This handbook is designed to accompany the major textbooks used in the art history survey, presenting various methods for analysis of art as well as extensive tips on writing about art.

Richly illustrated and clearly focused, this book surveys the genesis, development, and culmination of modern European/American painting, sculpture, architecture, and conceptual art -- from Post-Impressionism through the most recent developments in the 1990s.

The Baroque period lasted from the beginning of the seventeenth century to the middle of the eighteenth century. Baroque art was artists response to the Catholic Church s demand for solemn grandeur following the Council of Trent, and through its monumentality and grandiloquence it seduced the great European courts. Amongst the Baroque arts, architecture has, without doubt, left the greatest mark in Europe: the continent is dotted with magnificent Baroque churches and palaces, commissioned by patrons at the height of their power. The works of Gian Lorenzo Bernini of the Southern School and Peter Paul Rubens of the Northern School alone show the importance of this artistic period. Rich in images encompassing the arts of painting, sculpture and architecture, this work offers a complete insight into this passionate period in the history of art."

This anthology presents classic and recent scholarship on Italian art from 1600-1750, highlighting the key debates with which art historians continue to grapple. Explores themes including: style or the visuality of art;artistic practices and production; artistic communication as projected and experienced; and artists? interactions with the ancient world and with the new sciences Examines the work of key painters, architects and sculptors from this period, including Caravaggio, Bernini, Guarini and Poussin

Universally celebrated for his rosy and concupiscent nudes, Peter Paul Rubens (1577-1640) was an artist whose first concern was sensuality in all its forms. This Baroque master devoted himself to a lifelong celebration of the joys and wonders of the physical realm.

This text explores the styles, institutions, cities and genres that shaped the Baroque and Rococo periods' great artistic outpourings. It aims to capture the cultural currents of the time from Counter Reformation to Lois XIV's Versailles to bourgeois Amsterdam.

This is a non-chronological introduction to Baroque, one of the great periods of European art. John Martin's descriptions of the essential characteristics of the Baroque help one to gain an understanding of the style.

A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history.

A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history.

'Why have there been no great women artists?' asked art historian Linda Nochlin in a provocative essay. Today, her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent figures describe the impact of women artists since the advent of feminism.

Women, Art, and Power'seven landmark essays on women artists and women in art history'brings together the work of almost twenty years of scholarship and speculation.

A sequel to the pioneering volume, Feminism and Art History: Questioning the Litany, published in 1982, The Expanding Discourse contains 29 essays on artists and issues from the Renaissance to the present, representing some of the best feminist art-historical writing of the past decade. Chronologically arranged, the essays demonstrate the abundance, diversity, and main conceptual trends in recent feminist scholarship.

A long-needed corrective and alternative view of Western art history, these seventeen essays by respected scholars are arranged chronologically and cover every major period from the ancient Egyptian to the present. While several of the essays deal with major women artists, the book is essentially about Western art history and the extent to which it has been distorted, in every period, by sexual bias. With 306 illustrations.

This acclaimed study challenges the assumption that great womenartists are exceptions to the rule who "transcended" their sexto produce major works of art. While acknowledging the manywomen whose contributions to visual culture have often beenneglected, Whitney Chadwick's survey reexamines the worksthemselves and the ways in which they have been perceived asmarginal, often in direct reference to gender.This revised edition features a new final chapter that chartsthe evolution of feminist art history and pedagogy since the1970s. It is brought up to date with discussions of some of themost significant women artists to have emerged in recent years,including Wangechi Mutu, Jenny Saville, and Teresa Margolles.

This book represents a major event in the art world. It is based on the first international exhibition of art by women, assembled by the Los Angeles County Museum of Art from dozens of private and public collections throughout the world.

A raucous, colorful showcase of the nationwide poster campaign waged against discrimination and inequalities in the art world--by a collective of female artists, graphic designers, and art-world professionals whose identities have never been revealed. More than 135 color illustrations; 4 tear-out postcard sheets.

THE GUERILLA GIRLS' BEDSIDE COMPANION TO THE HISTORY OF WESTERN ART

This volume is the third in an influential series of anthologies by editors Norma Broude and Mary D. Garrard that challenge art history from a feminist perspective. Following their Feminism and Art History: Questioning the Litany (1982) and The Expanding Discourse: Feminism and Art History (1992), this new volume identifies female agency as a central theme of recent feminist scholarship. Framed by a lucid and stimulating critical introduction, twenty-three essays on artists and issues from the Renaissance to the present, written in the 1990s and after, offer a nuanced critique of the poststructuralist premises of 1980s feminist art history.

