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B r ief C o n ten ts
Part I
INTROD U C TION TO A RT 1
Chapter 1 Art and Art Making 3

Chapter 2 The Language of Art and Architecture 23
Chapter 3 Media 55
Chapter 4 Deriving Meaning 87
Part II
WH Y D O WE MA KE A RT? 103
SECTION 1 :: Survival and Beyond 104

Chapter 5 Food and Shelter 105
Chapter 6 Reproduction and Sexuality 137
SECTION 2 :: Religion 166

Chapter 7 Deities and Places of Worship 167
Chapter 8 Mortality and Immortality 213
SECTION 3 :: The State 244

Chapter 9 Power, Politics, and Glory 245
Chapter 10 Social Protest/Affirmation 279
SECTION 4 :: Self and Society 308

Chapter 11 Mind and Body 309
Chapter 12 Race, Gender, Clan, and Class 341
Chapter 13 Nature, Knowledge, and Technology 377
Chapter 14 Entertainment and Visual Culture 409
Part III
MA K ING A RT P A RT O F Y O U R LI F E 437
Chapter 15 Art in Your Life 439
vi
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Co n t e nt s
Preface xi
Chapter 3 Media 55
I
The Importance of Materials 56
Media in Two-Dimensional Art 56
Part Drawing 56
Printmaking 60
Intro duc t i on t o A r t 1 Painting 64
Fabrics, Needlework, and Weaving 70
Methods and Media
Chapter 1 Art and Art Making 3 in Three-Dimensional Art 72
Toward a Definition of Art 4 Carving 74
Function 4 Modeling 74
Visual Form 4 Assembling 77
Content 5 New Technologies 79
Aesthetics 8 Installation 79
Art and Style Vocabulary 8 Performance 82
Art within Visual Culture 11 Technology-Based Media 82
Fine Art 12 Photography 82
Popular Culture 13 The Moving Image 85
Craft 16
Other Categories 17 Chapter 4 Deriving Meaning 87
About Artists 17 Formal Analysis 88
The Context for Art Making 17 Content Analysis 88
Training Artists 18 Subject Matter 88
Making the Art Object 18 Iconography 90
Innovation and Self-Expression 20 The Influence of Historical Context, Physical
The Role of the Artist in Various Cultures 20 Surroundings, and Method of Encounter 92
Context for the Creation of the Artwork 92
Chapter 2 The Language of Art and Architecture 23 Physical Surroundings 94
Formal Elements 24 Method of Encounter 94
Line 24 Writings about Art 96
Light and Value 26 Modernist Criticisms 96
Color 28 Postmodern Philosophical Positions 98
Texture and Pattern 33 Personal Interpretation 102
Shape and Volume 35
Space 36
II
Time and Motion 40
Chance/Improvisation/Spontaneity 41
Engaging All the Senses 42
Part
Principles of Composition 42
Why D o We M ake A r t ? 10 3
Balance 42
Rhythm 43
Proportion and Scale 44
SECTION 1 :: Survival and Beyond 104
Emphasis 44
Unity and Variety 45 Chapter 5 Food and Shelter 105
Structural Systems in Architecture 45 History Focus 106
Traditional Building Methods 45 Expanding the View 108
Recent Methods and Materials 51 Timeline for Food and Shelter 110
vii
Food 112 Places of Worship and Their General Characteristics 191
Securing the Food Supply 112 Housing Sacred Objects 191
Storing and Serving Food 114 Incorporating Elements of Nature 192
Art That Glorifies Food 118 Using Geometry Symbolically 193
Art and the Act of Eating 121 Providing Sites for Sacred Ceremonies
Shelter 125 and Pilgrimages 195
Domestic Architecture 125 Temple Complexes and Large-Scale Sacred
Group and Community Living 125 Architecture 197
Individual Homes 128 The Greek Temple 199
Commercial Architecture 132 The Egyptian Temple 201
Late Twentieth- and Twenty-First-Century The Hindu Temple 203
Public Structures 133 The Buddhist Temple 205
The Hebrew Temple 206
Chapter 6 Reproduction and Sexuality 137
The Gothic Cathedral 206
History Focus 138
The Islamic Mosque 209
Expanding the View 140
The Mesoamerican Temple 210
Timeline for Reproduction and Sexuality 142
The Promise of Fertility 144 Chapter 8 Mortality and Immortality 213
Fertility Goddesses and Gods 144 History Focus 214
Fertility and Rituals 146 Expanding the View 216
Art Depicting Primordial and Human Timeline for Mortality and Immortality 218
Couples 149 Early Tombs: Mounds and Mountains 220
Primordial Couples 150 Ancient Burials 220
Human Couples 152 Furnished Tombs 221
Art about Lovemaking 154 Egyptian Tombs and Mortuary Temples 222
Art about Sexuality in Western Culture 157 Etruscan Tombs 225
The Feminine Body and the Gaze 157 Funeral Complex of Shi Huangdi 226
Sexuality, Politics, and Consumerism 159 Royal Tombs of the Moche Civilization 228
Abstracted Sexual Imagery 161 Viking Ship Burial 229
Images of Pregnancy, Childbirth, and Development of Cemeteries and Grave Monuments 230
Progeny 163 Burial in Places of Worship 232
Christian Burials 232
SECTION 2 :: Religion 166
Islamic Mausoleums 234
Chapter 7 Deities and Places of Worship 167 Reliquaries 236
History Focus 168 Modern Commemorative Art 238
Expanding the View 170 Modern Cemeteries 238
Timeline for Deities and Places of Worship 172 Contemporary Memorial Art and Practices 239
Religions and Their Imagery of Deities
SECTION 3 :: The State 244
and Holy Beings 174
Animism 174 Chapter 9 Power, Politics, and Glory 245
Polytheism 174 History Focus 246
Pantheism 177 Expanding the View 248
Monotheism 181 Timeline for Power, Politics, and Glory 250
Humans Respond to God 184 The Glory of the Ruler 252
Ceremonies 184 Divine Rulers, Royalty, and Secular/Religious
Offerings 184 Leaders 252
Sacrifices 186 Objects of Royalty and Prestige 255
Prayers 187 Contemporary Political Leaders 256
The Cosmos 188
viii Con t ents
The Power of the State 257 Gender Issues 353
Palaces 257 Art and Ritual Perpetuating Gender
Seats of Government 262 Roles 353
Monuments 264 Gender Reflected in Art and Architecture 353
War 265 Critiquing Gender Roles 357
Warriors, Weapons, and Fortifications 265 Clan 358
War Scenes 268 The Extended Family 358
War Memorials 273 The Nuclear Family 363
Peace 274 Class 365
Art about Peace 274 Class Status and Body Styles 365
Peace Monuments and Peace Offerings 276 Class Activities and Lifestyles 366
Art Objects That Indicate Class Status 374
Chapter 10 Social Protest/Affirmation 279
History Focus 280 Chapter 13 Nature, Knowledge, and
Expanding the View 282 Technology 377
Timeline for Social Protest/Affirmation 284 History Focus 378
Protests against Military Action 286 Expanding the View 380
Fighting for the Oppressed 291 Timeline for Nature, Knowledge, and
Strategies for Protesting Oppression 291 Technology 382
Affirming the Values of the Oppressed 298 Nature 384
Questioning the Status Quo 302 Animals 384
The Social Environment 302 The Land 390
Art versus Politics 305 Knowledge 398
Informative Images 399
SECTION 4 :: Self and Society 308
Art and Intuited Knowledge 401
Chapter 11 Mind and Body 309 The Critique of Learning 402
History Focus 310 Technology 403
Expanding the View 312 Technological Advances 404
Timeline for Mind and Body 314 Evaluating the Constructed World 406
Depicting the Body 316
Chapter 14 Entertainment and Visual
Portraits 316
Culture 409
Self-Portraits 320
History Focus 410
The Physical Body 322
Expanding the View 412
The Body as the Subject of Scientific Study 329
Timeline for Entertainment and Visual Culture 414
The Limits of the Self 330
Architecture for Entertainment 416
Sickness and Death 332
“Houses” for the Arts 416
The Psychological Dimension in Art 333
Other Visual and Performing Art
The Body in Art and as Art 336
Environments 418
The Body as Art Material 336
Sports Arenas 420
The Body as an Art-Making Tool 339
Art That Illustrates Leisure Activities 422
Chapter 12 Race, Gender, Clan, and Class 341 Images of Athletes 422
History Focus 342 Music and Dance Imagery 424
Expanding the View 344 Art in Entertainment 426
Timeline for Race, Gender, Clan, and Class 346 Art and Dramatic Productions 426
Race and Art 348 Musical Instruments and Dance 429
Art That Promotes Ethnic History and Values 348 Art and Visual Culture 430
Art That Criticizes Racism 349 Film, Television, and Cartoons 432
Who Is Looking at Whom? 352 Video Games and Electronic Toys 436
Co n t e n t s ix
III
Art Preserved and Destroyed 447
Your Cultural Heritage 447
Part Challenges of Preservation
and Restoration 449
M AK ING A RT P ART Art in International Conflicts 452
OF YO UR LI FE 4 37 “Permanent” and Temporary Art 454
Living with Art 455
Art in Your Home 455
Chapter 15 Art in Your Life 439 Analyzing Design Products and Messages 456
Seeing Art 440 Making Art Happen 457
Art Collections 440
Archeological Sites 443
Public Art 444 Glossary 459
Other Places to See Art 446 Bibliography 469
The Art Market 446 Credits 475
College and University Galleries 446 Index 481
Street Art 446
x C o n te n t s
Pr eface
From the very beginning when we began writing Exploring Art, we envisioned
a book that would take a revolutionary approach to teaching art appreciation.
All other existing art appreciation texts were devoted almost exclusively to
Western art—and covered it in chronological order. We decided instead to
examine art in relation to ideas by looking at examples from around the world.
We believed our approach would be more meaningful to our readers, who for
the most part had not studied art before taking an art appreciation course. Our
overall intent for this book is to have the reader become more curious about
the art produced by fellow human beings around the world and develop the
desire to see and learn more about it. The success of Exploring Art proves this.
Today a global approach to art seems as important as a worldview on
communication, politics, economics, religion, or trade. It is essential to
becoming a responsible world citizen.
O rgani zati on o f t he Te xt
The book's four introductory chapters provide a foundation for understanding
