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Gateways To Art Understanding The Visual Arts Fourth Edition Dewitte Online Ebook Texxtbook Full Chapter PDF
Gateways To Art Understanding The Visual Arts Fourth Edition Dewitte Online Ebook Texxtbook Full Chapter PDF
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Publisher’s Notice
Please note that this version of the ebook does not include
access to any media or print supplements that are sold
packaged with the printed book.
Front cover: Kerry James Marshall, Untitled, 2009. Acrylic on PVC
panel, 61⅛ × 72⅞ × 3⅞”. Yale University Art Gallery, New Haven.
© Kerry James Marshall. Courtesy of the artist and Jack Shainman
Gallery, New York
Gateways to Art © 2012, 2015, 2018, and 2023 Thames & Hudson
Ltd, London
All efforts have been made to trace the owners of the copyright and
reproduction rights for all of the illustrations that appear in this
book. Thames & Hudson will be happy to rectify any omissions or
errors in future printings of this book.
Be the first to know about our new releases, exclusive content and
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Preface 12
Introduction 16
Part 1 Fundamentals
Part 4 Themes
Glossary 660
Further Reading 665
Sources of Quotations 667
Illustration Credits 669
Index 674
Contents
Preface 12
Organization and How to Use this Book 12
New in this Edition 12
Resources for Instructors 13
Resources for Students 13
Videos, Animations, and Images 13
The Authors 14
Acknowledgments 14
How to Use the Gateways to Art and Other Features 15
Introduction16
The Visual World 16
What Is Art? 16
Fine Art, Craft, and the Commercial Arts 18
Where Is Art? 20
Art and Creativity 22
Who Makes Art? 23
The Value of Art 24
Power and the Social Role of Art 27
Studying Art 30
Features:
Perspectives on Art: Loongkoonan
The Value of Art to Keep Alive Knowledge and Culture 26
Part 1 Fundamentals
1. Timeline 346
2. 3.1 Art of the Prehistoric and AncientMediterranean 348
3. Prehistoric Art in Europe and the Mediterranean 349
4. Mesopotamia 352
5. Ancient Egypt 354
6. Art of Ancient Greece 359
7. Etruscan Art 366
8. Roman Art 367
9. Features:
10. Perspectives on Art: Zahi Hawass
11. The Golden Mask of King Tutankhamun 358
12. Stylistic Changes in the Sculpture of Ancient
Greece 360
13. Classical Architectural Orders 363
14. 3.2 Art of the Middle Ages 372
15. Art of Late Antiquity and Early Christianity 373
16. Byzantine Art 376
17. Manuscripts and the Middle Ages 379
18. Pilgrimage in the Middle Ages 381
19. Romanesque Art and Christian Pilgrimages 384
20. The Rise of the Gothic 387
21. From the Gothic to the Early Renaissance in Italy 388
22. Feature:
23. Three Religions of the Middle Ages 374
24. 3.3 Art of India, China, Japan, Korea, and Southeast Asia 390
25. India 390
26. China 396
27. Japan 401
28. Korea 405
29. Southeast Asia 406
30. Features:
31. Philosophical and Religious Traditions in Asia 391
32. GATEWAY TO ART Ai Weiwei, Dropping a Han
Dynasty Urn The Value of Art: Questions of History and
Authenticity 398
33. GATEWAY TO ART Katsushika Hokusai, “The Great
Wave off Shore at Kanagawa” Mount Fuji: The Sacred
Mountain of Japan 404
34. 3.4 Art of the Americas 410
35. When’s the Beginning? 410
36. South America 411
37. Mesoamerica 415
38. North America 421
39. Features:
40. San Ildefonso-Style Pottery 422
41. “We Are the Mirrors”: Legislation and Activism to
Protect Native Rights and Land 425
42. 3.5 Art of Africa and the Pacific Islands 428
43. Art of Africa 429
44. Art of the Pacific Islands 436
45. Feature:
46. GATEWAY TO ART Nkisi Nkondi Mystical Hunter
Activated to Restore Balance 431
47. 3.6 Art of Renaissance and Baroque Europe (1400–1750) 442
48. The Early Renaissance in Italy 444
49. The High Renaissance in Italy 446
50. The Renaissance in Northern Europe 451
51. Late Renaissance and Mannerism 454
52. Protestant Reformation and Catholic Counter-
Reformation 457
53. Italian Baroque 459
54. Northern Baroque 463
55. Features:
56. GATEWAY TO ART Raphael, The School of Athens
Paying Homage to Humanists in the Past and Present
448
57. Van Eyck, Panofsky, and Iconographic Analysis
450
58. Depictions of David 460
59. 3.7 Art of Europe and America (1700–1865): Rococo to
Romanticism 466
60. Absolute Monarchy 466
61. Rococo 468
62. Enlightenment in Art 469
63. Neoclassicism 473
64. Romanticism 476
65. Feature:
66. The French Academy of Painting and Sculpture:
Making a Living as an Artist 472
67. 3.8 The Modern Aesthetic: Realism to Fin de Siècle480
68. Art Academies and Modernism 480
69. Realism 482
70. A Revolutionary Invention: Photography and Art in the
Nineteenth Century 484
71. Impressionism 486
72. Post-Impressionism 493
73. Symbolism 496
74. Fin de Siècle and Art Nouveau 497
75. Feature:
76. The Influence ofJapanese Woodcuts on the
Impressionists 488
77. 3.9 Late Modern and Early Contemporary Art in the Twentieth
Century 500
78. Expressionism 500
79. The Revolution of Color and Form 502
80. Dada 505
81. Surrealism 507
