Janson's History of Art: Western Tradition, 7th Edition
©2007 |Pearson |
Penelope J.E. Davies, University of Texas at Austin
Walter B. Denny, University of Massachusetts at Amherst
Frima Fox Hofrichter, Pratt Institute
Joseph Jacobs, Independent Scholar and Art Critic
Ann S. Roberts, Lake Forest College
David L. Simon, Colby College
©2007 |Pearson |
For courses in the History of Art.
Completely rewritten and reorganized, this new edition weaves together the most recent scholarship, the most current thinking in art history, and the most innovative digital art library. Experience the new Janson and re-experience the history of art.
Long established as the classic and seminal introduction to art of the Western world, the Seventh Edition of Janson's History of Art is groundbreaking. When Harry Abrams first published the History of Art in 1962, John F. Kennedy occupied the White House, and Andy Warhol was an emerging artist. Janson offered his readers a strong focus on Western art, an important consideration of technique and style, and a clear point of view. The History of Art, said Janson, was not just a stringing together of historically significant objects, but the writing of a story about their interconnections, a history of styles and of stylistic change. Janson’s text focused on the visual and technical characteristics of the objects he discussed, often in extraordinarily eloquent language. Janson’s History of Art helped to establish the canon of art history for many generations of scholars.
The new Seventh Edition introduces the authorship of six distinguished specialists narrating the history of art for today’s students. The contribution of multiple authors allows an expert's understanding to permeate each and every part of the text with a currency in art, historical thinking and an enhanced discussion of context. The result is a complete rewriting and a weaving together of expert knowledge into a meaningful and powerful presentation of Western art.
How do you incorporate the latest thinking and scholarship into your course?
NEW! Much greater visibility of women, who are discussed as artists, as patrons and as the audience for works of art. Inspired by contemporary approaches to art history, the role of woman as artist and patron, and the representation of women as expressions of specific cultural notions of femininity or as symbols is addressed, recognizing the important roles women played in the history of art.
NEW! Updated to include new discoveries in each of the new authors’ fields. New archaeological finds, such as Charioteer of Motya. New documentary evidence, such as that pertaining to Uccello’s Battle of San Romano, and new interpretive approaches, such as the importance of nationalism in the development of Romanticism, have been added, showing that art history is an ever evolving field.
NEW! Janson's History of Art now introduces the authorship of six distinguished specialists narrating the history of art for today's students. The contribution of multiple authors allows an expert's understanding to permeate each part of the text with a currency in art historical thinking and an enhanced discussion of context. The result is a weaving together of expert understanding into a meaningful and powerful presentation of Western art.
How do you get students excited about art history?
What type of resources do you use to enhance your art history course and lectures?
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New for Fall, 2008 - Now available with MyArtKit!
Chapter by Chapter Revisions. With six different specialists rewriting every chapter, and an exhaustive peer review process, the revisions to the text are far too extensive to enumerate in detail. Every change we made aims to make the text more useful to instructors and students in art history classrooms. The following list includes the major highlights of this new edition:
Completely new, this section provides models of art-historical analysis and definitions of art-historical terms, while providing an overview of the important questions in the discipline.
Chapter 1: PREHISTORIC ART
Lengthened to include more information on the various contexts in which works of art are found. Expands upon the methods scholars (both art historians and anthropologists) use to understand artwork. Offering a wider range of interpretations, the text clarifies why scholars reconstruct the prehistoric world as they do.
Chapter 2: ANCIENT NEAR EASTERN ART
Expanded and reorganized to isolate cultures flourishing contemporaneously in the ancient Near East.
Chapter 3: EGYPTIAN ART
Includes an updated discussion of the Egyptian worldview, and relates their artworks to that view. Incorporates a greater number of works featuring women, such as the extraordinary Portrait of Queen Tiy.
Chapter 4: AEGEAN ART
Examines how we construct our knowledge of an ancient society through studying works of art and architecture. Focuses also on individuals who contributed to our understanding of these societies, such as Heinrich Schliemann and Sir Arthur Evans.
Chapter 5: GREEK ART
Significant new artworks have been added to this chapter, such as Charioteer of Motya. The organization is altered radically to adhere more closely to a chronological, rather than medium-based, sequence. Expands discussions of the architecture of the Athenian Akropolis and Hellenistic art as a whole.
Chapter 6: ETRUSCAN ART
Discussion of Etruscan art is altered in order to characterize it as a visual culture in its own right rather than as an extension of Greek art or a precursor of Roman art. The palatial architecture at Murlo is included.
