History of Modern Art

By (author) Arnason, H. H.; By (author) Mansfield, Elizabeth C.

<div> <p><b><i>A Comprehensive Overview – available in digital and print formats</i></b></p> <p> </p> <p></p> <p><i>History of Modern Art</i> is a visual comprehensive overview of the modern art field. It traces the trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. The seventh edition deepens its discussions on social conditions that have affected the production and reception of modern and contemporary art. </p> <p></p> <p></p> <p> </p> <p><b><u>Learning Goals</u></b></p> <p> </p> <p>Upon completing this book, readers should be able to: </p> <ul> <li> <div>Understand the origins of modern art </div> </li><li> <div>Provide an analysis of artworks based on formal and contextual elements </div> </li><li> <div>Recognize the influences of social conditions on modern art </div></li></ul></div> <p> </p> <p><b>NOTE: </b>MySearchLab does not come automatically package with this text. To purchase MySearchlab, please visit: <a href="http://www.mysearchlab.com/" target="_blank">www.mysearchlab.com</a> or you can purchase a ValuePack of the eText + MySearchLab: Valuepack ISBN-10: 0205955517/ ValuePack ISBN-13: 9780205955510 <br/></p> <p> </p>

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[目次]

  • <p><b>In this Section: <br/>1) Brief Table of Contents</b></p> <p><b>2) Full Table of Contents</b></p> <p> </p> <div> </div> <p> </p> <p><b><u>BRIEF TABLE OF CONTENTS:</u></b></p> <p> </p> <p><b>Chapter 1:</b> The Origins of Modern Art </p> <p><b>Chapter 2:</b> The Search for Truth: Early Photography, Realism, and Impressionism </p> <p><b>Chapter 3:</b> Post-Impressionism </p> <p><b>Chapter 4:</b> Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism </p> <p><b>Chapter 5:</b> The New Century: Experiments in Color and Form </p> <p><b>Chapter 6:</b> Expressionism in Germany and Austria </p> <p><b>Chapter 7:</b> Cubism </p> <p><b>Chapter 8:</b> Early Modern Architecture </p> <p><b>Chapter 9:</b> European Art after Cubism </p> <p><b>Chapter 10:</b> Picturing the Wasteland: Western Europe during World War I </p> <p><b>Chapter 11:</b> Art in France after World War I </p> <p><b>Chapter 12:</b> Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction </p> <p><b>Chapter 13:</b> Bauhaus and the Teaching of Modernism </p> <p><b>Chapter 14:</b> Surrealism </p> <p><b>Chapter 15:</b> American Art Before World War II </p> <p><b>Chapter 16:</b> Abstract Expressionism and the New American Sculpture </p> <p><b>Chapter</b> <b>17:</b>  Postwar European Art </p> <p><b>Chapter 18:</b> <i>Nouveau Réalisme </i>and Fluxus </p> <p><b>Chapter 19:</b> Taking Chances with Popular Culture </p> <p><b>Chapter 20:</b> Playing by the Rules: Sixties Abstraction </p> <p><b>Chapter 21:</b> Modernism in Architecture at Mid-Century </p> <p><b>Chapter 22:</b> Conceptual and Activist Art </p> <p><b>Chapter 23:</b> Post-Minimalism, Earth Art, and New Imagists </p> <p><b>Chapter 24:</b> Postmodernism </p> <p><b>Chapter 25:</b> Painting through History </p> <p><b>Chapter 26:</b> New Perspectives on Art and Audience </p> <p><b>Chapter 27:</b> Contemporary Art and Globalization </p> <p> </p> <div> </div> <p><br/> <b><u>FULL TABLE OF CONTENTS:</u></b></p> <p> </p> <p> </p> <p><b>Chapter 1: The Origins of Modern Art </b></p> <p> Making Art and Artists: The Role of the Critic </p> <p> The Modern Artist </p> <p> What Does It Mean to Be an Artist?: From Academic Emulation toward Romantic Originality </p> <p> Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism </p> <p> </p> <p><b>Chapter 2: The Search for Truth: Early Photography, Realism, and Impressionism </b></p> <p> New Ways of Seeing: