post-Modernism?, London: Academy Editions and New York: St Martin’s Press. Johnson, Dorothy (1993) Jacques-Louis David: Art in Metamorphosis, Princeton NJ and Chichester, UK: Princeton University

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