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
©2011 |Pearson | Out of print
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Rewritten and reorganized, this new edition weaves together the most recent scholarship, the most current thinking in art history, and the most innovative online supplements, including MyArtsLab and the Prentice Hall 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 Eighth 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 Eighth Edition, although revised to remain current with new discoveries and scholarship, continues to follow Janson’s lead in important ways: It is limited to the Western tradition, with a chapter on Islamic art and its relationship to Western art. It keeps the focus of the discussion on the object, its manufacture, and its visual character. It considers the contribution of the artist as an important part of the analysis. This edition maintains an organization along the lines established by Janson, with separate chapters on the Northern European Renaissance, the Italian Renaissance, the High Renaissance, and Baroque art, with stylistic divisions for key periods of the modern era. Also embedded in this edition is the narrative of how art has changed over time in the cultures that Europe has claimed as its patrimony.
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Unique Organization and Contextual Emphasis
Expanded Efforts in Accurately Interpreting Cultures
Continued Discussion of the Impact and Importance of Women in the History of Art
Expanded Emphasis on Objects, Media, and Techniques
Carefully Crafted and Maintained Collection of Images
New Maps and Timelines for More Comprehensive Learning Experience
NEW- MyArtsLab - NEW to this edition is MyArtsLab, a dynamic website that provides a wealth of resources geared to meet the diverse learning needs of today’s students. A key feature, the Closer Look tours, let students experience and interact with works of art. MyArtsLab also includes a complete ebook, which is identical in content and design to the printed text, so students can have access to their text wherever and whenever they need it. www.myartslab.com
Chapter by Chapter Revisions (The following list includes the major highlights of this new edition):
CHAPTER 1: PREHISTORIC ART
Expands upon the methods scholars (both art historians and anthropologists) use to understand artwork, including, for instance, feminist interpretations. Includes new monuments such as Skara Brae and Mezhirich. A new box explains dating techniques.
CHAPTER 2: ANCIENT NEAR EASTERN ART
This chapter is expanded to include a discussion of Jerusalem.
CHAPTER 3: EGYPTIAN ART
Now includes a tomb painting from the pre-Dynastic age, and a discussion of jewelry. A new box names the major Egyptian gods.
CHAPTER 4: AEGEAN ART
Improved images and a reconstruction of Mycenae enhance the discussion of Aegean art.
CHAPTER 5: GREEK ART
This chapter is tightened to allow space for longer discussion of Greek sanctuaries, and the inclusion of Hellenistic works outside of the Greek mainland, such as the Pharos at Alexandria. The issue of homosexuality in fifth-century Athens is addressed, as well as women’s roles in life and art. A new box deals with the issue of repatriation of works of art such as the Elgin marbles.
CHAPTER 6: ETRUSCAN ART
The range of artworks is increased to include, for instance, terracotta revetments and terracotta portraits.
CHAPTER 7: ROMAN ART
This chapter includes new interpretations such as the reidentification of the “Porticus Aemilia” as Rome’s Navalia or ship-shed. It also has been tightened to allow space for more Republican works (such as the terracotta pediment from Via di San Gregorio and the Praeneste mosaic) and a wider discussion of life in Pompeii. There is some rearrangement of art works to improve the chronological flow.
CHAPTER 8: EARLY CHRISTIAN AND BYZANTINE ART
A new section on early Jewish art is added, including three images of early synagogue wall paintings and mosaics (Dura Europos and Hammath Tiberias). Coverage of Late Byzantine art is increased, as is discussion of liturgical and social history.
CHAPTER 9: ISLAMIC ART
The relationship of Islamic art to early Jewish and Christian medieval art is accentuated.
CHAPTER 10: EARLY MEDIEVAL ART
Includes an expanded discussion and reorganization of Viking art, which is now placed later in the chapter.
CHAPTER 11: ROMANESQUE ART
Coverage of secular architecture is broadened to include the bridge at Puente la Reina on the pilgrimage route to Santiago de Compostela and a new section on the crusades and castle architecture.