82. The Influence of Cubism 510
83. Early Twentieth-Century Art in America 513
84. Abstract Expressionism 515
85. Pop Art 517
86. Minimalism 518
87. The Transition from Modernism and Postmodernism in
Architecture 519
88. 3.10 The Late Twentieth Century and Art of the Present Day
522
89. Conceptual Art 522
90. Performance and Body Art 524
91. Earthworks 524
92. Postmodernism, Identity, and Cultural Diversity 525
93. Recontextualizing Historical Events 529
94. Complexity, Chaos, and Imagination 531
95. Transforming Space 534
96. Art as Social Practice 534
97. Features:
98. Borrowing an Image 523
99. GATEWAY TO ART April Greiman, Does It Make
Sense? Pioneering Postmodern Design 526
100. Perspectives on Art: Gabriel Dawe
101. Materializing Light, Inverting Constructs 535
Part 4 Themes
Glossary 660
Further Reading665
Sources of Quotations667
Illustration Credits 669
Index674
Preface
Organization and How to Use this
Book
Gateways to Art is an introduction to the visual arts, divided into four
parts: Part 1, Fundamentals, the essential elements and principles of
art that constitute the visual language of artworks; Part 2, Media and
Processes, the many materials and processes that artists use to
make art; Part 3, History and Context, the forces and influences that
have shaped art throughout human history; and Part 4, Themes, the
major cultural and historical themes that have motivated artists to
create. Each of these parts is color-coded to help you move easily
from one section to the next.
This means that you can learn about art in the order that works best
for you. You can, of course, read the chapters in the order that they
appear in the book. This will tell you all you need to know to
appreciate art. But you can also choose your own path. For example,
the Introduction discusses how we define art and what it contributes
to our lives. Next you might read Chapter 2.6, The Tradition of Craft,
which deals with media that artists have used for centuries to create
artworks, but which some cultures today consider less important
than fine art, such as painting and sculpture. Then the discussion of
Japanese art in Chapter 3.3, Art of India, China, Japan, Korea, and
Southeast Asia, reveals how the traditional tea ceremony or a
carefully raked Zen garden are appreciated just as much as a
painting.
The authors have also updated the Test Bank of more than
1,600 questions, now available in TestMaker.
The Lecture PowerPoints are fully customizable, featuring
images and bullet points of key topics from each section for in-
class presentation.
The interactive e-book includes dozens of embedded videos,
animations, and panoramas, as well as the audio glossary. The
e-book also includes new concept-check questions to assess
students’ understanding of key themes in each section as they
read.
InQuizitive, the easy-to-use adaptive learning tool that helps
students to master key concepts, has been thoroughly revised
and updated for this edition. Featuring visual prompts with
images from the text, InQuizitive questions are linked directly to
the relevant e-book page to support students’ reading and
comprehension.
Other student resources have been revised and updated:
terminology and image flashcards; chapter outlines; a full
glossary and an audio glossary to aid pronunciation of non-
English terms and artists’ names; and interactive exercises
demonstrating key concepts.
The Gateways to Art Journal for Museum and Gallery Projects is
now available as an e-book, and has been updated to address
current issues that museums face, such as online community
outreach, diversity and inclusion, and colonialism and
decolonization, with a new exercise on provenance and
repatriation.
Videos, Animations, and Images
The following interactive elements in the e-book are also available
separately for classroom use:
Glossary
Context
circumstances surrounding the creation of a work of art, including
historical events, social conditions, biographical facts about the
artists and their intentions
Mural
a painting applied directly to a wall, usually large and in a public
space
What Is Art?
The Japanese artist Katsushika Hokusai (1760–1849) is said to have
created a painting titled Maple Leaves on a River by dipping the feet
of a chicken in red paint and letting the bird run freely on a sheet of
paper he had just covered in blue paint. Although we know that
Hokusai was an unconventional character, this painting has not yet
been found today, and we cannot be certain that the story is true. If
we think about this curious anecdote for a while, however, we can
begin to understand the most basic question addressed in this book:
What is art? This is not an easy question to answer, because people
define art in many ways. In Hokusai’s case, Maple Leaves on a River
would have captured the peaceful sensations of a fall day by a river,
without showing what an actual river and real leaves look like. In
this instance, art primarily communicates a sensation.
