Western painting

Abstract: The names of Masaccio (1401-28) and Masolino (1383-1440) are inseparable, and their collaboration is an essential starting point for the study of either artist. Masaccio's Holy Trinity and the recently cleaned collaborative frescos in the Brancacci Chapel in Florence are key works in the development of Western art. Paul Joannides' catalogue raisonne forms a uniquely authoritative and perfectly up-to-date study of the total oeuvre of both artists. Composed with lucidity and richly illustrated, it makes accessible to all lovers of art - from the connoisseur to the casual reader - some of the greatest paintings of the early Renaissance, and most momentous works of Western painting.

Abstract: Spanning more than 2,500 years in the history of art, "Vision, Reflection, and Desire in Western Painting" demonstrates how the rise and diffusion of the science of optics in ancient Greece and the Mediterranean world correlated to pictorial illustion in the development of Western painting from Hellenistic Greece to the present. Using examples from the late Middle Ages and the Renaissance, David Summers argues that scene-painting (architectural backdrops) and shadow-painting (in which forms are modeled or shown as if in relation to a source of light) not only evolved in close association with geometric optics toward the end of the fifth century B.C.E., but also contributed substantially to the foundations of the new science. The spread of understanding of how light is transmitted, reflected, and refracted is evident in the works of artists such as Brunelleschi, van Eyck, Alberti, and Leonardo. The interplay between optics and painting that influenced the course of Western art, Summers says, persisted as a framework for the realism of Caravaggio, Rembrandt, and Goya and continues today in modern photography and film.

Abstract: (NOTE: Each chapter contains a timechart and box features.) Starter Kit. Introduction. Art as Craft. Systems of Building. Sculptural Techniques and Materials. Painting Techniques and Materials. Print-making. Photography. Pictorial Representation. Perspective. Color. Style and Individual Expression. The Power of Images. Women Artists. The History of Art. I. FOUNDATIONS OF ART. 1. Before History. The Art of the Hunters. Cave Art. Mesolithic Art. The Art of Farmers. Neolithic Architecture. Stonehenge. 2. The Early Civilizations. Mesopotamia. Sumer. Akkadian Art. Ziggurats. Babylon. The Indus Valley. Ancient Egypt. Predynastic. Early Dynastic. Old Kingdom Architecture. Old Kingdom Sculpture and Painting. Middle Kingdom. The Aegean. Minoan Crete. Mycenae and the Mainland. China. Shang Dynasty. 3. Developments Across the Continents. The Hittites. The Discovery of Iron. The New Kingdom in Ancient Egypt. New Kingdom Architecture. Akhenaten. Ramesside Art. Assyria and Babylon. Narrative Relief. Babylon. Iran. Archaemenid Art. Persepolis. Zhou China. The Americas. The Olmecs. Peru. Africa: Nok Culture. 4. The Greeks and Their Neighbors. Archaic Greece. The Male Nude. The Polis. The Classical Period. The Parthenon. Naturalism and Idealization. Vase Painting. Stelae. The Late Classical Period. Barbarian Alternatives: Scythians and the Animal Style. Hallstatt and La Tene. Iberia and Sardinia. The Etruscans. 5. Hellenistic and Roman Art. The Hellenistic Period. Plato, Aristotle and the Arts. Allegory. Hellenistic Architecture. Hellenistic and Roman Painting and Mosaics. Roman Architecture. Domestic Architecture. Temples and Public Works. The Colosseum and the Invention of Concrete. The Pantheon. Roman Sculpture. Towards a Definition of Roman Art. Late Antique Art. II. ART AND THE WORLD RELIGIONS. 