and appreciating world art. These chapters (1) define art and discuss artists,
(2) present the basic elements of art and architecture, (3) examine the full
range of art materials and media, and (4) lay out the fundamental concepts
in art criticism.
They are followed by ten thematic chapters, which are world tours
featuring art that embodies human dreams, visions, desires, fears, and
speculations. Students are enriched and challenged when studying art in the
context of themes and ideas that appear in every culture, across the ages. The
global approach allows students to see the similarities that connect cultures as
well as their differences. The themes (Survival and Beyond, Religion, The State,
and Self and Society) show art to be a meaningful endeavor that deals with
basic human concerns. Rather than dry chronologies, our chapters present
topics of deep interest, such as human survival, places of worship, memorial
practices, politics, social protest, family structure, sexuality, self-identity,
technology, nature, and entertainment.
We are especially pleased to present the new Chapter 15. This last
chapter in the book is devoted to helping students integrate art into the very
environment in which they live and make it an important part of their life
experience. The value of what is learned in the classroom is truly tested when
these ideas are actually lived out in the world. Chapter 15 shows students why
the study of art appreciation is important to living enriched and informed lives.
xi
S pec i al F eatu res of the B oo k
In addition to solid explanations of art works and their context, Exploring Art
has some special features.
Art Experiences are a new special feature for the fifth edition. We believe
that everyone can understand art on a deeper level when they make it rather
than simply reading about it, so we have structured several Art Experiences
per chapter that link the chapter's theme and students' lives and experiences.
Students are then prompted to make art based on those linkages, using
accessible materials and processes like found objects, collaged imagery,
diagrams, videos, or digital photos. The Art Experiences encourage students
to share artworks and engage in discussion.
All chapters open with a brief introduction and “Preview,” and new to
this edition are the Chapter Opening Videos, which are available online. These
features present overviews and key ideas for each chapter and, in the case of
the videos, also answer this question: “Why do these ideas and artworks matter
in everyday life?”
The thematic chapters (5–14) have a unique set of features. Each of these
chapters opens with a cluster of features that improve students' historical
and geographic understanding of the art in this book. The “History Focus”
briefly covers world history within a designated time period, and artwork
from the chapter is tied to the events discussed there. Each thematic chapter
has both a two-page “World Art Map,” which geographically locates the works
in that chapter, and a more specific detail map. The final component of these
historical and geographic features is a two-page “Timeline,” so students can
chronologically place the chapter's artwork in relation to major world events
and cultural achievements. These features make students aware of the larger
social, political, and cultural context that serves as a background to the art they
are studying.
In addition, most sections of the thematic chapters present a focus figure,
which is often a Western example, and use the compare-and-contrast method
in relation to the other works in that section. This is helpful for instructors
whose art history training was Western based and also encourages class
discussion.
New t o t h is Editio n
Here are the key changes in the fifth edition of our book.
■ New Chapter Opening Videos
Each chapter has an online Chapter Opening Video that takes a closer look at
a key idea in that chapter. It also asks questions that encourage students to
connect the chapter topics to their everyday lives.
■ New Art Experiences
Each chapter has three boxed Art Experiences assignments. These give
students an opportunity to make their own art and share it with their
classmates, while making the art explored in the chapter relevant in students'
lives.
■ Redesigned “Timelines”
The layout of the “Timelines” at the beginning of each thematic chapter is now
horizontal so that the chronology can be seen more clearly. More images have
been added to help students draw chronological connections.
xii Pr ef a c e
■ Enhanced “World Art Maps”
The “World Art Maps” at the beginning of each thematic chapter have more
geographically placed images than in previous editions.
■ Revised Chapters 1 and 15
Chapter 1, “Art and Art Making,” thoroughly explores definitions of art, how it
is described and classified, and how it fits into our overall culture. It also looks
at artists. Chapter 15, “Art in Your Life,” is an exciting addition to the book. It
illustrates how students can put into action all that they have learned from
their text and art appreciation course.
■ New and Updated Images
We have added several exciting images from contemporary non-Western
artists. We have also updated many of the existing images throughout the text.
■ An Emphasis on Art Outside the Traditional Museum
We explore different kinds of museums and how they are evolving. We look
at works that are beyond the walls of an art museum. They include street art,
political graffiti, public art, temporary public installations, and design.
Following is a chapter-by-chapter summary of changes in the fifth edition:
Chapter 1: This chapter has been heavily rewritten and compressed from
what was presented in both Chapter 1 and Chapter 5 in the fourth edition.
Figure 1.7 is a new diagram with side-by-side comparisons of art styles. The
evolution of art museums is tracked across several new images (Figures 1.12,
1.13, and 1.15), and art seen outside of conventional museums in represented
by new Figures 1.14 and 1.17.
Chapter 2: Five new images, including works by Paul Klee, Dan Flavin,
Giorgio de Chirico, and Marcel Duchamp, update the discussion of elements
and principles.
Chapter 3: Five new images give increased breadth to the discussion of
media and materials, including a silverpoint drawing by Hans Holbein, an
etching by James McNeill Whistler, an example of street art from the Arab
Spring (in particular, Egypt in 2011), a new Alexander Calder mobile, and a
surrealist exquisite corpse collage/drawing with Jean Arp and others.
The Art Experiences encourage experimentation with media and grounds.
Chapter 4: The Art Experiences shift the focus of this chapter. The
“Critique Guide” at the end of the chapter asks students to go beyond
repeating what they have learned about art and, instead, use their own
analytical skills to evaluate it. Also, the discussion of symbols in this chapter
is extended beyond art into contemporary information design and includes
a new image of directional airport signage. Other images new to this chapter
include Black Iris by Georgia O'Keeffe and Tomorrow Is Never by Kay Sage.
Chapter 5: This chapter discusses the theme of food and shelter. It includes
a new and very contemporary example of architecture by Zaha Hadid to
further the discussion of late-twentieth-century public architecture. The
new Art Experiences tie students' art making to their perceptions of food and
shelter.
Chapter 8: The chapter's theme is mortality and immortality. The topic of
memorials has been updated with a new image of the World Trade Center. The
idea of memorials and divinity becomes personal through art making in the
Art Experiences.
Chapter 10: Two new works, one by Tomatsu Shomei and the other by
Doris Salcedo, lend further force to the chapter's theme of social protest and
P r efa c e xiii
affirmation. The Art Experiences pick up on these hot topics, which are very
meaningful to students.
Chapter 13: This revised chapter contains exciting new images from both
the distant past and very contemporary times. New works by Julie Mehretu,
Ai Weiwei, George Rickey, Claude Monet, and Qian Xuan illustrate artistic
responses to the chapter's theme—nature, knowledge, and technology—and
students are invited to do the same in Art Experiences.
Chapter 15: More than half of this chapter is new material, including
thirteen new images. Also new is the focus of the chapter: specifically, getting
art into students' lives and having them apply their new analytical and
aesthetic skills to the study of everyday images and design objects. In addition
to art in museums, students are encouraged to find public art and street art
and to understand the role of temporary installations versus permanent work.
Contemporary artworks by Anish Kapoor, Rafael Lozano-Hemmer, Do Ho
Suh, Banksy, and Korczak Ziolkowski appear for the first time in this edition.
As with other chapters, three new Art Experiences are included.
Chapters 6, 7, 9, 11, 12, and 14: These chapters have all been edited for easier
reading and better flow of ideas, with new Art Experiences features that connect
student art making to chapter concepts. New figures in these chapters include
a photo of the Great Stupa in Sanchi, India, in Chapter 7; a film still of Cindy
Sherman, a work by Manual Álvarez Bravo, and a photo of a 2010 performance
art piece by Marina Abramovic in Chapter 11; a new image of Bisj poles in
Chapter 12; and, in Chapter 14, both an image of an Iatmul drum and images
of children interacting with contemporary technology and handheld devices.
Co n t emp o rar y F ocus