CHAPTER 12: GOTHIC ART
This chapter is tightened to allow space for added focus on secular objects and buildings with the inclusion of a Guillaume de Machaut manuscript illumination and Westminster Hall from the royal palace in London. There is also expanded discussion of courtly art and royal iconography in later Gothic monuments.
CHAPTER 13: ART IN THIRTEENTH AND FOURTEENTH-CENTURY ITALY
Organization now places less emphasis on religious architecture. Siena’s Palazzo Pubblico is added. There is a more focused discussion of Tuscany, and a briefer treatment of Northern Italy and Venice. Images of key works of art, including Nicola and Giovanni Pisano and the Arena chapel are improved. Two maps in the chapter outline Italian trade routes and the spread of the plague in the 1340s.
CHAPTER 14: ARTISTIC INNOVATIONS IN FIFTEENTH-CENTURY NORTHERN EUROPE
Discussion of the Tres Riches Heures is enlarged, and reproductions contrasting aristocratic “labors” and the images of peasants are added. Treatment of works by Van Eyck, Van der Weyden and Bosch is revised and sharpened. A new map of centers of production and trade routes in Northern Europe illustrates the variety of media produced in the region.
CHAPTER 15: THE EARLY RENAISSANCE IN FIFTEENTH-CENTURY ITALY
Reorganized for better flow and student comprehension, chapter now begins with the Baptistery competition illustrating reliefs by both Ghiberti and Brunelleschi. It then looks at architectural projects by Brunelleschi and Alberti in Florence as a group, considering their patronage and function as well as their form. New art illustrates Brunelleschi’s innovations at the Duomo, while his work at San Lorenzo is expanded to include the Old Sacristy. Section on domestic life has been revised, but it still offers a contextualized discussion of works such as Donatello’s David, Uccello’s Rout of San Romano and Botticelli’s Birth of Venus. This section now includes the Strozzi cassone at the Metropolitan Museum in New York and Verrocchio’s Lady with Flowers. The discussion of Renaissance style throughout Italy is revised for greater clarity.
CHAPTER 16: THE HIGH RENAISSANCE IN ITALY, 1495–1520
A discussion of the portrait of Ginevra de’ Benci is now included, permitting a revised discussion of the Mona Lisa. The section on the Stanza della Segnatura is revamped to focus on the School of Athens. Treatment of Giorgione and Titian is reorganized and revised to reflect current discussions of attribution and collaboration. A new Titian portrait, The Man with a Blue Sleeve, is included.
CHAPTER 17: THE LATE RENAISSANCE AND MANNERISM IN SIXTEENTH-CENTURY ITALY
Florence in the sixteenth century is reorganized and refreshed with new images, including a view of the architectural context for Pontormo’s Entombment. Michelangelo’s New Sacristy is treated in terms of architecture as well as sculpture. Ducal Palaces of the Uffizi and the Pitti and of the Boboli Gardens receives a new focus. Cellini’s Saltceller is discussed in its Florentine context. Treatment of Il Gesu is revamped. New images enliven the Northern Italian art section and Sophonisba Anguissola’s Self Portrait is compared to Parmagianino’s. There is a revised consideration of Palladio, and a new Titian, The Rape of Europa, exemplifies the artist’s work for elite patrons.
CHAPTER 18: RENAISSANCE AND REFORMATION IN SIXTEENTH-CENTURY NORTHERN EUROPE
Discussion of France, as well as Spain, is revised and images are improved. Includes new images and discussions of Cranach and Baldung: Cranach’s Judgment of Paris in New York replaces another version of this theme, while Baldung is represented by his woodcut of the Bewitched Groom of 1544. The discussion of Holbein is enlivened by consideration of his Jean de Dinteville and Georges de Selve (`The Ambassadors’), allowing examination of him as an allegorist as well as a portraitist. Gossaert is now represented by the Neptune and Amphitrite of 1516, while a new Patinir, the Triptych of Saint Jerome in the Wilderness, represents the landscape specialty of that region.