The Power of Feminist Art is not a book: it's a milestone. . . . Until Power, feminist art has been conspicuously absent from standard academic narratives. . . . Now, no critic or historian, conservative or not, can argue that feminist art is insignificant.--Elizabeth Hess, Village Voice. 270 illustrations, 118 in full color.

The struggles and achievements of forty-six notable women artists of the early modern period, as documented by their contemporaries, are uniquely brought together in this anthology. The life stories presented here are foundational texts for the history of art, but since most are found only in rare volumes and few have been translated into English, until now they have been generally inaccessible to many scholars.

Wendy Slatkin offers readers an anthology of 30 edited, excerpted texts by women painters and sculptors from the 19th and 20th centuries. Concise introductions provide key background information concerning the biographies of the artists and the cultural context in which they lived, and issues of historical art are integrated with literary history to define the matrix for these writings.

With its lavish color illustrations--the paintings and sculptures are all reproduced in full color--and numerous documentary pictures of the artists themselves, Women Artists: An Illustrated History provides an unprecedented wealth of visual material on the subject. With coverage of the 1990s and the beginning of the new millennium, nearly half of this new edition of Women Artists is now devoted to the remarkable period from 1960 to the present, when women artists emerged as the most dynamic force in contemporary art. New to this edition are innovative contemporary American artists, such as Janine Antoni and Renee Cox, as well as major international figures, including Iran's Shirin Neshat, Shahzia Sikander from Pakistan, and the Icelandic sculptor and performance artist Katrín Sigurdardóttir. As in past editions, all the artists works are represented in large-format color reproductions, and the artists careers are examined in concise critical biographies.

The women in Impressionist painting represent the full spectrum of faces of the 19th-century woman, from elite portraiture to working class scenes. Women and Impressionism examines the avant-garde position of the Impressionists, whose paintings depicted a series of conceptual and historical shifts by depicting traditional, visual schemes with added new meanings, contributing visually to the breakthrough of the modern. The concept of "the new woman" came into existence in this confrontation of conflicting interests.Women and Impressionism begins with an examination of two works by Manet-La Ma#65533;tresse de Baudelaire couch#65533;e, 1862, and Portrait de Zacharie Astruc, 1866. The volume then traces the representation of women as it manifested in the work of the Impressionists in the 1870s and the early 1880s. The exhibition catalog includes a number of works from the Ny Carlsberg Glyptotek collection as well as from prestigious international private and public institutions.

Individuals:Women Artists in the Collection of The Museum of Modern Art represents the first effort by a major North American museum to examine its collection in light of feminist scholarship of the past three decades. Featuring illustrated essays by nearly fifty writers, including both MoMA curators and outside scholars, among them many of the strongest voices in current research on art and gender, this groundbreaking publication presents a range of generational and cultural perspectives. Individuals focuses on a diverse range of artists active from the late nineteenth century to the present whose works span the spectrum of mediums and genres in the Museum's collection. Organized chronologically into three sections - Early Modernism, Mid-Century and Contemporary - the book comprises both long and short essays emphasizing new research on women artists within these historical time periods. Richly illustrated with objects from the collection, Individuals foregrounds a conversation between past considerations of MoMA's collection and current feminist narratives of art history, putting these varied modes of exploration in productive dialogue.

Why are women artists of the Italian Renaissance and Baroque so relatively unknown today when, during their lifetimes, their artistic merits were celebrated by their foremost contemporaries? Italian Women Artists of the Renaissance and Baroque aims to provide the first survey of women professionally active as painters, engravers and sculptors in 16th and 17th century Italy, and to document the sociocultural context that contributed to shape their lives and oeuvres. This catalogue, published in association with the travelling exhibition which opens at the National Museum of Women in the Arts in Washington D. C., examines the artistic practices and achievements of these remarkable women who managed to gain public, if not international, acclaim. Featuring 60 outstanding works by a dozen of the foremost Italian female artists, this volume offers an unparalleled opportunity to understand their social, personal, and stylistic developments. This scholarly publication will undoubtedly make a significant contribution to the re-emergence of these women as artists of stature and thus constitute a new departure for historical investigations into the way gender has affected how we perceive works of art and into issues of attributions and art market economics.