We are proud of the large number of contemporary artworks in the fifth
edition of Exploring Art as well as the balance between Western and non-
Western works and in the representation of gender, as can be seen in this
impressive list of contemporary artists:
Marian Abramovic Jenny Holzer Tony Oursler

El Anatsui Arata Isozaki Gerhard Richter
Kutlug Ataman Anish Kapoor George Rickey
Judith Baca William Kentridge Faith Ringgold
Banksy Barbara Kruger Pipilotti Rist
Joseph Beuys Maya Lin Kay Sage
Manuel Álvarez Bravo Rafael Lozano-Hemmer Doris Salcedo
Dale Chihuly Roberto Matta-Echaurren Richard Serra
Christo and Jeanne- Julie Mehretu Cindy Sherman
Claude Mariko Mori Yinka Shonibare
Olafur Eliasson Takashi Murakami Jaune Quick-to-See Smith
Lucien Freud Wangechi Mutu Kiki Smith
Frank Gehry Yoshitomo Nara Frank Stella
Robert Gober Bruce Nauman Do Ho Suh
Andy Goldsworthy Shirin Neshat Rirkrit Tiravanija
Leon Golub Louise Nevelson Bill Viola
Zaha Hadid Chris Ofili Kara Walker
Tim Hawkinson Juan O'Gorman Andy Warhol
Damien Hirst Claes Oldenburg Ai Weiwei
David Hockney Catherine Opie Korczak Ziolkowski
xiv Pr ef a c e
Teachi ng and Learni ng Resou r ces
tha t Acc o mpany the Te xt
MindTap for Exploring Art: A Global,
Thematic Approach, Fifth Edition
This textbook is now available on Cengage Learning's MindTap platform.
MindTap is an interactive, adaptable, and personalized online learning
experience. More than just an eBook and different from a learning
management system, the MindTap for Exploring Art presents a customizable
learning path, combining readings, multimedia, activities, and assessments to
engage students and take their learning further, faster.
With MindTap for Exploring Art, instructors can:
■ Customize the course by adding their own images, videos, links, articles,
projects, quizzes, and more and embedding them within the learning path;
■ Integrate MindTap into their institution's LMS;
■ Track time-on-task and monitor student progress;
■ Set assignment due-dates; and
■ Determine which tasks are assigned for practice and which are graded.
With MindTap for Exploring Art, students can:

■ Access additional course materials all in one convenient location;
■ Interact with the eBook by highlighting, taking notes, finding definitions
right from the page, and viewing embedded media;
■ Test comprehension by viewing image and glossary term flash cards,
taking chapter quizzes, and answering critical thinking questions;
■ Increase knowledge of various media by watching videos of studio art
demonstrations in ceramics, painting, sculpture, encaustic, and more;
■ Examine themes chronologically through interactive timelines;
■ Expand their understanding of the most essential visual elements and
of principles of design, style, form, and content through interactive
foundations modules;
■ Listen to podcasts to learn about various art movements and styles; and
■ Find resources for research, including food-for-thought questions and
links to reputable sites and journals.
The Exploring Art MindTap can be purchased as a stand-alone learning

solution or in a bundle along with the print text. Purchase options can be
found at www.cengagebrain.com.
Resources for Teaching Art Globally

