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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 | |