Photography and its Influence </p> <p> Only the Truth: Realism </p> <p> Seizing the Moment: Impressionism and the Avant-Garde</p> <p> From Realism to Impressionism </p> <p> Nineteenth-Century Art in the United States </p> <p> </p> <p><b>Chapter 3: Post-Impressionism</b> </p> <p> The Poetic Science of Color: Seurat and the Neo-Impressionist</p> <p> Form and Nature: Paul Cézanne </p> <p> The Triumph of Imagination: Symbolism </p> <p> An Art Reborn: Rodin and Sculpture at the <i>Fin de Siècle </i></p> <p> Primitivism and the Avant-Garde: Gauguin and Van Gogh</p> <p> A New Generation of Prophets: The Nabis </p> <p> Montmartre: At Home with the Avant-Garde </p> <p> </p> <p><b>Chapter 4: Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism</b> </p> <p> “A Return to Simplicity”: The Arts and Crafts Movement and Experimental </p> <p> Architecture </p> <p> Experiments in Synthesis: Modernism beside the Hearth </p> <p> With Beauty at the Reins of Industry: Aestheticism and Art Nouveau </p> <p> Natural Forms for the Machine Age: The Art Nouveau Aesthetic </p> <p> Painting and Graphic Art </p> <p> Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France </p> <p> </p> <p><b>Chapter 5: The New Century: Experiments in Color and Form </b></p> <p> Fauvism</p> <p> “Purity of Means” in Practice: Henri Matisse’s Early Career </p> <p> “Wild Beasts” Tamed: Derain, Vlaminck, and Dufy </p> <p> Religious Art for a Modern Age: Georges Rouault </p> <p> The Belle Époque on Film: The Lumière Brothers and Lartigue </p> <p> Modernism on a Grand Scale: Matisse’s Art after Fauvism </p> <p> Forms of the Essential: Constantin Brancusi </p> <p> </p> <p><b>Chapter 6: Expressionism in Germany and Austria</b> </p> <p> From Romanticism to Expressionism: Corinth and Modersohn-Becker </p> <p> Spanning the Divide between Romanticism and Expressionism: Die Brücke </p> <p> The Spiritual Dimension: Der Blaue Reiter </p> <p> Expressionist Sculpture </p> <p> Self-Examination: Expressionism in Austria </p> <p> </p> <p><b>Chapter 7: Cubism</b> </p> <p> Immersed in Tradition: Picasso’s Early Career </p> <p> Beyond Fauvism: Braque’s Early Career </p> <p> “Two Mountain Climbers Roped Together”: Braque, Picasso, and the </p> <p> Development of Cubism </p> <p> Constructed Spaces: Cubist Sculpture </p> <p> An Adaptable Idiom: Developments in Cubist Painting in Paris</p> <p> Other Agendas: Orphism and Other Experimental Art in</p> <p> </p> <p><b>Chapter 8: Early Modern Architecture</b> </p> <p> “Form Follows Function”: The Chicago School and the Origins of the Skyscraper </p> <p> Modernism in Harmony with Nature: Frank Lloyd Wright </p> <p> Temples for the Modern City: American Classicism 1900—15</p> <p> New Simplicity Versus Art Nouveau: Vienna Before World War I</p> <p> Tradition and Innovation: The German Contribution to Modern Architecture </p> <p> Toward the International Style: The Netherlands and Belgium</p> <p> </p> <p><b>Chapter 9: European Art after Cubism</b> </p> <p> Fantasy Through Abstraction: Chagall and the Metaphysical School </p> <p> “Running on Shrapnel”: Futurism in Italy </p> <p> “Our Vortex is Not Afraid”: Wyndham Lewis and Vorticism </p> <p> A World Ready for Change: The Avant-Garde in Russia</p> <p> Utopian Visions: Russian Constructivism </p> <p><b> </b></p> <p><b>Chapter 10: Picturing the Wasteland: Western Europe during World War I</b> </p> <p> The World Turned Upside Down: The Birth of Dada </p> <p> “Her Plumbing and Her Bridges”: Dada Comes to America </p> <p> “Art is Dead”: Dada in Germany </p> <p> Idealism and Disgust: The “New Objectivity” in Germany </p> <p> </p> <p><b>Chapter 11: Art in France after World War I </b></p> <p> Eloquent Figuration: <i>Les Maudits </i></p> <p> Dedication to Color: Matisse’s Later Career </p> <p> Celebrating the Good Life: Dufy’s Later Career </p> <p> Eclectic Mastery: Picasso’s Career after the War </p> <p> Sensuous Analysis: Braque’s Later Career </p> <p> Austerity and Elegance: Léger, Le Corbusier, and Ozenfant </p> <p> </p> <p><b>Chapter 12: Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction</b> </p> <p> The de Stijl Idea </p> <p> Mondrian: Seeking the Spiritual Through the Rational </p> <p> Van Doesburg, de Stijl, and Elementarism </p> <p> De Stijl Realized: Sculpture and Architecture </p> <p><b> </b></p> <p><b>Chapter 13: Bauhaus and the Teaching of Modernism </b></p> <p> Audacious Lightness: The Architecture of Gropius </p> <p> The Building as Entity: The Bauhaus </p> <p> The <i>Vorkurs</i>: Basis of the Bauhaus Curriculum </p> <p><i> Die Werkmeistern</i>: Craft Masters at the Bauhaus </p> <p> From Bauhaus Dessau to Bauhaus U.S.A. </p> <p> </p> <p><b>Chapter 14: Surrealism</b> </p> <p> Breton and the Background to Surrealism </p> <p> “Art is a Fruit”: Arp’s Later Career </p> <p> Hybrid Menageries: Ernst’s Surrealist Techniques </p> <p> “Night, Music, and Stars”: Miró and Organic—Abstract Surrealism </p> <p> Methodical Anarchy: André Masson </p> <p> Enigmatic Landscapes: Tanguy and Dalí </p> <p> Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam</p> <p> Women and Surrealism: Oppenheim, Cahun, Maar, Tanning, and Carrington </p> <p> Never Quite “One of Ours”: Picasso and Surrealism </p> <p> Pioneer of a New Iron Age: Julio González </p> <p> Surrealism’s Sculptural Language: Giacometti’s Early Career </p> <p> Surrealist Sculpture in Britain: Moore </p> <p> Bizarre Juxtapositions: Photography and Surrealism </p> <p><b> </b></p> <p><b>Chapter 15: American Art Before World War II </b></p> <p> American Artist as Cosmopolitan: Romaine Brooks </p> <p> The Truth about America: The Eight and Social Criticism</p> <p> A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle </p> <p> Coming to America: The Armory Show </p> <p> Sharpening the Focus on Color and Form: Synchromism and Precisionism </p> <p> The Harlem Renaissance </p> <p> Painting the American Scene: Regionalists and Social Realists </p> <p> Documents of an Era: American Photographers Between the Wars </p> <p> Social Protest and Personal Pain: Mexican Artists </p> <p> The Avant-Garde Advances: Toward American Abstract Art</p> <p> Sculpture in America Between the Wars </p> <p> </p> <p><b>Chapter 16: Abstract Expressionism and the New American Sculpture</b> </p> <p> Mondrian in New York: The Tempo of the Metropolis </p> <p> Entering a New Arena: Modes of Abstract Expressionism </p> <p> The Picture as Event: Experiments in Gestural Painting </p> <p> Complex Simplicities: Color Field Painting </p> <p> Drawing in Steel: Constructed Sculpture </p> <p> Textures of the Surreal: Biomorphic Sculpture and Assemblage</p> <p> Expressive Vision: Developments in American Photography </p> <p> </p> <p><b>Chapter 17:  Postwar European Art </b></p> <p> Re-evaluations and Violations: Figurative Art in France </p> <p> A Different Art: Abstraction in France </p> <p> Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain </p> <p> “Forget It and Start Again”: The CoBrA Artists and Hundertwasser </p> <p> The Postwar Body: British Sculpture and Painting </p> <p> Marvels of Daily Life: European Photographers </p> <p>  </p> <p><b>Chapter 18: </b><b><i>Nouveau Réalisme </i></b><b>and Fluxus </b></p> <p> “Sensibility in Material Form”: Klein </p> <p> Fluxus </p> <p><b> </b></p> <p><b>Chapter 19: Taking Chances with Popular Culture </b></p> <p> “This is Tomorrow”: Pop Art in Britain </p> <p> Signs of