and Thematically
The Instructor Companion Website houses multiple resources to help
you successfully teach your course. The Integrated Transition Guide and
Instructor's Manual provides suggestions for teaching each chapter's content
thematically and globally, supplying sample lecture organization methods
along with numerous topics for discussion, food-for-thought questions,
activities, and internet and video resources. Also located on the Instructor
Companion Website are the Test Bank with multiple-choice, matching, short-
answer, and essay questions in Cognero® format; critical thinking question
sets; and a Microsoft PowerPoint® deck for each chapter that provides talking
points for chapter artworks.
P r efa c e xv
Digital Image Library Flashdrive
This presentation tool makes it easy to assemble, edit, and present customized
lectures for your course using Microsoft PowerPoint®. The flashdrive image
library provides high-resolution images (maps, diagrams, and the fine art
images from the text) for lecture presentations, either in an easy-to-use
PowerPoint® presentation format or in individual file formats compatible
with other image-viewing software. The zoom feature allows you to magnify
selected portions of an image for more detailed display in class. Further
customize your classroom presentation by adding your own images to those
from the text.
A ck n owl ed gmen ts
We wish to thank once again the entire team at Cengage whose efforts and
creativity help shape Exploring Art. We continue to be incredibly lucky to
work with the ever-efficient, ever-thoughtful Sharon Adams Poore, Product
Manager. She has seen us through four editions now, and we hope the
partnership continues! We have been thrilled to work for the first time in this
edition with Rachel Harbour, Content Developer, whose assistance and critical
eye have been very helpful. Thank you, Chad Kirchner, Media Developer,
and Erika Hayden, Associate Content Developer, for your work on the many
student, instructor, and media resources and Rachael Bailey, Senior Product
Assistant, for helping us all. We also express our gratitude to Jillian Borden,
Marketing Manager.
Of course, a book is nothing without its production staff, and we have been
very fortunate to work with some outstanding people. We are grateful to Lianne
Ames, Senior Content Project Manager; Cate Barr, Senior Art Director; Cheryl
DuBois at PreMediaGlobal; and Angela Urquhart at Thistle Hill Publishing
Services for pulling all the details together. We would also like to thank Anna
Meliksetian, California State University, Northridge, for creation of the Test
Bank and Tutorial Quizzes; Karen Schifman, California State University,
Northridge, for her work on the Instructor's Manual (with Integrated
Transition Guide) and website assets; and Cheryl Dullabaun, California State
University, Northridge, for her work on the PowerPoint® slides.
Our sincere thanks to the reviewers for their input: Jawad Ali, California
State University, Fullerton; Jennie Bower, Eastern New Mexico University–
Roswell; Cat Crotchett, Western Michigan University; Dahn Hiuni, Shepherd
University; Julie Jack, Tennessee Wesleyan College; Leslie Lambert, Santa Fe
College; Caryl Linkenhoker, West Virginia State University/KVCTC; Jessica
Smith, Wilbur Wright College; Cynthia Stollhans, Saint Louis University;
Montana Torrey, Lane College; and Joe Zubrick, University of Maine at
Fort Kent.
We are grateful to our respective teaching institutions for their continued
support. Dona thanks Divine Word College and its president, Fr. Michael
Hutchins S.V.D., as well as the college's administration. She has been highly
honored as Professor Emerita by the college upon her retirement in 2008.
For Margaret, her gratitude goes to the faculty and staff of the Roski School of
Art and Design of the University of Southern California. Each of us has taught
bright, caring students who come from all kinds of backgrounds, some from
distant lands. They continually motivate us to make each edition of this global,
thematic art appreciation book better than the one before.
xvi Pr ef a c e
Thank you to our families and friends who have provided interesting
perspectives, good advice, and moral support throughout. They are too many
to name. Both of us especially thank Dona's husband, Douglas Schlesier, and
also Margaret's husband and daughter, Michael Dean and Julia Lazzari-Dean.
Julia has grown up in the years that have passed since we started the first
edition, and Dona has seen her two young grandsons through the beginnings
of their lives and has watched them growing up very fast. The wonder of these
new lives continues to inspire us. And we thank each other, once again, for our
mutual support. This collaboration has sustained us and gotten us together
where neither could have gone alone.
May there be peace and tolerance in our world.
May the appreciation of world art help to get us there.
Margaret Lazzari
Dona Schlesier
P r ef a ce xvii
I Art enriches our lives. The more
we know about art, the more our
existence is enhanced by it. The
chapters in Part I lay a foundation for
both understanding and enjoying art.
I ntr o d uctio n to Art
Ch apt e r 1 Art and Art Making

The definition of art, the ways we describe and categorize it, and the artists making it
Ch apt e r 2 Th e Lang ua g e o f Art a nd Architectur e

Art’s formal elements and the principles for organizing them
Ch apt e r 3 Me dia
A survey of art media and how they are used
Ch apt e r 4 D e riving Mea ning

The ways that we come to understand meaning in art and architecture
Art is not what you see, but what you make others see.
—Edgar Degas
I never paint dreams or nightmares. I paint my own reality.

—Frida Kahlo
Art is the Queen of all sciences communicating knowledge to all

the generations of the world.
—Leonardo da Vinci
I found I could say things with color and shapes that I couldn’t
say any other way—things I had no words for.
—Georgia O’Keeffe
I am for an art that is political-erotical-mystical, that does some-

thing other than sit on its ass in a museum.
—Claes Oldenburg
Every child is an artist. The problem is how to remain an artist

once he grows up.
—Pablo Picasso
From around the age of six, I had the habit of sketching from life.
I became an artist, and from fifty on began producing works that
won some reputation, but nothing I did before the age of seventy
was worthy of attention.
—Katsushika Hokusai
A work of art reflects its origins but at the same time it should
be able to reach out to people.
—El Anatsui
When the subject is strong, simplicity is the only way to treat it.
—Jacob Lawrence
Art should reveal the unknown, to those who lack the experience
of seeing it.
—Jaune Quick-to-See Smith
. . . it’s easy for us to depict things of this physical world, of the

way we live now, but it’s very difficult to depict things that are not
seen but have a profound effect on us.
—Cao Guo Qiang
Art is everywhere, except it has to pass through a creative

mind.
—Louise Nevelson
For me nature is not landscape, but the dynamism of visual

forces. . . . These forces can only be tackled by treating color and
form as ultimate identities, freeing them from all descriptive or
functional roles.
—Bridget Riley
Whether I’m painting or not, I have this overweening interest

in humanity. Even if I’m not working, I’m still analyzing people.
—Alice Neel
1
1.1 Porch of the Caryatids, Erechtheum, Acropolis, Athens,
c. 421–405 BCE.
P rev i ew
What is art? No single definition holds for all times and
places, but this chapter gives a few working definitions.
It also covers the ways that we describe, classify, and study
art and the way that art fits into our overall visual culture.
At the end, we look at artists, creativity, and the making
of art.
Art a nd Look also for Art Experience boxes, which encourage