CHAPTER 19: THE BAROQUE IN ITALY AND SPAIN
Chapter content benefits from insights gained through recent exhibitions and from the inclusion of new architectural image components. New illustrations better expand understanding of the Roman Baroque and the role of the Virgin in Spanish art, including a view of the Piazza Navonna that shows Bernini’s Four
Rivers Fountain and as well as Borromini’s church of S. Agnese, a cut-away of Borromini’s complex star-hexagon shaped church, S. Ivo, and one of Murillo’s many depictions of the Immaculate Conception (St. Petersberg).
CHAPTER 20: THE BAROQUE IN THE NETHERLANDS
The importance of trade, trade routes and interest in the exotic is explored in this chapter. Gender issues—and the relationship between men and women—and local, folk traditions (religious and secular) play a role here in the exploration of the visual culture and social history. New images include: Peter Paul Rubens, The Raising of the Cross—the entire open altarpiece; Peter Paul Rubens, Four Studies of the Head of a Negro; Jacob Jordaens, The King Drinks; Judith Leyster, The Proposition; Rembrandt van Rijn, Bathsheba with King David’s Letter and Vermeer, Soldier with a Laughing Girl.
CHAPTER 21: THE BAROQUE IN FRANCE AND ENGLAND
New scholarship from the Poussin and Nature: Arcadian Visions exhibition in 2008 informs a more developed discussion of this artist’s work. A fuller discussion of the role of the 1668 Fire of London and the re-building of St. Paul’s Cathedral, in addition to a 3-D reconstruction of St. Paul’s and a modern reconstruction of Sir Christopher Wren’s plan of the city of London drawn just days after the fire, expands the coverage of this architect.
CHAPTER 22: THE ROCOCO
Expresses in greater depth the concept of the Rococo, the role of Madame da Pompadour and the expansion of the Rococo style in Germany. New images include Francois Boucher, Portrait of Madame de Pompadour (Munich); Jean-Simeon Chardin, The Brioche (the Dessert) and Egid Quirin Asam, interior and altar of the Benedictine Church at Rohr. Sections of this chapter are reorganized to accommodate the removal of Élisabeth-Louise Vigéele Brun, Sir Thomas Gainsborough and Sir Joshua Reynolds to Chapter 23.
CHAPTER 23: ART IN THE AGE OF THE ENLIGHTENMENT, 1750–1789
Slightly restructured, the chapter keeps Neoclassicism and early Romanticism separated, thus making them more clearly defined. Joshua Reynolds, Thomas Gainsborough, and Elizabeth Vigée-Lebrun are placed here and into the context of Neoclassicism and Romanticism. Antonio Canova also is moved to this chapter to emphasize his importance in the development of Neoclassicism. Image changes include Joseph Wright’s more clearly Romantic Old Man and Death; Ledoux’s Custom House with the entrance to Salt Works at Arc-et-Senans; as well as the addition of Canova’s tomb of Archduchess Maria Christina.
CHAPTER 24: ART IN THE AGE OF ROMANTICISM, 1789–1848
This chapter is tightened and has several new images. William Blake is now represented by Elohim Creating Adam and Corot by Souvenir Montrefontaine (Oise). Frederick Church’s Twilight in the Wilderness is added. The discussion of architecture is changed by placing the Empire style at the very end, thus keeping the Neoclassical revival together.
CHAPTER 25: THE AGE OF POSITIVISM: REALISM, IMPRESSIONISM, AND THE PRE-RAPHAELITES, 1848–1885
Includes a number of image changes to better focus discussions. These include: Monet, Gare St. Lazare; Rossetti, Proserpine; Nadar, Portrait of Manet; and Gustav, Brig on the Water.
