Gardner's Art Through the Ages: The Western Perspective, Volume 2 (13th Edition)

Gardner's Art Through the Ages: The Western Perspective, Volume 2 (13th Edition)

Fred S. Kleiner

Language: English

Pages: 499

ISBN: 2:00114110

Format: PDF / Kindle (mobi) / ePub

As fascinating as a real visit to the world's famous museums and architectural sites, GARDNER'S ART THROUGH THE AGES: THE WESTERN PERSPECTIVE gives you a comprehensive, beautifully illustrated tour of the world's great artistic traditions--plus all the study tools you need to excel in your art history course! Easy to read and understand, this 13th Edition of the most widely read history of art book in the English language is the only textbook that includes a unique "scale" feature (accompanying the book's photographs of paintings and other artworks) that will help you better visualize the actual size of the artworks shown in the book. Three levels of review including extended image captions, "The Big Picture" overviews at the end of every chapter, and a special global timeline will help you study for your exams. You'll also find materials that will help you master the key topics quickly in the ArtStudy Online (a free interactive study guide that includes flash cards of images and quizzes).

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(FIG. 14-7), created for the church of Santa Trinità (Holy Trinity) in Florence, nonetheless reveals the painter’s reliance on Byzantine models for the composition as well as the gold background (compare FIG. 9-18). Cimabue used the gold embellishments common to Byzantine art for the folds of the Madonna’s robe, but they are no longer merely decorative patterns. Here they enhance the threedimensionality of the drapery. Cimabue also constructed a deeper space for the Madonna and the surrounding

with zoom capabilities, video, and Google Earth™ coordinates. A work as extensive as this history of art could not be undertaken or completed without the counsel of experts in all areas of Western art. As with previous editions, the publisher has enlisted more than a hundred art historians to review every chapter in order to ensure that the text lived up to the Gardner reputation for accuracy as well as readability. I take great pleasure in acknowledging here the invaluable contributions to the

University; Jeffery Fontana, Austin College; Mitchell Frank, Carleton University; Sara L. French, Wells College; Norman P. Gambill, South Dakota State University; Elise Goodman, University of Cincinnati; Kim T. Grant, University of Southern Maine; Elizabeth ten Grotenhuis, Silk Road Project; Sandra C. Haynes, Pasadena City College; Valerie Hedquist, The University of Montana; Susan Hellman, Northern Virginia Community College; Marian J. Hollinger, Fairmont State University; Cheryl Hughes, Alta

upward, the relief increasingly flattens, concluding with the architecture in the background, which Ghiberti depicted in barely raised lines. In this manner, the artist created a sort of sculptor’s aerial perspective, with forms appearing less distinct the deeper they are in space. Ghiberti described the east doors as follows: I strove to imitate nature as closely as I could, and with all the perspective I could produce [to have] excellent compositions rich with many figures. In some scenes I

favorite motif of Michelangelo. Dome 16-45 Leon Battista Alberti, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472. 0 50 10 100 feet 20 30 meters N 0 In his architectural treatise, Alberti criticized the traditional basilican plan as impractical and designed Sant’Andrea as a single huge hall with independent chapels branching off at right angles. The Princely Courts 451 16-46 Leon Battista Alberti, interior of Sant’Andrea (looking northeast), Mantua, Italy, designed 1470,

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