the Times: Pop Art in the United States </p> <p> Getting Closer to Life: Happenings and Environments </p> <p> “Just Look at the Surface”: The Imagery of Everyday Life  </p> <p> Poetics of the “New Gomorrah”: West Coast Artists </p> <p> Personal Documentaries: The Snapshot Aesthetic in American Photography </p> <p> </p> <p><b>Chapter 20: Playing by the Rules: Sixties Abstraction</b> </p> <p> Drawing the Veil: Post Painterly Abstraction </p> <p> At an Oblique Angle: Diebenkorn </p> <p> Forming the Unit: Hard-Edge Painting </p> <p> Seeing Things: Op Art </p> <p> New Media Mobilized: Motion and Light </p> <p> The Limits of Modernism: Minimalism </p> <p> Complex Unities: Photography and Minimalism </p> <p> </p> <p><b>Chapter 21: Modernism in Architecture at Mid-Century </b></p> <p> “The Quiet Unbroken Wave”: The Later Work of Wright and Le Corbusier </p> <p> Purity and Proportion: The International Style in America </p> <p> Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia </p> <p> Breaking the Mold: Experimental Housing </p> <p> Arenas for Innovation: Major Public Projects </p> <p> </p> <p><b>Chapter 22: Conceptual and Activist Art</b> </p> <p> Art as Language </p> <p> Conceptual Art as Cultural Critique </p> <p> The Medium Is the Message: Early Video Art </p> <p> When Art Becomes Artist: Body Art </p> <p> Radical Alternatives: Feminist Art </p> <p> Erasing the Boundaries between Art and Life: Later Feminist Art </p> <p> Invisible to Visible: Art and Racial Politics </p> <p> </p> <p><b>Chapter 23: Post-Minimalism, Earth Art, and New Imagists </b></p> <p> Metaphors for Life: Process Art </p> <p> Big Outdoors: Earthworks and Land Art </p> <p> Public Statements: Monuments and Large-Scale Sculpture </p> <p> Body of Evidence: Figurative Art </p> <p> Animated Surfaces: Pattern and Decoration </p> <p> Figure and Ambiguity: New Image Art </p> <p> </p> <p><b>Chapter 24: Postmodernism </b></p> <p> Postmodernism in Architecture </p> <p> “Complexity and Contradiction”: The Reaction Against Modernism Sets In </p> <p> In Praise of “Messy Vitality”: Postmodernist Eclecticism </p> <p> Ironic Grandeur: Postmodern Architecture and History </p> <p> What Is a Building?: Constructivist and Deconstructivist Architecture </p> <p> Structure as Metaphor: Architectural Allegories </p> <p> Flexible Spaces: Architecture and Urbanism </p> <p> Postmodern Practices: Breaking Art History </p> <p> </p> <p><b>Chapter 25: Painting through History</b> </p> <p> Primal Passions: Neo-Expressionism </p> <p> Searing Statements: Painting as Social Conscience </p> <p> In the Empire of Signs: Neo-Geo </p> <p> The Sum of Many Parts: Abstraction in the 1980s </p> <p> Taking Art to the Streets: Graffiti and Cartoon Artists </p> <p> Painting Art History </p> <p> </p> <p><b>Chapter 26: New Perspectives on Art and Audience </b></p> <p> Commodity Art </p> <p> Postmodern Arenas: Installation Art </p> <p> Strangely Familiar: British and American Sculpture </p> <p> Reprise and Reinterpretation: Art History as Art </p> <p> New Perspectives on Childhood and Identity </p> <p> The Art of Biography </p> <p> Meeting Points: New Approaches to Abstraction </p> <p> </p> <p><b>Chapter 27</b>: <b>Contemporary Art and Globalization </b></p> <p> Lines That Define Us: Locating and Crossing Borders </p> <p> Skin Deep: Identity and the Body </p> <p> Occupying the Art World </p> Globalization and Arts Institutions

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この本の情報

書名 History of Modern Art
著作者等 Mansfield, Elizabeth C.
Arnason, H. H.
出版元 Pearson
刊行年月 2012.12.12
版表示 7 Rev ed
ページ数 832p
大きさ H286 x W222
ISBN 9780205259472
言語 英語
出版国 アメリカ合衆国
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