Chapter 7: ROMAN ART
Features a greatly expanded section on the art of the Republic, and a greater discussion of architecture in general. New works, such as the magnificent Theater of Pompey, are included. The organization is also radically altered to follow a chronological, rather than medium-based, sequencing.
Chapter 8: EARLY CHRISTIAN AND BYZANTINE ART
Accentuates changes and political dimensions in Early Christian art that occurred when Christianity became an accepted religion of the Roman Empire. Architecture is discussed in greater depth, stressing how the buildings were experienced. The iconography of the forms employed is examined. The chapter expands the discussion of icons and of the iconoclastic controversy.
Chapter 9: ISLAMIC ART
Reintroduces Islamic art to the text. Seeks both to give a good general overview of Islamic art and to emphasize the connections between Islamic art and the art of the European West. The many common values of both types of art are examined.
Chapter 10: EARLY MEDIEVAL ART
Enlarged discussion of early minor arts. Discusses Irish manuscripts more thoroughly in terms of meaning and in relationship to Roman art. Expands the discussion of Charlemagne's political and social goals and the use of art to further that agenda. Places more emphasis on how women were viewed and represented.
Chapter 11: ROMANESQUE ART
Expands discussion of the art of the pilgrimage road, including Sant Vincenç at Cardona and Saint-Genis-des-Fontaines. Focuses on the role of women as subject and patron. Reorganization of chapter allows integration of the various mediums to promote understanding that, despite intrinsic differences, the works demonstrate common aspirations as well as fears.
Chapter 12: GOTHIC ART
Reconfigured by removing Italian art (now in Chapter 13) and some International Style monuments (now in Chapter 14). Treats development of Gothic architecture more cogently by the introduction of new examples (e.g., the interiors of Notre Dame of Laon and Notre-Dame of Paris). Discussion of Sainte-Chapelle and Spanish Gothic art is added.
Chapter 13: ART IN THIRTEENTH- AND FOURTEENTH-CENTURY ITALY
Separates the thirteenth- and fourteenth-century Italian situation from the rest of Europe to highlight its specific role as a bridge between medieval and Renaissance art. New works include Simone Martini’s Annunciation and Andrea de Firenze’s Way of Salvation in the Spanish Chapel. New section added on Northern Italy in the fourteenth century.
Chapter 14: ARTISTIC INNOVATIONS IN FIFTEENTH CENTURY NORTHERN EUROPE
Now placed before the Italian fifteenth-century chapter, the new structure of the chapter integrates works of art of a particular time and place to emphasize historical context. Updates discussions of key works. Treats printmaking and the printed book in detail.
Chapter 15: THE EARLY RENAISSANCE IN ITALY
Situates art in specific moments or geographic regions and discusses different mediums in relation to their context. Emphasizes role of patronage. Introduces new sections on art outside of Florence. Treats cassone panels and other works of art for domestic contexts. Fra Angelico’s Annunciation at San Marco, Brunelleschi’s Ospedale degli Innocenti, Piero della Francesca’s work for the court of Urbino, and Mantegna’s Camera Picta in Mantua are included.
Chapter 16: THE HIGH RENAISSANCE IN ITALY, 1495–1520
Explains why a group of six key artists continue to be treated in monographic fashion. Focuses on the period 1495–1520, removing late Michelangelo and Titian to Chapter 17. Leonardo’s drawing of the Vitruvian Man and Michelangelo’s Roman Pieta are added. Updates discussions of art, including Leonardo’s The Virgin of the Rocks, and Giorgione’s The Tempest.
Chapter 17: THE LATE RENAISSANCE AND MANNERISM
Follows a geographic structure, starting with Florence under the Medici dukes, and then moves among the regions of Rome, Northern Italy, and Venice. Stresses courtly and papal patronage, as well as the founding of the Accademia del Disegno in Florence. Integrates late Michelangelo and Titian into these discussions. New discussions included for Bronzino, Titian’s Venus of Urbino, and the work of Lavinia Fontana.
Chapter 18: EUROPEAN ART OF THE SIXTEENTH CENTURY: RENAISSANCE AND REFORMATION IN NORTHERN EUROPE
Describes works of art in five different geographical regions. Considers the spread of Italian Renaissance style and the development of local traditions, among discussions of the Reformation and other crises. Includes new discussion of the Isenheim Altarpiece.
Chapter 19: THE BAROQUE IN ITALY AND SPAIN
Examines Caravaggio’s and Bernini’s roles in the Counter-Reformation. Discusses religious orders and the papacy, and develops an understanding of the role of women, women artists, the poor, street people and the full nature of seventeenth-century life. New works include Bernini’s Baldacchino and his bozzetto for a sculpture, as well as the portrait of Juan de Pareja by Velaszquez and Gentileschi’s Self-Portrait as the Allegory of Painting.