CHAPTER 26: PROGRESS AND ITS DISCONTENTS: POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU, 1880–1905
Now incorporates discussions of vernacular, or snapshot, photography, represented by Henri Lartigue’s Woman in Furs on the Avenue in the Bois de Bologne, and the advent of film, represented by Thomas Edison’s Train Crossing the Brooklyn Bridge.
CHAPTER 27: TOWARD ABSTRACTION: THE MODERNIST REVOLUTION, 1904–1914
Discussion of the formal and stylistic developments between 1904 and 1914 that culminated in abstractionism is tightened and the number of images reduced.
CHAPTER 28: ART BETWEEN THE WARS
More compact discussion structured around the impact of World War I and the need to create utopias and uncover higher realities, especially as seen in Surrealism.
CHAPTER 29: POSTWAR TO POSTMODERN, 1945–1980
Polke is placed here from Chapter 30, thus putting him within the context of an artist influenced by Pop Art. David Hammons is moved to Chapter 30. Betye Saar’s Shield of Quality adds a woman to the discussion of African-American artists.
CHAPTER 30: THE POSTMODERN ERA: ART SINCE 1980
Architecture is reduced, and fine art is expanded. Neo-Expressionism benefits from the addition of Julian Schnabel’s Exile . The multi-culturalism of the period receives greater emphasis, especially feminism. Barbara Kruger is placed in a more feminist context with inclusion of a new image, We Won’t Play Nature to Your Culture . The discussion of African-American identity is broadened by the placement of David Hammons here, and by the addition of Kara Walker’s Insurrection . Fred Wilson’s Mining the Museum is also included. The discussion of Gonzalez-Torres now stresses his involvement with the AIDS crisis. The importance of large-scale photography for the period is reinforced by the addition of Andreas Gursky’s Shanghai . The truly global nature of contemporary art is strengthened by the addition of El Antsui’s Dzeii II .Preface xiv
Faculty and Student Resources for Teaching and Learning with Janson’s History of Art xix
Introduction xxi
PART ONE: THE ANCIENT WORLD
Chapter 1: Prehistoric Art
PALEOLITHIC ART 2
MATERIALS AND TECHNIQUES: Cave Painting 5
Interpreting Prehistoric Painting 5
Paleolithic Carving 7
INFORMING ART: Telling Time: Labels and Periods 9
Paleolithic houses 11
NEOLITHIC ART 11
Settled Societies and Neolithic Art 11
Architecture in Europe: Tombs and Rituals 15
INFORMING ART: Dating Techniques 17
Chapter 2: Ancient Near Eastern Art
SUMERIAN ART 22
Temple Architecture: Linking Heaven and Earth 23
MATERIALS AND TECHNIQUES: Mud Brick 23
Sculpture and Inlay 25
PRIMARY SOURCES: The Gilgamesh Epic 25
Visual Narratives 27
Cylinder Seals 29
THE ART HISTORIAN’S LENS: Losses Through Looting 29
ART OF AKKAD 30
Sculpture: Power and Narrative 30
NEO-SUMERIAN REVIVAL 32
Architecture: The Ziggurat of Ur 32
Sculpture: Figures of Gudea 32
PRIMARY SOURCES: Texts on Gudea Figures from Lagash and Surrounding Areas, ca. 2100 33
BABYLONIAN ART 33
The Code of Hammurabi 34
ASSYRIAN ART 34
PRIMARY SOURCES: The Code of Hammurabi 35