Drawn from the unrivalled collection of the world-famous State Hermitage Museum in St Petersburg, and published as part of the international celebrations to mark the city's 300th anniversary in 2003, this stunning book presents an extraordinary selection of nearly fifty paintings by fifteen western European women artists An Imperial Collection explores how women as patrons, painters and subjects contributed to the cultural history of Russia. Eminent families formed collection and created artistic commissions that brought women artists such as Elisabeth Vigee-Lebrun and Angelica Kauffman to Russia and extended the influence of western European art to the royal court of the tsars. Some women artists were allowed into the inner circles of the aristocracy, providing an 'insider' view into the private, intimate side of court life. The book will appeal to anyone interested in women artists, the history of Russian patronage of the arts, and Russian imperial history and culture.

What does it mean to insist on the visual as a form of psychic and political violence? And how are women specifically targeted by symbolic violence during periods of war and colonization? Between Image and Identity highlights postcolonial feminist efforts to transform violence into aesthetic and political strategies of resistance. This book explores the "autobiographical" literature, visual, and performance art of postcolonial women from Maghreb and Southeast Asia including Leila Sebbar, Assia Djebar, and Theresa Hak Kyung Cha. Karina Eileraas critically examines how contemporary these artists actively participate in the violence of representation in order to re-imagine the relationship between image and identity. By exploring the creative potentials of fantasy, alienation, and misrecognition in their work, these artists rewrite postcolonial history and re-vision the relationships between sexual politics, symbolic violence, and national memory. Between Image and Identity is a compelling and innovative book that will appeal to those interested in postcolonial and feminist studies, autobiography, visual culture, war and trauma studies.

Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History history yet effected real change? With a new Preface by Griselda Pollock, this new edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today.

Is there a need for books about women in the arts, exhibitions of women painters, readings of women's poetry, concerts of music by women composers, and conferences highlighting women in the arts? One might believe that, today, the playing field is level, but categories still place the word "woman" before the discipline: woman composer, woman poet, woman artist, and so on. The ultimate goal is to move the debate away from gender categories which reinforce the notion that men's creativity is not only the norm but better. There are many women challenging the status quo, and succeeding. Change comes slowly since many men and some women in positions of power do not see gender stereotyping as a problem. It's been nearly a millennium since Hildegard von Bingen composed music and illuminated manuscripts. Shouldn't the time when it was unusual to be a "woman composer" have past? As the great 20th century pedagogue and composer Nadia Boulanger said, "I've been a woman for a little over 50 years and have gotten over my initial astonishment. As for conducting an orchestra, that's a job where I don't think sex plays much part. Indeed, books like Women in the Arts: Eccentric Essays II serve to bring society just a little closer to equality by keeping the accomplishments of women at the forefront of consciousness. Technology today is a great asset in documenting the productivity of women, and all artistic creations can be codified and archived, in contrast to earlier times when creative women's birth and death dates are unknown, not even taking into account all their lost creations. The essays contained in Women in the Arts: Eccentric Essays II reflect the lives of creative artists, whether they are teachers, scholars and researchers recovering previous generations of women artists, or practicing artists creating new masterpieces. The promotion of the roles of women in the arts is integral, so that they may serve as a resource for future generations of students, scholars and researchers, and to enhance generations to come, enriching culture through the arts.

This book gives the necessary background for the study and appreciation of Italian painting and sculpture from about 1250 to 1550.

Now distributed by Oxford University Press for the National Gallery of Art, Artists' Pigments is the first and most complete handbook of its kind. Volume 1 looks at Indian yellow; cobalt yellow (aureolin); barium sulfate; cadmium yellows, oranges, and reds; red lead and minium; green earth; zinc white; chrome yellow and other chromate pigments; lead antimonate yellow; and carmine.

A Closer Look: Conservation of Paintings discusses the material nature of paintings and the ways that they have changed, both naturally and at the hands of previous restorers.

With originality and erudition, Gage describes the first theories of color articulated by philosophers from Democritus to Aristotle and the subsequent attempts by the Romans and their Renaissance disciples to organize color systematically or endow it with symbolic power.

This Pocket Guide explains how coloured pigments are combined with a medium to form a paint layer, and how this affects our perception of the appearance of colour. It not only describes the materials of colour but also explains colour theories and examines writings about colour, including painters' treatises.

This volume is a wide-ranging introduction to the place and power of colour in life and art. John Gage focuses on the viewpoints of artists and examines themes from different discipline.