you to photograph art, make art, or analyze images or
objects around you.
Art Making
Humans make art to understand life, to communicate
emotions and ideas to others, or to simply create
something beautiful. Here are ways to understand and
appreciate art.
T o wa r d a De f in itio n o f A rt Art Exper ience Be an art photographer. Use your
camera or phone to photograph five or more objects
To answer the question “What is art?” we need to know
you think function as art, and explain why you chose
for whom and when. For example, the ancient Greeks of
them. Choose objects that are familiar to you in your
the fifth and fourth centuries BCE believed that art should
daily routine.
both glorify man and express intelligence, clearness, bal-
ance, and harmony, as exemplified by the Porch of the
Caryatids (Fig. 1.1). If we look at ancient Chinese culture,
we find sculpture and porcelain works that express the Visual Form
power of the emperor. For the United States at the begin-
Another primary question to ask about a work of art is
ning of the twenty-first century, we define art like this: Art
“What elements compose it, and how are they arranged?”
is a primarily visual medium that is used to express ideas
Almost all artwork has physical attributes, so it can be seen
about our human experience and the world around us.
or touched and so ideas can be communicated. For any
Basically, the definition of art is not universal and
work of art, its materials have been carefully selected and
fixed. It fluctuates and changes because cultures are alive
organized, as have its line, shape, color, texture, volume,
and changing, and we will see more examples of this in the
and so on. Chapters 2 and 3 are all about visual form, but
middle of this chapter. However, for now, you can begin
we will compare two artworks here to introduce the basic
to analyze and understand art from any time and place
ideas.
by focusing on four major areas: function, visual form,
Figure 1.2 is the Veranda Post: Female Caryatid and
content, and aesthetics. We will discuss them one by one,
Equestrian Figure, carved before 1938 by Olowe of Ise in
but in fact they are all interrelated.
Nigeria. Its function was to symbolize and strengthen the
power of a Yoruban ruler. Compare it to Figure 1.3, another
Function sculpture intended to assert the authority of a ruler, the
Equestrian Statue of Marcus Aurelius, from the Roman
When you look at any work of art, one first question is “For
Empire around 175 CE. In two very different cultures, a
what purpose was this originally made?” At the time it is
ruler on horseback functions as an image of power.
created, a work of art is intended to do a job within a cul-
But the visual form of each is different—and in ways
ture. Here are some of its many functions:
that are meaningful to each culture. In the wooden
■■ Art reflects customs and concerns related to food, Veranda Post, horizontal elements are minimized, while
shelter, and human reproduction (Chapters 5 and 6). verticality emphasizes the authority of the king on
■■ Art gives us pictures of deities or helps us conceive of top. For the Yoruban culture, inventive forms and rich
what divinity might be. It is also used to create a place details were important, so we see a pistol, spear, dramatic
of worship (Chapter 7). headdress, textures, small female figures (caryatids), and
■■ Art serves and/or commemorates the dead (Chapter 8). so on. The visual form of this sculpture is suitable for a
■■ Art glorifies the power of the state and its rulers. It Yoruban king.
celebrates war and conquest—and sometimes peace In contrast, the Equestrian Statue of Marcus Aurelius
(Chapter 9). has a roundness and a volume that are different from the
■■ Art reveals political and social justice and injustices visual form of the Veranda Post. Extraneous items and
(Chapter 10). details, including armor, are stripped away, referring to
■■ Art records the likenesses of individuals and aids us in the fact that Marcus Aurelius was a philosopher as well as
understanding ourselves, our bodies, and our minds, an emperor. Also significant is the material, hollow-cast
thoughts, and emotions (Chapter 11). bronze, which is durable, expensive, and difficult to work.
■■ Art promotes cohesion within a social group and Bronze distinguishes this piece as a costly and important
helps to define classes and clans (Chapter 12). royal Roman portrait.
■■ Art educates us about who we are within the world Scholars, art historians, and museum curators study
around us (Chapter 13). art from the past, like these two sculptures, and educate us
■■ Art entertains us (Chapter 14). about the ways in which visual form and function are inter-
twined in works of art. By studying art, they (and we) glean
Finally, the art of the past serves to educate us about ear- considerable information about the historical moments
lier cultures, while contemporary art is a mirror held up to from which they come. These scholars also study content,
show us our current condition. which we will see next.
4 c h ap ter o ne Art and Art Making
1.3 Equestrian Statue of Marcus Aurelius, Rome, c. 175 CE.
Bronze, approx. 11' 6" high. Musei Capitolini, Rome.
This sculpture was also meant to reinforce the ruler’s power but
in this case in ancient Rome.
Art Exper ience Be your own artist. Choose one

of the many functions of art described in this chapter,
and create an artwork that serves this purpose. What
decisions did you make about visual form?
Content
Art has content, which is the mass of ideas associated with
each artwork. Asking about content is critical to under-
standing any artwork. If you consider the entirety of art
production, you will see that it reflects humans’ percep-
tions of and responses to all aspects of spiritual life and
earthly life, from birth to death and the hereafter, and of
everything in between. It brings everything from the mun-
1.2 Olowe of Ise. Veranda Post: Female Caryatid and dane to the cosmic into sharp, concentrated focus.
Equestrian Figure, Yoruba, before 1938. Wood, pigment, 71" high. Content is communicated through the following:
Metropolitan Museum of Art, New York.
In Nigeria, this sculpture was meant to reinforce the power of the
■■ The art’s imagery
local king. ■■ Its symbolic meaning
Toward a Definition of Art 5
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“What the devil do you mean by such damnable nonsense as
this?”
“Hasn’t she written to you?”
“Yes, confound her! I tell you, I was thirsting to leave you to die
there, and rot, till the worms had done with you. I’d have given my
right hand to do it. I’d have given my eyes.”
“Oho!” said Lucian. “You would, would you? Why didn’t you, then?”
“Confound you! What do you mean by asking such a question as
that? You know well enough. Well, then, take her, and enjoy yourself.
Mind you, I’ve given you back to her. You owe every second of joy
you get out of her to me. And don’t you come playing the fool with
your congratulations; I’d not swear but that some day I wouldn’t pick
you up and snap your miserable little backbone in two, as I very well
could. You’ll be feebler than your wife is, Lucian de Saumarez.”
“Has she been writing to you?”
“Haven’t I told you so?—curse her!”
“What does she say?”
“What does she say to you?”
They stood watching each other like stags preparing to fight. Then
Lucian held out his letter. Farquhar held out his in return and took
Lucian’s with his other hand; the letters changed owners
simultaneously. Farquhar devoured the open page in an instant:
“Dear Mr. de Saumarez,—I have now made up my
mind upon the question which you asked me. If you are
still interested, and care to come and see me next time
you are in England, I will tell you my decision.
“Sincerely yours,
“Mirabelle Fane.”
“God! When’s the next train?” said Farquhar.
XIX
ROMANCE BRINGS UP THE NINE-FIFTEEN
Four o’clock at Gedinne station, thirteen miles from Vresse. Rain