Art of Empire: Expressing Royal Power 37
LATE BABYLONIAN ART 37
The Royal Palace 38
REGIONAL NEAR EASTERN ART 38
The Hittites 40
The Phoenicians 40
The Hebrews 41
IRANIAN ART 41
Early Iranian Art 42
The Persian Empire: Cosmopolitan Heirs to the Mesopotamian Tradition 43
Mesopotamia Between Persian and Islamic Dominion 46
Chapter 3: Egyptian Art
PREDYNASTIC AND EARLY DYNASTIC ART 50
The Palette of King Narmer 50
INFORMING ART: Egyptian Gods and Goddesses 52
THE OLD KINGDOM: A GOLDEN AGE 53
Old Kingdom Funerary Complexes 53
INFORMING ART: Major Periods in Ancient Egypt 54
The Pyramids at Giza: Reflecting a New Royal Role 55
MATERIALS AND TECHNIQUES: Building the Pyramids 56
PRIMARY SOURCES: Excerpt from the Pyramid Text of Unis (r. 2341—2311 BCE) 58
Representing the Human Figure 59
THE MIDDLE KINGDOM: REASSERTING
TRADITION THROUGH THE ARTS 62
Royal Portraiture: Changing Expressions and Proportions 62
Funerary Architecture 63
THE NEW KINGDOM: RESTORED GLORY 65
Royal Burials in the Valley of the Kings 65
Temples to the Gods 67
Block Statues 70
Images in New Kingdom Tombs 71
AKHENATEN AND THE AMARNA STYLE 72
The Amarna Style 72
Tutankhamun and the Aftermath of Amarna 75
THE ART HISTORIAN’S LENS: Interpreting Ancient Travel Writers 75
PAPYRUS SCROLLS: THE BOOK OF THE DEAD 77
PRIMARY SOURCES: The Book of the Dead 77
LATE EGYPT 78
Chapter 4: Aegean Art
EARLY CYCLADIC ART 82
MINOAN ART 84
The “Palace” at Knossos 84
Wall Paintings: Representing Rituals and Nature 86
THE ART HISTORIAN’S LENS: Two Excavators, Legend, and Archaeology 87
Minoan Pottery 89
Carved Minoan Stone Vessels 90
Late Minoan Art 92
MYCENAEAN ART 93
Architecture: Citadels 93
Mycenaean Tombs and Their Contents 96
Sculpture 99
Chapter 5: Greek Art
THE EMERGENCE OF GREEK ART: THE GEOMETRIC STYLE 104
INFORMING ART: Greek Gods and Goddesses 105
Geometric Style Pottery 105
Geometric Style Sculpture 107
THE ORIENTALIZING STYLE: HORIZONS EXPAND 107
Miniature Vessels 108
ARCHAIC ART: ART OF THE CITY-STATE 109
The Rise of Monumental Temple Architecture 109
STONE SCULPTURE 113
Architectural Sculpture: The Building Comes Alive 115
Vase Painting: Art of the Symposium 119
THE CLASSICAL AGE 123
Classical Sculpture 123
MATERIALS AND TECHNIQUES: The Indirect Lost-Wax Process 128
Architecture and Sculpture on the Athenian Akropolis 131
PRIMARY SOURCES: Aristotle (384—322 BCE) 133
THE ART HISTORIAN’S LENS: Repatriation of Cultural Heritage 134
PRIMARY SOURCES: Plutarch (ca. 46—after 119 CE) 136
THE LATE CLASSICAL PERIOD 141
Late Classical Architecture: Civic and Sacred 141
Late Classical sculpture 142
Painting in the Late Classical Age 145
THE AGE OF ALEXANDER AND THE HELLENISTIC PERIOD 147
Architecture: The Scholarly Tradition and Theatricality 148
City Planning 150
Hellenistic Sculpture: Expression and Movement 154
THE ART HISTORIAN’S LENS: J.J. Winckelmann and the Apollo Belvedere 157
Hellenistic Painting 161
Chapter 6: Etruscan Art
FUNERARY ART 165
Tombs and Their Contents 166
MATERIALS AND TECHNIQUES: Etruscan Gold-Working 169
ARCHITECTURE 173
City Planning 174