6. Buddhism, Hinduism, and Far Eastern Art. Buddhist Art in India. The Image of the Buddha. Hindu Art in India. Buddhist and Hindu Art in Sri Lanka and Java. Buddhist and Hindu Art on the Southeast Asian Mainland. Confucian, Daoist, and Buddhist Art in China. Han Dynasty. Tang Dynasty and the Five Dynasties. Song Dynasty. Landscape Painting. Shinto and Buddhist Art in Japan. Periods (794-1333). 7. Early Christian and Byzantine Art. The Beginnings of Christian Art. From Domus Ecclesiae to the Christian Basilica. The Image of Christ. Ravenna. Byzantine Art. Ecclesiastical Architecture. Hagia Sophia. The Classical Tradition. Icons and Iconoclasts. The Triumph of Orthodoxy. Christian Art in Northern Europe. Interlace and Illumination. Christian Art in Western Europe. The Carolingian Renovation. Developments in Christian Imagery. 8. Early Islamic Art. Umayyad Art and Architecture. Abbasid Art and Architecture. Islamic Spain. Samanid and Seljuk Architecture. Islamic Decoration. III. SACRED AND SECULAR ART. 9. Medieval Christendom. Ottonian Art. Romanesque Architecture in Italy. Romanesque Art and Architecture in Northern Europe. Innovations in Romanesque Architecture. Gothic Art and Architecture. High Gothic. Stained Glass and Flying Buttresses. Economics and Theology. Sculpture and Painting. English and German Gothic. Italian Gothic. Giotto. Secular and International Gothic. 10. The Fifteenth Century in Europe. The Beginning of the Italian Renaissance. Brunelleschi. Masaccio. 'Progress' in Sculpture. A New Style in Flanders. Van Eyck and van der Weyden. Architecture in Italy. Alberti. Sculpture in Italy. Donatello. New Departures. Italian Painting and the Church. Fra Angelico, Uccello, and Piero della Francesca. Secular Painting. Botticelli. The Venetian Synthesis. Mantegna and Bellini. International Humanism. Durer. 11. The Sixteenth Century in Europe. Reform and Early Sixteenth Century Art in the North. Hieronymus Bosch. Grunewald. Protestant Art. The High Renaissance in Italy. Leonardo da Vinci. Harmony, Unity, and Raphael Michelangelo. The Venetian High Renaissance. Giorgione. Titian. Tintoretto and Veronese. Sansovino, Palladio, and the Laws of Harmony. Mannerism and Mannerisms. Correggio and Mannerist 'License'. Pieter Bruegel the Elder. El Greco. 12. The Americas, Africa, and Asia. Mesoamerica and Peru. The Maya, Toltecs, and Mixtecs. The Aztecs. The Incas. Africa. The Islamic World. Ottoman Architecture. Safavid Art and Architecture. Mughal Art. China. The Yuan Dynasty. The Ming Dynasty. Japan-Kamakura to Edo. The Influence of Zen Buddhism. 13. The Seventeenth Century in Europe. New Beginnings in Rome. Baroque Art and Architecture. Rubens and van Dyck. The Easel Painting in Italy. Bernini. Borromini. Poussin and Claude. Velasquez. Dutch Painting. Hals. Rembrandt. Landscape. Still Life and Genre. Vermeer. England and France. 14. Enlightenment and Liberty. French Rococo Art. Watteau, de Troy, and the Rococo Interior. Boucher, Chardin, and Fragonard. The Rococo in Germany and Italy. Tiepolo, Guardi, and Canaletto. English Sense and Sensibility. Hogarth and Gainsborough. Landscape and Classicism. Neo-Classicism, or the 'True Style'. Canova and David. IV. THE MAKING OF THE MODERN WORLD. 15. Romanticism to Realism. Romanticism. The Heirs of David. Goya. Gericault. Ingres. Delacroix. Romanticism and Philosophy. Friedrich. Blake. Romantic Landscape Painting. Constable. Turner. Corot and the Etude. Photography. In Which Style Should We Build? Historicism and Realism. The Pre-Raphaelites. Courbet. Millet. Manet. The USA. Photography Comes of Age. 16. Eastern Traditions. Oing-Dynasty China. Architecture and the Decorative Arts. Japan in the Edo Period. Hokusai and Hiroshige. 17. Impressionism to Post-Impressionism. Impressionism. Monet. Morisot, Renoir, and Manet. Degas. Japonisme. Neo-Impressionism. Seurat, Divisionism, and Socialism. Symbolism. Gaugin and Van Gogh. Allegories of Modern Life: Munch and Rodin. Art Nouveau and New Architecture. Sullivan and the Skyscraper. Domestic Architecture. Cezanne. 