By Laurie Adams
Applicable for one-semester paintings historical past surveys or historically-focused artwork appreciation sessions, A historical past of Western Art, 5th version, combines sound scholarship, lavish visuals, and a full of life narrative to supply scholars with an obtainable and fascinating creation to paintings background. targeting the Western canon, the textual content offers a compelling chronological narrative from prehistory to the current. A non-Western complement, World perspectives: subject matters in Non-Western Art, addresses particular components of non-Western artwork and augments the Western chronology through illustrating moments of thematic relationships and cross-cultural touch.
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Extra resources for A History of Western Art
Museum of Modern Art, New York. Purchase. 12b Theo van Doesburg, Study 2 for Composition (The Cow), 1917. Pencil on paper, 4 5⁄8 × 6¼ in. 9 cm). Museum of Modern Art, New York. Purchase. 12c Theo van Doesburg, Study 3 for Composition (The Cow), 1917. Pencil on paper, 4 5⁄8 × 6¼ in. 9 cm). Museum of Modern Art, New York. Gift of Nelly van Doesburg. 1917; dated 1916. Tempera, oil, and charcoal on paper, 15 5⁄8 × 22¾ in. 8 cm). Museum of Modern Art, New York. Purchase. 1917. Oil on canvas, 14¾ × 25 in.
It is thus a pure abstraction, which is also nonfigurative, even though it represents a cow. 9/3/10 3:39:42 PM 3 Prehistoric Western Europe W ho are we? Where do we come from? Where are we going? These are three of the most uni versal questions we ask ourselves. They are about time and the nature of the human condition. Works of art help us to answer these questions. We will begin our exploration of the arts by going back in time to early periods of human history, to the study of prehistory. Prehistory refers to a time before the invention of writing, although objects and images are historical records as well.
What if the texture of Brancusi’s Bird were soft and feathery instead of hard and smooth? Consider the FurCovered Cup, Saucer, and Spoon of 1936 (fig. 8) by the Swiss artist Meret Oppenheim (1913–85). When we experience the formal qualities of texture in these two sculptures, we respond to the Bird from a distance, as if it were suspended in space, as the title indicates. But the Cup evokes an immediate tactile response because we think of drinking from it, of touching it to our lips, and its furry texture repels us.
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