What these works do have in common is the fact that they all
communicate an idea by visual means that can help us see the world
in new and exciting ways and strengthen our understanding. In
other words, art is a form of language.
Glossary
Synesthesia
when one of the five senses perceives something that was
stimulated by a trigger from one of the other senses
Romantic, Romanticism
a movement in nineteenth-century European culture, concerned
with the power of the imagination and greatly valuing intense
feeling
Sublime
a feeling of awe or terror, provoked by the experience of limitless
nature and the awareness of the smallness of an individual
Subject (subject matter)
the person, object, or space depicted in a work of art
Style
a characteristic way in which an artist or group of artists uses
visual language to give a work an identifiable form of visual
expression
conceptual artist
a work in which the communication of an idea or group of ideas
is most important to the artwork
Fine Art, Craft, and the Commercial
Arts
There is no simple definition that allows us to tell who is an artist
and who is not. If we take a global view, we certainly cannot define
artists by what they made. The terms we choose to label things,
such as fine or high art, often tell us more about our own attitudes
and stereotypes than about the object under consideration. But
while such labels can be misused, they can nonetheless reflect
cultural judgments and sometimes lead to ways of identifying,
categorizing, and understanding art.
The art of quilting, going back to at least the Middle Ages, has been
practiced throughout Europe, Asia, and the Americas. While quilts
were treasured for their complexity and the skill used to make them,
traditionally quiltmaking has been considered a craft because of the
textiles used, the fact that they are made by hand, and the fact that
quilts were most often made by women—an example of how, in the
past, women were offered limited opportunities to make a living
through their artistic talents. By mid-nineteenth-century America,
most quilts were made in a block style. The Bible Quilt (0.0.5) was
made by Harriet Powers (1837–1910), an enslaved person born in
Georgia. She lived to see the abolition of enslavement in the US in
1865, and sold her quilts to help support her nine (or more)
children. The eleven panels of the quilt illustrate biblical stories and
figures such as Adam and Eve with the serpent (upper left), Satan
and seven stars (upper right), and the crucifixion (lower left).
Another random document with
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Néanmoins, les premiers temps, j’écoutai quelque peu les dires
des deux pasteurs. Mais je ne tardai pas à remarquer que, s’ils se
rencontraient sur le terrain de la morale, ils divergeaient du tout au
tout dans leur façon de commenter la Bible — que je tenais, au
surplus, pour un recueil de légendes aussi absurdes
qu’inconsistantes.
L’un, le plus âgé, accordait une part assez grande à la
Révélation ; il inclinait à la prédestination inexorable qui fait le fond
du calvinisme.
L’autre, imbu de kantisme, semblait n’attacher qu’une importance
médiocre au dogme. Il recommandait le « témoignage intérieur » et
de la déférence aux suggestions d’une entité bizarre qu’il désignait
par ce vocable obscur : « L’Impératif catégorique ».
Tous deux s’accordaient pour bien spécifier qu’il nous fallait
posséder une foi, mais ils précisaient que nous étions libres de la
choisir à notre gré.
— Quoi, pensai-je, l’un me dit : agis comme tu voudras ou
comme tu pourras, si Dieu a décrété ta damnation, tu n’y
échapperas point. S’il te prédestine au salut, ton âme ira au ciel
après ton décès. Alors que sert de me prêcher une morale ?
L’autre soutient que je trouverai en moi-même, exclusivement,
des motifs de croire et que je ne relève que de ma conscience.
Alors, pourquoi l’écouter, lui qui ne sait pas ce qui se passe au-
dedans de moi ?…
Que ces bons messieurs commencent par se mettre d’accord.
Pour moi, puisqu’ils me reconnaissent le droit de choisir entre leurs
théories, je choisis — rien du tout.
Dès que j’eus constaté l’incertitude de cet enseignement
bicéphale, je ne donnai plus la moindre attention à leurs propos. Le
cours hebdomadaire de religion me fournit un loisir que j’employai à
rédiger mes devoirs de latin ou de français tout comme je faisais au
cours de mathématiques.
Au temple, nous devions emporter un recueil des psaumes
traduits par Clément Marot et dont le style avait été modernisé d’une
façon assez gauche par je ne sais plus qui. J’arrachai ce texte et le
déposai soigneusement dans un coin de mon casier. Sous la
couverture de basane noire, je le remplaçai par des vers de Hugo et
de Musset, et aussi par du Boquillon. Je lisais cela tandis que le
pasteur pérorait en chaire ou débitait de longues oraisons tout
abstraites, debout derrière la table, recouverte de serge brune, qui
occupait le centre de l’édifice.
Parmi mes camarades, certains faisaient comme moi. D’autres
dormaient d’un sommeil paisible. Les pions dissimulaient
d’effroyables bâillements dans leur chapeau tenu à hauteur de la
bouche.
Et c’est ainsi que nous pratiquions le protestantisme, « ce sauve-
qui-peut religieux », comme l’a défini un homme d’esprit.