This Guide discusses the material nature of paintings and the ways that they have changed, both naturally and at the hands of previous restorers, and it describes the main types of conservation treatment carried out on panel and canvas paintings and some of the complex issues involved in cleaning and restoration.

Facture addresses aspects of conservation from treatment and technical art history to scientific research. The inaugural volume focuses on great works of the Renaissance, studying sculpture, painting, and drawing from various points of view.

This book charts the practices and underlying philosophies of conservation and restored works of art from the Middle Ages to the end of the nineteenth century.

This volume on paintings conservation includes more than seventy texts ranging from the fifteenth century to the present day.

National Gallery, London, 29 November 1989 -28 February 1990

Sums up 20th-century knowledge: paints, binders, metals, surface preparation. Based on manuscripts and scientific investigation.

This book gives the necessary background for the study and appreciation of Italian painting and sculpture from about 1250 to 1550.

This prize-winning book offers the only comprehensive discussion available on materials, techniques, and condition issues in Western easel paintings from medieval times to the present.

Yale University Art Gallery bulletin; 2010.

Where did artists buy their materials? Who prepared them? What did they cost? Where did they come from, and how? The evidence concerning supply and distribution, availability, cost, quality and value of artists' materials is examined in this title.

This critical anthology brings together the work of 27 influential art historians and writers from the Renaissance to the present day; key texts have been chosen in which the authors reflect on the nature of their subject and on their own methods of inquiry.

Art historical theory is a forum of intense, often passionate debate. This book provides an accessible introduction to the range of critical theories used in analyzing art. It covers a broad range of approaches, presenting individual arguments, controversies, and divergent perspectives. This second edition has been updated to reflect recent scholarship in contemporary art.

Ask at your library's circulation desk about the availability of this book.

The 14th century in Italian art is a very rich one, and Professor White's book gives architecture equal weight with painting and sculpture. The story of the Gothic style and the prehistory of the Renaissance is given: all the facts are related, but also the works of art are described with insight and for their own sakes, and not simply as data for fitting into schemes and theories.

Medieval Italy gathers together an unparalleled selection of newly translated primary sources from the central and later Middle Ages, a period during which Italy was famous for its diverse cultural landscape of urban towers and fortified castles, the spirituality of Saints Francis and Clare, and the vernacular poetry of Dante, Petrarch, and Boccaccio.

Siena, Florence and Padua were all major centres for the flowering of early Italian Renaissance art and civic culture. The three communities shared a common concern for the embelishment of their cities by means of painting, sculpture and architecture. The eleven papers in this volume re-examine and re-assess the artistic legacy of the three cities during the 14th century amd locate the various works of art considered within their broader cultural, social and religious contexts.

These two volumes examine the artistic legacy of three cities that were major centers for the flowering of early Italian Renaissance art and civic culture, and they place the works of art within their social, religious, and cultural contexts. Volume I addresses such issues as the politics and economics of the cities; the major practitioners of painting, sculpture, and architecture; and the relation of art to religious belief. Volume II focuses on major works of art produced in Siena, Florence, or Padua or executed by artists associated with the three cities.

This Encyclopedia gathers together the most recent scholarship on Medieval Italy, while offering a sweeping view of all aspects of life in Italy during the Middle Ages.

The first extended study of the painting of Florence and Siena in the later 14th century, this book presents a rich interweaving of considerations of connoisseurship, style, iconography, cultural and social background, and historical events.

This new English translation of Merchant Writers includes all the texts from the original Italian edition in their entirety. Moreover, it offers a gripping personal introduction to the mercantile world of medieval and Renaissance Florence.

Italian Art, 1500-1600 provides a unique view of the development of the literature on art in Italy during the Cinquecento. The selections bring out the close relationship between art theories and the actuality of art and chart a trend from a humanistic orientation to a more technical and professorial one.

A new edition -- now in two volumes -- of the largest and most comprehensive textbook about Italian Renaissance art.

This book gives the necessary background for the study and appreciation of Italian painting and sculpture from about 1250 to 1550.

Conservation of Easel Paintings is the first comprehensive text on the history, philosophy, and methods of treatment of easel paintings that combines both theory with practice.

The premier study Bible used by scholars, pastors, undergraduate and graduate students, The New Oxford Annotated Bible offers a vast range of information, including extensive notes by experts in their fields; in-text maps, charts, and diagrams; supplementary essays on translation, biblicalinterpretation, cultural and historical background, and other general topics.