Chapter 20: THE BAROQUE IN FLANDERS AND HOLLAND
Examines political and religious differences and artistic connections in the Netherlands. Explores the importance of role of Rubens through an examination of his workshop. Concept of an open market is treated in a discussion of the Dutch landscape, the still life, and the genre painting of Northern Europe. Works by Judith Leyster and Clara Peeters added, and with Rachel Ruysch the discussion focuses on the new status of these women artists.
Chapter 21: THE BAROQUE IN FRANCE AND ENGLAND
Considers concept of classicism in the paintings of Poussin and the architecture of Jones and Wren. New works include Poussin’s Death of Germanicus and Landscape with St. John on Patmos, as well as Le Brun’s diagram of facial expressions and Wren’s steeple of St. Mary-Le-Bow.
Chapter 22: THE ROCOCO
Explores the Age of Louis XV using new examples by Watteau and Fragonard, including Gersaint’s Signboard and The Swing. Pastel painting by Rosalba Carriera and Vigée Lebrun’s Portrait of Marie Antoinette with Her Children are introduced. An example of Sevres porcelain emphasizes the importance of decorative arts in this era.
Chapter 23: ART IN THE AGE OF THE ENLIGHTENMENT, 1750–1789
Rewritten to focus more on the time period from roughly 1750 to 1789 than on Neoclassicism in particular. Emphasizes Neoclassicism’s reliance on logic, morality, and the Classical past, while also pointing to the burgeoning importance placed on emotion, the irrational, and the sublime. Includes works by Mengs, Batoni, Hamilton, Wright of Derby, Gabriel, and Peyre.
Chapter 24: ART IN THE AGE OF ROMANTICISM, 1789–1848
This entirely restructured chapter defines Romanticism and emphasizes the importance of emotion, individual freedom, and personal experience. It examines imagination, genius, nature, and the exotic. Puts Romanticism into the context of the perceived failures of the Enlightenment and French Revolution. More strongly states the idea of nationalism as a Romantic theme.
Chapter 25: THE AGE OF POSITIVISM: REALISM, IMPRESSIONISM, AND THE PRE-RAHPHAELITES, 1848–1885
Organizes around the concept of Positivism, the reliance on hard fact, and the dramatic social transformations that artists recorded. Expands the photography discussion. Focuses on the use of iron in engineering and architecture especially in the Crystal Palace and the Eiffel Tower. Associates Rodin with Symbolism. Includes Daumier and Millet in the discussion of Realism.
Chapter 26: PROGRESS AND ITS DISCONTENTS: POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU, 1880–1905
Emphasizes historical context rather than the Modernist tradition. Stresses disturbing psychology of the period and its manifestation in art. Places Frank Lloyd Wright here and into the context of the Chicago School. Photography section now includes Käsebier’s Blessed Art Thou Among Women, which is dealt with in a feminist context. Includes a work by Lartigue. Introduces film with an Edison movie.
Chapter 27: TOWARD ABSTRACTION: THE MODERNIST REVOLUTION, 1904–1914
First of three modern chapters on modern art radically restructured using chronology; internally reorganized on a thematic basis. Emphasizes the social forces that resulted in radical formal and stylistic developments between 1904 and 1914 that culminated in abstractionism. Places significant emphasis on Duchamp. Additions include Braque’s The Portuguese and Duchamp’s Nude Descending a Staircase, No. 2. Significantly revamps American art.
Chapter 28: ART BETWEEN THE WARS: 1914–1940
Structured around the impact of World War I and the need to create utopias and uncover higher realities, especially as seen in Surrealism. Treats Dada chronologically and geographically. Includes lengthy discussion of Duchamp in New York, with Fountain added. Represents films as seen in the work of Man Ray and Dali. Integrates discussion of Mondrian and De Stijl architecture, as well as Bauhaus artists and architects.
Chapter 29: POST–WORLD WAR II TO POSTMODERN, 1945–1980
Emphasizes the impact Cage and Rauschenberg had on the development of American Art. Adds Conceptual Art of Brecht and the happenings and environments of Kaprow. Other additions include Ruscha, Flavin, and Serra, with new explorations of Paik and Hesse. Focuses on ethnic identity and gender issues with the new artists, David Hammons and Judy Chicago.
Chapter 30: THE POSTMODERN ERA: ART SINCE 1980
Presents the concept of Post-Modernism in clear, simple terms. Emphasizes the period’s pluralism and the view of art as having no limits. Adds architects Venturi, Moore, Johnson, Hadid, Libeskind, and Piano; and artists Basquiat, Holzer, Polke, Viola, Gonzalez-Torres, Smith, Hirst, and Cai Guo-Qiang.
