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Acknowledgments | |
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Introduction How to use this book | |
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Introducing art history | |
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What do art historians do? the object of art history | |
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What is "art"? / A working definition of art / What is "history"? | |
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Why is art history important? | |
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Art history and related disciplines | |
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Art criticism / Sociology / Anthropology / Aesthetics / Cultural studies / Visual culture studies / Connoisseurship | |
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Art history's toolbox: formal and contextual analysis | |
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Museum accession numbers | |
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Reading captions for information | |
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Conclusion | |
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Formal analysis | |
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Formal analysis | |
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Formal elements | |
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Color / Line / Space and mass / Scale / Composition | |
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Two-dimensional art: painting, graphic arts, photography | |
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Sculpture | |
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Wölfflin and formal analysis | |
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Architecture | |
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Installation art | |
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Performance and video art | |
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Digital art | |
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Textile and decorative arts | |
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Patrick Heron analyzes a painting by Matisse | |
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Conclusion | |
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Contextual analysis | |
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Art and context | |
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Contextual questions | |
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Art out of context? Museums and art history | |
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A brief history of museums / Museums and the experience of art | |
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Sarah Symmons analyzes a print by Goya | |
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The process of interpretation: confronting your assumptions | |
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The challenges of cross-cultural interpretation / the challenges of historical interpretation / Historical interpretation in practice | |
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Is African art anonymous? | |
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Art and its controversies | |
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Style and meaning | |
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Conclusion | |
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Writing art-history papers | |
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Art-historical arguments: opinion vs. interpretation | |
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Formal-analysis papers | |
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Taking notes / Structuring your paper / the comparison paper | |
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Research papers | |
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Developing a topic and starting your research / Keeping notes | |
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Resources for research | |
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Books / Periodicals / Websites / Reference works | |
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How many sources should I use? | |
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Critical moments in art-history writing | |
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Developing a thesis / Writing an introductory paragraph / Sustaining the argument / Dealing with intentions / the conclusion / Editing | |
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If you experience writer's block | |
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Citations and bibliographies | |
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MLA citations / Chicago citations / Bibliography or Works Cited / Plagiarism's gray zone | |
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Writing style | |
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Common stylistic pitfalls of art-history writing / Finding a voice | |
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Putting together those illustrations | |
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Conclusion | |
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Navigating art-history examinations | |
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Slide identifications and short-answer questions 118 identifications | |
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Why are slide identificationsimportant? / How to succeed at slide identifications/ Three-step slide memorization / Memory aids / Unknowns | |
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Test-taking strategies for art-history exams | |
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Art-history essays | |
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Studying for essay tests / Types of essay question | |
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Effective note-taking | |
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Taking good notes in class / Developing a consistent shorthand / Taking notes on readings | |
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Class Participation���why bother? | |
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Conclusion | |
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Art history's own history | |
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Ancient world | |
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Excerpt from Pliny's Natural History | |
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Middle Ages | |
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Renaissance | |
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Excerpt from Vasari's Lives of the Artists | |
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Seventeenth-century writers on art | |
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Fÿlibien in conversation with Poussin | |
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Winckelmann on the Laocoön | |
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Age of Enlightenment | |
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The nineteenth century: foundations of modern art history | |
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Twentieth-century formalists, iconographers and social historians | |
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After 1970: the "new" art history | |
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The feminist art-history revolution | |
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Do other cultures practice art history? | |
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China / West Africa | |
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Early art history in China | |
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Conclusion | |
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Glossary | |
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Bibliography | |
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Table of parallel illustrations in art-history surveys | |
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Index | |
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Picture credits | |