was streaming down in torrents, yet of the two passengers waiting
for the train only one was under the shelter; and when the other in
momentary absence of mind came under the glass, the first vacated
his seat and took refuge in the storm. There he stayed, keeping an
immovable face while the wind lashed him and the grey lances of
rain assailed him, staring steadily at the silver-and-golden line along
the horizon under the storm-cloud, and the amber glow which was
slowly transfusing the sombre brown swells of vapour. Mademoiselle
Hélène-Marie-Denise Bonin-Watelot, the signal-man’s eldest hope,
with whom Farquhar had conscientiously made friends on his
journeys to Brussels, came up and told him the number of the forks
she had washed and the nature of the garters which she wore; but
she got no pralines to-day from the big pocket in the overcoat.
When the train came in, the rivals got into different carriages as far
apart as might be. Glad enough were they to be moving at all,
though they stopped at every station. No lover journeying to his
bride, nor widow hurrying to the sick-bed of her only son, ever found
the giant steam more laggard. Five o’clock brought them to Houyet,
where they changed trains and had their second encounter; for the
platform was crowded, and Farquhar, springing into an empty seat at
the moment before their start, found himself face to face with Lucian,
and fled out again with an exclamation which the Belgian ladies,
sitting stout and placid in an atmosphere of indescribable tobacco,
luckily did not understand. Lucian, spite of his anxiety, nearly choked
with laughter to see his friend hurrying into the company of three
babies and a nurse, in preference to travelling up with him. Farquhar
had a delightful journey; he stood all the way to Dinant and enjoyed
a chorus of wails at every tunnel.
Six o’clock: Dinant sailed into sight and brought their third change.
And now they had to wait for a full half-hour. The rain was done; the
sunlight streamed over the earth like a tissue of gold, and across the
blue sky floated low huge masses of dove-grey cloud, clear-edged
with pearl, and higher, motionless as though painted on the
motionless dome, long plumes of immaculate white widened out to
the wind. The indefatigable artist tried to describe the scene with a
stump of lead-pencil on the back of Dolly’s letter while he waited.
Travelling up through the lovely rocky valley of the Meuse, bright-
hung with rain-drops, Farquhar sat watch in hand counting the
minutes; for their train was late, and there was a doubt whether it
could catch the main-line connection at Namur, and if they failed in
that they could not cross that night and must wait a whole day more
ere hearing Dolly’s decree. Seven found them passing Yvoir, the sky
bare of clouds, and the wide Meuse rosing herself in the sunset’s
glow, which stained the very granite cliffs and dyed the green of
young leaves madder-brown. Half-past seven: they were coming into
Namur station, ten minutes late, and the Brussels express was due.
Standing up, Farquhar held himself in readiness. Before the wheels
were still he had sprung out, leaping with the train to balance his
initial velocity, and was running along the platform towards the main
line, for he knew his way. Lucian did not know his way, but he did not
stay to ask it; he ran after Farquhar. There was a crowd, and two
stout Belgians, excitedly discussing the wonderful rescue at Vresse,
got right in his way: as he reached the platform the train began to
move, and Lucian, who was too much exhausted to do more than
just clutch at the foot-board, would certainly have been left had not
somebody opened the door of a first-class carriage and hauled him
in by the collar and tail of his coat. Lucian collapsed, utterly spent,
his face as white as paper; the stranger ministered to his needs with
half a glass of brandy, and assisted him to a seat. There Lucian lay
with his eyes shut for several minutes before he found energy even
to feel curiosity concerning his saviour. To a person of Lucian’s
inquisitive temper, three minutes is an æon of time.
When his heart had moderated its suffocating pulsations and his
eyes had ceased to swim, he made use of them, and discovered that
his companion was a slight, fair-haired, good-looking young
Englishman dressed in grey—who was watching him with a good
deal of friendliness out of a pair of dark-grey eyes. Lucian smiled
back and gave him a military salute, being still beyond speech.
“You were almost left behind,” said the stranger. Lucian nodded. “I
hope I didn’t tear your coat.”
Lucian put up his hand and found a long rent, but he smiled on.
“No, it’s all right, thanks. I’m no end obliged to you. I was dead set on
catching this train; there’d have been Holy Moses to settle if I’d
missed it.”
“I’m glad.”
“You crossing to-night?”
“Yes, I’m going back,” said the stranger, taking a paper out of his
bag. Lucian made a bet with himself as to what that paper would be,
and transferred a sixpence from the right-hand pocket of his coat to
the left when the Spectator came into view. The Engineer Journal
followed. “Oho!” said Lucian to himself; “a soldier of the king, my
friend, are you? That’s why you look so smart.” He went on aloud:
“I’ve a kind of idea you saved my life, you know.”
“By pulling you in? Surely not.”
“No-o; not that way. By the kindly, felicitous, and opportunitatious
administration of O. D. V.”
“You ought not to run if you have trouble with your heart,” said the
stranger, unfolding the Spectator preparatory to beginning to read.
“Thirteen different sawboneses have told me that very same
thing,” Lucian confessed; “but it’s one of those things no fellow can
remember.”
“I dare say it is difficult,” the stranger assented, his eyes on the
printed page.
In face of that august Spectator, Lucian had not the impudence to
go on talking, though his own thoughts were far from pleasant
company. He amused himself by studying the delicate and rather
feminine profile and the long eyelashes of his vis-à-vis, trying from
them to read his character and from his clothes his position and
prospects; and the longer he looked the more certain he grew that
both should be known to him.
“Where have I seen your face before?

It seems so familiar to me!”
whistled Lucian softly to himself, trying to fit together fragments of