18. Indigenous Arts of Africa, the Americas, Australia, and Oceania. Oceania. Polynesia. Melanesia and Micronesia. Australia. The American Northwest. The Plains and the Arid Lands of North America. Africa. V. TWENTIETH-CENTURY ART. 19. Art from 1900 to 1919. New Ways of Looking. The Fauves and Expressionism. Matisse. The German Expressionists. Kandinsky. Marc. Cubism. Picasso and Braque: Analytical and Synthetic Cubism. Orphic Cubism. Futurism. Abstract or Non-Objective Art. Suprematism and the Founding of De Stijl. Architecture. Frank Lloyd Wright. 20. Between the Two World Wars. Dada and Surrealism. Duchamp. America and the Precisionist View. Diego Rivera and the Mexican Muralists. Breton, de Chirico, and Ernst. Dali, Magritte, and Miro. Welded Metal: A Revolution in Sculpture. Photography and Modern Movements. Constructivism, De Stijl, and the International Style. Art and Revolution. The Bauhaus. 21. Post-War to Post-Modern. Abstract Expressionism. Pollock and de Kooning. Still, Rothko, and Newman. European Survivors. Post-Painterly Abstraction. Jasper Johns and Robert Rauschenberg. Pop Art. Photographic Imagery. Minimal and Conceptual Art. Earth and Land Art. Photo-Realism and New Image Painting. Body Art and Process Art. Modernism and Post-Modernism. 22. Continuity and Change -- The Twilight of the Second Millenium. Questioning Modernism. Neo-Expressionism. Art as Identity. Post-Modern Multiculturalism. Video Art. The Post-Medium Condition. Photography and the Construction of Reality. Abjection. Function and Value. Artspaces. History Painting. Politics and Memory. Globalization. Spectacle. Glossary. For Further Reading. Index. Maps.

Abstract: 1. 1900-1920: Cultural and Historical Context for the First Twenty Years. Early Twentieth-Century Realists. The Younger American Painters, Giles Edgerton (Mary Fanton Roberts). Progress in Our National Art..., Robert Henri. Diaries (1906, 1908, 1909, 1911, 1912), John Sloan. The Critical Issues: Modernism and American Consciousness. Art: Life's Prismatic Glass, Benjamin DeCasseres. Modern Painting: Its Tendency and Meaning, Willard Huntington Wright. Artists and Others, John Weichsel. African Negro Art: Its Influence on Modern Art, Marius DeZayas. Of Our Spiritual Strivings, W.E.B. DuBois. American Art, Robert J. Coady. New Forms for a New Century. Notes for a Catalogue, Elie Nadelman. The Fourth Dimension from a Plastic Point of View, Max Weber. Statement for 291 Exhibition, John Martin. The Georgia O'Keeffe Drawings and Paintings at '291,' William Murrell Fisher. Photography as Art, Photography as Tool for Reform. Photography as a Fine Art, Charles H. Caffin. Photography, Paul Strand. Social Photography, Lewis Hine. Armory Show, Independents Show of 1917, and New York Dada. A Layman's Views of an Art Exhibition, Theodore Roosevelt. Cubists and Post-Impressionism, Arthur Jerome Eddy. Collection of the Societe Anonyme: Museum of Modern Art, Marcel Duchamp. We Are Living in the Age of the Machine, Paul B. Haviland. The Blind Man, Marcel Duchamp et al. Mefk Maru Mustir Daas, Elsa von Freytag-Loringhoven. 2. The 1920s: Cultural and Historical Context for the Jazz Age. Machine Age Modernism and Modernity. The Brooklyn Bridge, Joseph Stella. The Americanization of Art, Louis Lozowick. Ford Plant Photos of Charles Sheeler, Samuel M. Kootz. The Great Figure, William Carlos Williams. Cultural Nationalism-Defining American: The Usable Past, the Local the Popular. On Creating a Usable Past, Van Wyck Brooks. My American Epic in Paint, Thomas Hart Benton. Advertures in the Arts, Marsden Hartley. The Great American Billposter, Matthew Josephson. Cultural Primitivism-Defining Authenticity: The Usable "Other" Natural Men and Women. America Has Its Primitives, Holger Cahill. A Negro Artist Plumbs the Negro Soul, Edward Alden Jewell. Introduction to Max Weber, Primitives: Poems and Woodcuts, Benjamin DeCasseres. Georgia O'Keeffe: White Paint and Good Order, Waldo Frank. The New Negro. The Legacy of the Ancestral Arts, Alain Locke. The Negro Artist and the Racial Mountain, Langston Hughes. An Autobiography, Augusta Savage. Artists Abroad. Why Do Americans Live in Europe?, Robert McAlmon et al. Letters from Paris, Stuart Davis. 