PART ONE: THE ANCIENT WORLD
1 PREHISTORIC ART
2 ANCIENT NEAR EASTERN ART
3 EGYPTIAN ART
4 AEGEAN ART
5 GREEK ART
6 ETRUSCAN ART
7 ROMAN ART
17 THE LATE RENAISSANCE AND MANNERISM
18 RENAISSANCE AND REFORMATION IN SIXTEENTH-CENTURY NORTHERN EUROPE
19 THE BAROQUE IN ITALY AND SPAIN
20 THE BAROQUE IN THE NETHERLANDS
21 THE BAROQUE IN FRANCE AND ENGLAND
22 THE ROCOCO
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Penelope J. E. Davies
holds a B.A. from Cambridge University and a Ph.D. from Yale University and is currently Associate Professor at the University of Texas in Austin. Her research focuses on public art and architecture and politics in ancient Rome. She is author of Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius (Cambridge University Press 2000 and University of Texas Press 2004, winner of the Vasari Award, as well as articles and essays on ancient Rome.
In her own words, why she joined the project:
“I joined this project hoping that the new edition would bear witness to a constantly evolving dialogue about art, in which formulating new questions is as important as finding new answers. The new edition also necessitates balancing an accepted canon of ‘great works’ with new additions to reflect changing definitions of art and artists, and to incorporate recent discoveries — a responsibility to be approached with caution. The project has proved challenging at every step, but tremendously invigorating and rewarding.”
Reviewer quote:"Professor Davies has managed to include and condense the basic developments of these ancient art traditions in clear, interesting and well-integrated prose. Throughout, she never fails to introduce the various theories and ideas about these works of art and indicate what we don’t know, as well as controversies ... The result is an authoritative, lively and challenging text that cannot fail to stimulate and challenge university undergraduate students and prepare them for subsequent chapters in this new book." David Gordon Mitten, Harvard University
Walter B. Denny
is a Professor of Art History at the University of Massachusetts at Amherst, and also currently serves as Consulting Curator for Islamic Art at the Smith College Museum of Art. He received his B.A. from Oberlin College and his M.A. and Ph.D. from Harvard University.While his research interests concentrate mainly on the art and architecture of the Ottoman Turks, his teaching and consulting range from Museum Studies and Orientalism to serving as guest curator for a wide variety of museum exhibitions. In addition to exhibition catalogues, his publications include books on Ottoman Turkish carpets, textiles, and ceramics, and articles on miniature painting, architecture and architectural decoration.
In his own words, why he joined the project:
“For me, introducing students to the history of art for the first time is the most exciting, the most worthwhile, and the most important task that any art historian can hope for. After thirty-five years of teaching, I welcome the chance to participate in a project where I am able to introduce a large student audience to the beauty, the breadth, the complexity, and the challenge of Islamic art. I hope that Islamic art, a mirror reflecting an important and often misunderstood culture and society, will provide students with a way to understand and appreciate the achievements and the aspirations of Islamic people today, as well as an understanding of their important and deeply-rooted historical accomplishments in the visual arts.”
"Walter Denny’s pan Islamic view of the material over time and space makes this updated Janson’s survey an enlightened pleasure." Charles Little, Metropolitan Museum of Art
Frima Fox Hofrichter,
Professor and Chair of the History of Art and Design department at Pratt Institute, received her Ph.D. at Rutgers University and wrote her doctoral dissertation on the seventeenth-century Dutch artist, Judith Leyster (supported by a Woodrow Wilson National Fellowship Foundation Award for Women’s Studies). The resulting book was later published as JUDITH LEYSTER, A DUTCH ARTIST IN HOLLAND’S GOLDEN AGE (Davaco, 1989) and granted CAA’s Millard Meiss Publication Fund Award. Her work in gender and social history continued with the notable exhibition, Haarlem, the Seventeenth Century (Zimmerli Art Museum, Rutgers) and Leonaert Bramer, 1596-1674, A Painter of the Night (Haggerty Museum, Milwaukee). Hofrichter has maintained her investigations of art and social history, weaving both together in publications examining aspects as diverse as astronomy and prostitution.
In her own words, why she joined the project:
“I was honored when I was invited to participate in the Janson Project. It was an incredible compliment, yet an overwhelming responsibility at the same time. But more than this rush of emotions, it meant that I would have the opportunity to have Janson’s History of Art read more like I taught! There could be not only more women artists included, but also more images of women, more of a sense of the fabric of social history that set the stage for the art. Writing for Janson, contributing to this basic historical survey, meant that I would have the possibility to not just re-invent, but also re-invigorate, the canon for the next generation of art history students.”