memory, as in one of those terrible improving Scripture puzzles
which had haunted the Sundays of his childhood. Bright sunshine,
an architrave of light-coloured wood framing an open door, and some
bright figure standing beside him: his brain served up these scraps of
information, but he could not complete the picture. His feverish mind
had cooled. Lucian was not by nature excitable; it was the electrical
influence of Farquhar’s stormy temperament which threw him off his
balance, and in his wildest movements he was never mastered by a
single motive and passion to the exclusion of every other, as
happened to Farquhar. So now, anxiety respecting Dolly lay like a
core of ice within his heart while the surface of his fertile brain was
occupied in weaving a romantic secret history for the quiet young
aristocrat of the Spectator. By the time they had reached Brussels he
had made him a bigamist inclining to trigamy, and was only not sure
whether he had poisoned his first wife or his mother.
Nine, ten, half-past. Darkness had fallen, spangled with stars, and
the southwest wind came sweeping across the sky with a full and
steady pressure which reminded Lucian of the strong blue tide of the
Trades. Brussels sparkling in lights lay far behind, and Ghent was
passed, and they tore through Bruges with three screeches, leaving
a trail of opalescent smoke threaded with fire, and noisily rocking
and stuffily smelling as a Belgian train alone can. Over the wide flat
lands they raced, with a throbbing repeated in triplets as clear as the
gait of a galloping horse. No tunnels were here; a grating rush and a
roar told when they passed a canal and mirrored their square golden
windows one after one in the glass of the water, so dark and so still.
Lucian leaned out, received a peppering of grit from the engine, and
got his first breath of the sea. There in the west the sky glowed over
Ostend. He relegated the aristocratic stranger to a prison dark and
drear, with prospects of the gallows, and turned from his own fancies
to face the facts of life. Years dropped away like dead leaves; he
lived again through the hours when he gambled with Meryon while
his wife lay dead above. In those hours he had come to know
despair; and now, displacing the veils which resolute courage drew
across the face of truth, he saw the same inexorable lineaments
confronting him. He had met them now in every path of life. He was
a failure: Dolly was not for him. He had known this, while refusing to
believe; he did acknowledge it now, and reached the nadir of his
troubles before the final sentence fell.
“We shall have a rough crossing,” said the stranger, folding up his
paper. “Are you a good sailor?”
“Tolerably vile; are you?”
“Couldn’t be worse,” said the stranger, laughing. “Do you go
below?”
“No; I lie where I fall and abide in my misery until my journey’s
end. Sic transit is my motto; and sick it always is, too.”
“You’ll get wet through if you stay on deck to-night. Why don’t you
try a private cabin? They’re comfortable.”
“To tell the plain but honest truth,” said Lucian, cheerfully leaning
back and stretching a pair of muddy boots on the opposite seat,
“because I’m clean cleaned out. I’ve nothing but my fare up from
Dover.”
“I see.”
The stranger stood up to lift down his bag and put on his overcoat,
in all of which actions he was as neat and quiet and dainty as a cat.
After a short pause he turned to Lucian again and said, with some
hesitation, “I shall have a deck cabin myself; will you share it?”
“I shall be awfully ill,” said Lucian, very much amazed.
“So shall I.”
“Well, under those circumstances you may be grateful and
comforting; I’m disgusting. Sure you want me?”
“If I did not I should not have asked you,” said the stranger
concisely.
“It’s really remarkably good of you.”
“Then that’s settled; thanks very much.”
Thus it came to pass that Lucian and Lal crossed the Channel in
one cabin, and very ill were they both, especially Lal, who suffered
like a martyr, without one groan. He could hardly have done a thing
more unselfish than this, but, unluckily, his conscience was too lofty-
minded to applaud him for a sacrifice merely of personal dignity.
Virtue failed to reward itself here. Moreover, he was partly of opinion
that he had made a fool of himself in making friends with a stranger.
The hollow sound of Lucian’s cough and the mournful display of
dripping passengers at Dover were consolatory, inasmuch as they
permitted him to father his impulsive behaviour on common
humanity.
Of those, dripping passengers Farquhar was the wettest and least
pitiable. For the past four hours he had been leaning over the bows,
watching the speed of the steamer, and formulating arguments that
should be urgent enough to procure him a special at Dover. Those
arguments only failed because the thing was impossible. Cursing
high and cursing low, Farquhar went to look at a time-table, and
found that the quickest way to reach Monkswell was by going
straight past it in the express up to London, and coming down again
by the slow. He went off to take his ticket, confident that though he
and his rival might arrive at Monkswell together he would yet be the
first to see Dolly at Fanes. How that could be was his secret.
But they did not arrive at Monkswell together. Lucian’s
unrecognised friend had a mind to follow Farquhar’s plan, and he
went up by the express; Lucian bade him good-bye and remained at
Dover. When crossing in the spring he had made the acquaintance
of a porter; between the station and the pier they had become
intimate friends. Lucian sought out this man now, and by dint of
much persuasive eloquence seduced him into an alliance. There
was no slow train up for some hours; but a goods train started
immediately after the express. The porter and Lucian both talked to
the driver of that engine from the time the boat came in till the goods
train went off, and after its departure Lucian was no more to be seen
at Dover Priory. It was strictly against the rules, no doubt, but rules
are not unbreakable. The consequence was that Lucian was turned
out at Faversham Junction at three in the morning, and there waited
until a slow train up from the Kent coast-line carried him on to
Monkswell.
First of the three, Lucian reached the station at ten minutes to
seven, and set off to walk to Fanes, at two miles’ distance. He was
utterly tired; the exhaustion of the previous day’s adventures, capped
by a long journey, bad sea-sickness, a sleepless night, and exciting
anxiety, weighed down each step he made. He had had nothing to
eat, feeling disinclined at Dover and lacking the chance at
Monkswell. The familiar morning-scented country lanes spun round
him as he went.
Nine minutes after the up, the down train from town came in,
bringing Noel Farquhar and Lal Laurenson. Seeing each other for
the first time on the platform, they saluted distantly. Lal passed
straight out of the station from the down platform, whence a field
path led past the station-master’s pigsties and clothes-line to the
road. Farquhar crossed over to the main buildings of the station, on
the up platform, and there in the yard found his dog-cart waiting with
an extremely sleepy groom. This was his trump card; he had
telegraphed to Simpson from Gedinne before ever they started; by
this he hoped to forestall Lucian at Fanes. And now all three had
entered on the final stage of their journey.
Farquhar’s dog-cart flew down the hill and under the railway arch,
noiselessly running on its rubber tyres: past the surgery and through
the village and on into the country lanes, long tunnels of green
sprinkled with sunlight. The irreproachable Simpson still sat behind.
They turned a sharp corner, and the horse shied across the road:
Farquhar checked him mercilessly, glanced back to see the cause of
offence, and pulled him up short. Lucian sat clasping his knees by
the way-side.
He looked up; consciousness of defeat blent with laughing and
charitable defiance was writ on his face; impotent anger and deadly
impatience on Farquhar’s. He tossed the reins to his groom with a
curt, “Hold that,” sprang down, and went to Lucian.
“Come, will you? Confound you!”
Lucian’s face changed. “Going to give me a lift, sonny?”
“D’you suppose I can leave you here?”
“Right, then; I’m dead beat.”
For the second time Farquhar picked him up and deposited him in
the dog-cart; and they drove on together.
Half a mile beyond this the gates of Fanes confronted the road. As
the horse slackened to ascend the hill, the groom jumped down to
throw them open, but when he turned he saw that they were open
already, and that his master’s carriage was vanishing down the
slope. He ran after it for a little way; then with great philosophy
relapsed among the bushes and got out his pipe.
Farquhar drove noiselessly down the smooth yellow drive between
snow-wreathed acacias, past the stream and past the lawn and past
the rookery, till at the turn of the path where it widened to the sweep
and the house came in sight, he again pulled up with a jerk.
In the fresh morning sunshine before the open door stood Dolly, in
her blue frock, calling the pigeons to be fed. They sailed down to her,
blue, and fawn, and white as snow, settling around and upon her,
and she scattered handfuls of grain which glittered like gold. Her
milk-white skin, her chestnut hair, her cornflower dress were bright
and pure in colour as the sunlight itself. One pigeon floated down
with outspread quiet wings and alit on her bare head, and she
laughed as she shook it off: a careless laugh, a free gesture, which
brought the blood to Lucian’s face. Then Farquhar’s hand fell on his
arm, and he saw what he had not seen before, what Dolly, with her
back turned, still did not see: the figure of a young man in a grey suit
in the act of leaning a bicycle against the wall, a bicycle which
unkindly refused to stand. He settled it at last, came noiselessly
behind, and slipped his arm round the curve of her waist.
Dolly turned to him; the watchers saw her colour blossom and the
breaking of light over her beautiful, vivid young face, as her basket
slid down the curve of her drooping arm and spilled her golden store.
“You!” she said. “Back already! I’ve wished ten times an hour I’d
never sent you, Lal.”
Lucian shut his eyes. Farquhar, without a word, dragged the
chestnut round and lashed him till he went flying back up the drive,
scattering pebbles at every step.
XX
SO THEY TWO WENT ON
In the break that followed, both turned and looked after the dog-cart.
Dolly spoke first. “There!” she said, clasping her hands together;
“now it’s done!”
“They had no business to listen,” Lal said. It was his
embarrassment that spoke, but Dolly turned on him in a flash.
“Lucian listen? Lucian would no more listen than you would. They
could not help seeing.” Again she pressed her hands together, and
let them drop at her side with a gesture unconsciously tragic. “I wish
it had not happened so, Lal!”
“I don’t wonder you like him; he’s very attractive.”
“I’m so sorry for him!” She lifted her candid eyes. “Because I say
little, never think I don’t feel. Well, it can’t be helped now.” She
turned the basket upside down over the pigeons crowding round her
feet, and brushed the husks from her skirt. “Did you bring them back
with you? Did you know they were coming? Last night’s paper said
they were rescued, no more.”
Lal gave her an evening journal, price three centimes, whose
themes were murder and sudden death and the seventh
commandment, all printed in vile black type upon villanous drab
paper. “When I got to Namur I saw this. I thought it useless to go on,”
he said, while Dolly skimmed through a highly sensational narrative
of Farquhar’s heroism and Lucian’s fortitude. “I actually travelled in
the same carriage with De Saumarez, but I did not recognise him.
Last time we met I think he had not shaved for several days,” he
finished, with a smile. Dolly let her paper drop against her skirt.
“I never should have sent you, Lal; I ought to have known better. I
to think he had hurt Lucian! Oh, I have been a fool. A baby could not
be more harmless than Noel Farquhar when he cares for any one;
and he does care for Lucian. There, I’ve been in the wrong all
through. I like him; I like both of them. This is a hateful affair. I
wonder, I do wonder what they’ll do.”
“I should fancy that Farquhar will console himself within the year,”
said Lal, perversely. “I’m very sorry for De Saumarez.”
“That is sheer prejudice. Lucian is far more likely to get over it
soon than Noel Farquhar. In fact, I don’t believe he ever will get over
it. Well!” She looked away at the golden sky, sighing, her brows
drawn down. “I can’t go to them myself, that’s certain, nor can you. I
must write and explain, I suppose.”
“Dolly,” Lal said, detaining her, “you have never told me which,
after all, you meant to take when you summoned them in that
fashion.”
“I dare say you’ll think me a fool,” Dolly said, after a pause. “I hate
vacillating people myself; but the truth is—I could not make up my
mind. I could hardly bear to refuse Lucian; yet Noel Farquhar
fascinated me, I don’t deny it. His is such a strong character, and he
did care for me. Then Lucian was penniless, while Mr. Farquhar was
rich and in a good position; and I’m ambitious, Lal. Besides, Bernard
was continually warning me against him. And I was so completely in
love with you that I did not very much care what I did with myself.
You did trouble me so,” she broke off, her voice softening to a richer
inflection. “You almost broke my heart. I was so proud of you for
being what you are; and to find you in that place! I could have died
for grief; I could have beaten out my eyes for seeing it.”
“Oh, Dolly!” said Lal, and bent down quickly to kiss her. The shy,
swift, furtive movement brought tears to Dolly’s eyes. There was
reverence in his touch, there was even awe; and so, for the first time,
Dolly tasted the grace of true humility.
“Well”—she picked up the thread of her confession with a sigh—“I
suppose it has to be told. As I say, I could not see what to do; and I
did not care myself; and Bernard would advise me till I was mazed
with thinking. So I ended by leaving it to chance.”
“And how did you settle it?”
“I said I would accept the one who reached me first.”
“I reached you first, Dolly.”
“And do you want more of me than you’ve got?” Dolly said, turning
on him her face, full of sweetness and fire.
“What have I got? A bare ‘Yes,’ and nothing more!”
“Your own fault, for asking such a question in such a place. I
longed to sink into the ground. Besides, I gave you the promise of
my marriage vows; isn’t that enough?”
“What marriage vows?”
“Love; honour; obedience.”
“Love—honour,” Lal repeated, strongly moved. “Do you give those
to me, Dolly? You make me ashamed.”
“You know I give them. I give everything.”
“Even obedience? Dolly, will you ever obey anybody?”
“Certainly I shall,” Dolly said, with proud humility. “I take my stand
with other women; we all promise to obey, and I shall obey. I always
keep my promises. There, dearest, let me go now and write.
Afterwards—”
Noel Farquhar came into his library at The Lilacs and unlocked his
writing-table, one of those elegant roll-top American contrivances full
of drawers and pigeon-holes. He took out his blotter, his writing-
paper, and his revolver. He made sure that this was properly loaded,
and then dipped pen in ink and began to write.
“TO THE CORONER
“Dear Sir,—I wish it clearly to be understood that I
write in sound physical health, and that my brain is not,
and never has been, in danger of insanity. I purpose
shortly to commit suicide by shooting myself, and I do not
wish my body to receive rites in which I never have had a
shadow of belief. In plain English, I, not being a Christian,
do not desire Christian burial. I have neither hope nor wish
for a joyful resurrection. This has been my lifelong creed. I
have been at the pains to belie it, and live as the model of
virtue, both in public and private, in order to earn the
esteem of my respectable British fellow-citizens. I
challenge any man living to say I have not succeeded.
Honesty is unquestionably the best policy for the man who
wishes to thrive: experto crede. I would not wish to die
with a lie on my lips; the taste of truth is pleasantly novel.
“Within the last few months the issue of a love-affair,
together with certain pecuniary losses which endanger my
political position, have contrived to make life uninteresting,
and even burdensome. I see no chance of improvement,
and have not the patience to undergo present discomfort
in the vague hope of a problematical future gain. I take the
only logical course. In shooting myself I carry out a
purpose conditionally framed as soon as I was old enough
to think for myself. Let me again repeat that I am not mad;
and let me beg, let me beseech the twelve worthy
gentlemen who shall sit upon my body to burden their
consciences with no unnecessary perjury, but to cap the
inquest with a truthful verdict of felo de se.
“In conclusion, I commend to my biographers the study
of my birthplace, parentage, and nationality. I refer them
for information to the records of the province of Kiew,
South Russia.
“I am, sir, faithfully yours,
“Noel Dmitri Farquhar.
“The Lilacs, Monkswell, 2/7/03.”
When he had finished, he read over the letter with satisfaction.
While he was so doing, somebody opened the door and came
noiselessly in. Farquhar glanced angrily over his shoulder; but,
seeing only Lucian de Saumarez, he went on with his reading, after
taking the precaution of drawing his blotter across the revolver to
hide it. With an indescribably guilty and shamefaced air, like a dog
that has been caught stealing, Lucian went and lay down on the
sofa. He was holding a handkerchief to his lips.
Farquhar closed the letter and took the revolver, glancing again at
Lucian. Lucian heard the movement, turned his head, and for the
moment took away the stained handkerchief.
“Farquhar, old man—” he began; he could not get any further.
Farquhar set his teeth on his underlip and swore. He sat
immovable, looking dangerous, all rebellion; and then the inevitable
law of his nature asserted itself, as it had done before, as in him it
always would: the power that held him in bondage. He tore the letter
across and across and across again and flung the fragments into the
grate; he took up the revolver by the barrel and hurled it through the
window across the flower-beds into the fountain on the lawn. He
came and knelt by Lucian’s side, and lifted him with fierce
tenderness against his breast.
“Confound you! What have you been doing to yourself?” he said.
THE END
TRANSCRIBER’S NOTE
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(eBook PDF) Gardner's Art through the Ages: A Global