3. The 1930s: Cultural and Historical Context for the Depression Years. The Depression Experience. An Artist's Experience in the 1930s, Raphael Soyer. Interview with Philip Evergood, Philip Evergood. American Rhapsody (2), Kenneth Fearing. Interview..., Jacob Lawrence. Revolutionary Theory and Practice-The Search for Styles. The World Crisis Expressed in Art..., John Reed Club. Why an Artists' Congress?, Stuart Davis. New Content-New Form, Grace Clements. Towards a Revolutionary Art, Louis Lozowick. What's the Matter with Sculpture, Isamu Noguchi. Civic Documentary History, Bernice Abbott. Mexican Artists in the United States. The Radio City Mural, Diego Rivera. I Paint What I See, E.B. White. Frida Kahlo de Rivera, Andre Breton. Government Projects. American Resources in the Arts, Holger Cahill. Harlem Community Art Center, Gwendolyn Bennett. Official Art, Elizabeth Noble. Memorandum, 1942, Roy Stryker. Nationalism and Racialism in the Arts as Issues in the 1930s. Modern Art: The Men, the Movements, the Meaning, Thomas Craven. Reviews: The New York American Scene in Art, Stuart Davis. The Negro Artist and Modern Art, Romare Bearden. Race, Nationality and Art, Meyer Schapiro. 4. 1940s-Mid-1950s: Cultural and Historical Context for World War II and the Cold War. Critical Responses: The Transition to Abstract Expressionism and "Pure" Painting. Abstract Art, Clement Greenberg. The American Action Painters, Harold Rosenberg. de Kooning Paints a Picture, Thomas B. Hess. The Liberating Quality of Avant-Garde Art, Meyer Schapiro. New York School: Voices of Individual Artists. Garden in Sochi, Arshile Gorky. Thesis, Norman Lewis. The Modern Painter's World, Robert Motherwell. The Romantics Were Prompted, Mark Rothko. My Painting..., Jackson Pollock. The Ideaographic Picture, Barnett Newman. 12 Americans, Grace Hartigan. Notes for David Smith Makes a Sculpture, David Smith. The Figurative Artists in the Post-War Years. Interview..., Henry Koerner. Negro Artists, Elizabeth Catlett. Statement, Milton Avery et al. The New Decade, Stephen Greene. Northern California, David Park. New Images of Man, Leon Golub. The Cold War and the Arts. Modern Art Shackled to Communism, Representative George A. Dondero. Truth, Freedom, Perfection, Alfred H. Barr, Jr. File on Ben Shahn, Newark Branch, Federal Bureau of Investigation. 5. 1955-1967: Cultural and Historical Context for a Consumer and Technological Society. America, Allen Ginsberg. Assemblage, Installations, Happenings, Events, Performance. Happenings in the New York Scene, Allan Kaprow. I Am for an Art..., Claes Oldenburg. Manifesto, George Maciunas. I Want the Dancers... and Be Prepared, Carolee Schneemann. New York Pop, West Coast Funk, and Chicago "Sub-Pop." Sixteen Americans, Robert Rauschenberg. Contemporary Art and the Plight of Its Public, Leo Steinberg. An Interview with Roy Lichtenstein, John Coplans. What Is Pop Art?, G.R. Swenson. The Underground Pre-Raphaelitism of Edward Kienholz, Sidney Tillim. Chicago, Franz Schulze. Minimal Art. Frank Stella, Carl Andre. Questions to Stella and Judd, Lucy R. Lippard. Notes on Sculpture, Robert Morris. Shape as Form: Frank Stella's New Paintings, Michael Fried. Agnes Martin, Lawrence Alloway. 6. 