"By their nature, survey texts tend to lag behind contemporary developments in the discipline, but Hofrichter has brought Janson’s text as close to the scholarly moment as is likely to be possible. In particular, I would signal her engagement with new methodologies, enhanced contextualization, up-to-date interpretation of individual pieces, and inclusion of thoughtfully
chosen new works."John Beldon Scott, University of Iowa
is an independent art historian, writer, and critic living in New York City. He was the curator of modern art at the John and Mable Ringling Museum of Art in Sarasota, Florida, director of the Oklahoma City Art Museum, and curator of American art at The Newark Museum, Newark, New Jersey. His publications include SINCE THE HARLEM RENAISSANCE: 50 YEARS OF AFRICAN-AMERICAN ART, THIS IS NOT A PHOTOGRAPH: TWENTY-FIVE YEARS OF LARGE-SCALE PHOTOGRAPHY, and A WORLD OF THEIR OWN: TWENTIETH-CENTURY AMERICAN FOLK ART.
In his own words, why he joined the project:
“Life is about challenges, and for me as an art historian, writing a large portion of a major survey book on the history of art has to be one of the greatest challenges in the profession. My goal is to bring art history alive in a way that is rarely done in survey books. This means organizing the material in an especially meaningful and powerful fashion, in effect, creating a narrative thread that is both exciting and in its clarity educational.”
"This is a great leap forward for the Janson text ... This version is smart, clear, very carefully organized and extremely fluid and highly readable. I would say that apart from providing the basic historical information and offering excellent formal analysis-a foundation of the Janson text since Peter Janson’s original version–this new version is also steeped in material culture and social/cultural history. It is jargonfree: thank you. It is politically sensitive without pandering; and it is always thorough." Ken Silver, Institute of Fine Arts, New York University
Ann M. Roberts
holds a B.A. from the Johns Hopkins University and an M.A. and Ph.D. from the University of Pennsylvania. An art historian specializing in the Renaissance, she has published essays articles, and reviews on both Northern and Italian Renaissance topics. Her research focuses on women in the Renaissance. She has taught at Illinois State University, the University of Iowa, and is currently Professor of Art at Lake Forest College.
In her own words, why she joined the project:
“The discipline of art history has changed in the decades since Janson wrote his textbook. We are no longer so comfortable with the authoritative voice, and are aware of other traditions and possible outcomes beyond the narrative that Janson gave his history. New questions and approaches to the history of art, new research and newly discovered or created objects require us to reflect and reconsider what seemed such certainties in 1962. The sheer scope of the field, even measured only by the weight of many survey textbooks, makes it nearly impossible for one person to synthesize the discipline, even when limited, as in this case, to the Western tradition. One of the attractions to this project for me was its collaborative approach: specialists in six subfields have worked together in this edition, revising and updating the story told in earlier editions. Several voices, not one, are heard in this edition. In many cases, questions are posed, interpretations are debated, and readers discover we don’t know all the answers.”
"Ann Roberts’s lucid prose recounts the history of Renaissance art and architecture as an unfolding story that immediately absorbs the reader. She subtly shifts attention from modernist notions about the genius of the artist to a more balanced exchange of ideas between patrons and artist that better reflects the circumstances in which the art was created."Jeryldene M. Wood, University of Illinois–Chicago
David L. Simon
is the Jetté Professor of Art at Colby College, where he received the Bassett Teaching Award in 2005. He holds undergraduate and graduate degrees from Boston University and received his doctorate from the Courtauld Institute of Art at the University of London. He has lectured and published on Romanesque art and architecture in this country, as well as in England, France, and Spain. Among his publications is the catalogue of Spanish and southern French Romanesque sculpture in the Metropolitan Museum of Art and The Cloisters.
In his own words, why he joined the project:
“I have always been fond of Janson’sHistory of Art. As an undergraduate student I remember the respect, near awe, with which my professors referred to H.W. Janson and his achievement in writing an intelligent and up-to-date account of Western art from caves through the modern period. I could not resist the opportunity to participate in the current project of modernizing Janson, because it provided the opportunity to preserve those aspects of Janson I most admired and to introduce elements that, as a result of recent scholarship, we now recognize as significant.”
"The beauty and majesty of the art of the Middle Ages is here given articulate and authoritative testimony...David Simon has made Janson’s masterpiece more solid, illuminating and eminently useful. His work is a sensitive and sensible compliment to this timeless text."
Charles Little, Metropolitan Museum of Art
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