Chapter 1 Art and Art Making 3

SECTION 1 :: Survival and Beyond 104

SECTION 2 :: Religion 166

SECTION 3 :: The State 244

SECTION 4 :: Self and Society 308

Chapter 15 Art in Your Life 439

viii Con t ents

Co n t emp o rar y F ocus

Marian Abramovic Jenny Holzer Tony Oursler

With MindTap for Exploring Art, students can:

The Exploring Art MindTap can be purchased as a stand-alone learning

Resources for Teaching Art Globally

Ch apt e r 1 Art and Art Making

Ch apt e r 2 Th e Lang ua g e o f Art a nd Architectur e

Ch apt e r 4 D e riving Mea ning

I never paint dreams or nightmares. I paint my own reality.

Art is the Queen of all sciences communicating knowledge to all

I am for an art that is political-erotical-mystical, that does some-

Every child is an artist. The problem is how to remain an artist

. . . it’s easy for us to depict things of this physical world, of the

Art is everywhere, except it has to pass through a creative

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Art a nd Look also for Art Experience boxes, which encourage

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Art Exper ience Be your own artist. Choose one

Toward a Definition of Art 5

ROMANCE BRINGS UP THE NINE-FIFTEEN

Four o’clock at Gedinne station, thirteen miles from Vresse. Rain

“Where have I seen your face before?

whistled Lucian softly to himself, trying to fit together fragments of

SO THEY TWO WENT ON

Obvious typographical errors and punctuation errors have been

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