1968-1980: Cultural and Historical Context for the Vietnam War Era. Dematerialization: Conceptual Art, Systems, Earth Art. Paragraphs on Conceptual Art, Sol LeWitt. A Sedimentation of the Mind, Robert Smithson. Problems of Criticism, IV: The Politics of Art, Barbara Rose. Introduction to Stolen, Lawrence Alloway. Eva Hesse: The Circle, Lucy R. Lippard. Christo's Public Art, Calvin Tomkins. Realism and Figuration. Figure Painters Today Are Not Made in Heaven, Philip Pearlstein. Alice Neel, Alice Neel. Color, Audrey Flack. Artists's Statement, Robert Bechtle. Bob Colescott Ain't Just Misbehavin,' Lowery Stokes Sims. The Vietnam War, Political Art, Political Criticism. Art Workers' Coalition, Lucy R. Lippard. Communique, Guerrilla Art Action Group. To All Interested Parties, Hans Haacke. Art Is a Political Act, Max Kozloff et al. The Artist as Anthropologist, Joseph Kosuth. Art of Conscience: The Last Decade, Donald B. Kuspit. Black Arts Movement. A Poem for Black Hearts, Amiri Baraka (Le Roi Jones). Any Day Now: Black Art and Black Liberation, Larry Neal. A New Criticism Is Needed, Edmund B. Gaither. For the Women's House, Michele Wallace. Women's Movement. Judy Chicago Talking to Lucy R. Lippard, Lucy R. Lippard. Feminist Abstract Art-A Political Viewpoint, Harmony Hammond. The 7000 Year Old Woman, Betsy Damon. Visions and Re-Visions, Moira Roth. Taking Art to the Revolution, May Stevens. 7. 1980s-1990s: Cultural and Historical Context for the Age of Reagan and Postmodernism. Exit Modernism, Enter Postmodern Critique. Farewell to Modernism, Kim Levin. Nature and Culture, Peter Halley. Whatever Happened to Postmodernism?, Hal Foster. The End of the Art World, Robert C. Morgan. New Painting and Sculpture. New Image Painting, Susan Rothenberg. Popeye Meets Picasso in MoCA Survey, Christopher Knight. The Radiant Child, Rene Ricard. Mark Tansey, Jonathan P. Binstock. The Matter at Hand, Robert Storr. Word-Based, Photo-Based and Theory-Based Art. Pictures, Douglas Crimp. Women in Theory, Sheila Tebbatt. Went Looking for Africa: Carrie Mae Weems, Kate Linker. Identities Unmasked, Classifications Resisted. Seventies into Eighties-Neo-Hoodooism vs. Postmodernism: When (Art) Worlds Collide, Judith Wilson. Sharp Rocks, Edgar Heap of Birds. Documented/Undocumented, Guillermo Gomez-Pena. Asia/America: Identities in Contemporary Asian American Art, Margo Machida. The Shadow Knows: An Hysterical Tragedy of One Young Negress and Her Art, James Hannaham. The Passionate Camera: Photography and Bodies of Desire, Deborah Bright. Bodies Reclaimed. Hannah Wilke: 'The Body Politic,' Lowery Stokes Sims. An Interview with Kiki Smith, Robin Winters. The Artifact Piece, James Luna. Censorships and Propaganda in Art and Visual Culture. Welcome to America's Finest Tourist Plantation, Elizabeth Sisco et al. The Many Roles of Mapplethorpe, Michael Brenson. DIS-IN-FOR-MA-TION, Rudolf Baranik. War Stories: Narrative Reporting of the Gulf War, Patricia Johnston. Statement 1992, Bill Viola. The Construction of Knowledge: Museums, Art History, and Studio Practices. Revisionism Has Transformed Art History but Not Museums, Alan Wallach. Interview with Fred Wilson, Martha Buskirk. The Future of Art History and the Undoing of the Survey, Mark Miller Graham. Teaching Students the Way They Learn, Amalia Mesa-Bains. Art in Public Spaces. A Conversation with the Artist, Hayden Herrera. An Interview with Maya Lin, Elizabeth Hess. Editorial: Which Way the Titled Arc?, Alan Wallach. Murales del Movimiento: Chicano Murals and the Discourses of Art and Americanization, Marcos Sanchez-Tranquilino. The Advantages of Being a Woman Artist and Do Women Have to Be Naked to Get into the Met. Museum?, Guerrilla Girls. The Government Has Blood on Its Hands, Gran Fury. Comments on Code 33: Emergency Clear the Air, Suzanne Lacy. Index.