SCULPTURE 175
Dynamism in Terra Cotta and Bronze 175
Chapter 7: Roman Art
EARLY ROME AND THE REPUBLIC 181
THE ART HISTORIAN’S LENS: Recognizing Copies: The Case of the Laocoön 183
NEW DIRECTIONS IN ARCHITECTURE 183
Sculpture 188
PRIMARY SOURCES: Cicero (106—43 BCE) 192
MATERIALS AND TECHNIQUES: Copying Greek Sculptures 193
Painting and Mosaic 194
PRIMARY SOURCES: Polybius (ca. 200—ca. 118 BCE) 194
THE EARLY EMPIRE 195
Architecture 196
THE ART HISTORIAN’S LENS: Two Pantheon Problems 202
Portrait Sculpture 203
Relief Sculpture 207
PRIMARY SOURCES: Josephus (37/8—ca. 100 CE) 210
Art and Architecture in the Provinces 213
Domestic Art and Architecture 216
THE LATE EMPIRE 222
Architecture 222
MATERIALS AND TECHNIQUES: Painted Stone in Greece and Rome 223
Architecture in the Provinces 227
Portrait Sculpture 228
Relief Sculpture 229
PART TWO: THE MIDDLE AGES
Chapter 8: Early Jewish, Early Christian, and Byzantine Art
EARLY JEWISH ART 237
EARLY CHRISTIAN ART 240
Christian Art before Constantine 240
INFORMING ART: The Life of Jesus 241
PRIMARY SOURCES: The Book of the Popes (Liber Pontificalis) 244
Christian Art after Official Recognition of Christianity 245
MATERIALS AND TECHNIQUES: Mosaics 248
BYZANTINE ART 254
Early Byzantine Art 254
PRIMARY SOURCES: Procopius of Caesarea (Sixth Century) 258
The Iconoclastic Controversy 265
Middle Byzantine Art 265
PRIMARY SOURCES: St. Theodore the Studite (759—826 CE) 266
Late Byzantine Art 273
INFORMING ART: Biblical and Celestial Beings 273
Chapter 9: Islamic Art
Religious Architecture 280
PRIMARY SOURCES: Muhammad Ibn Mahmud Al-Amuli (Iran, 14th Century) 280
THE FORMATION OF ISLAMIC ART 281
INFORMING ART: Islam and Its Messenger 283
Secular Architecture 284
THE DEVELOPMENT OF ISLAMIC STYLE 285
Religious Architecture 285
Luxury Arts 287
ISLAMIC ART AND THE PERSIAN INHERITANCE 287
Architecture 287
Figural Art Forms in Iran 288
THE CLASSICAL AGE 290
THE ART HISTORIAN’S LENS: Spanish Islamic Art and Europe in the Middle Ages 290
The Fatimid Artistic Impact 291
The Ayyubids and the Seljuk Turks of Asia Minor 292
LATER CLASSICAL ART AND ARCHITECTURE 294
Mongol Patronage 295
Timurid Patronage 295
Mamluk Patronage 296
Nasrid Patronage: The Alhambra 299
THE THREE LATE EMPIRES 300
PRIMARY SOURCES: The Ottoman Sultan Selim II (1524—1574) 300
MATERIALS AND TECHNIQUES: The Oriental Carpet 301
The Ottomans in Europe and Asia 302
The Safavid Period in Iran 304
The Mughal Period in India 308
PRIMARY SOURCES: Abd Al-Hamid Lahori (d. 1654) 309
CONTINUITY AND CHANGE IN ISLAMIC ART 310
Chapter 10: Early Medieval Art
ANGLO-SAXON ART 314
MATERIALS AND TECHNIQUES: Metalwork 315
The Animal Style 316
HIBERNO-SAXON ART 318
Manuscripts 318
PRIMARY SOURCES: Lindisfarne Gospels 320
VIKING ART 322
CAROLINGIAN ART 324
Sculpture 324
Illuminated Books 325
Architecture 328
PRIMARY SOURCES: Hariulf (ca.1060—1143) 331
PRIMARY SOURCES: St. Angilbert (ca. 750—814) 332
OTTONIAN ART 333
Architecture 333
Metalwork 336
Ivories and Manuscripts: Conveyors of Imperial Grandeur 340
Sculpture 343
Chapter 11: Romanesque Art
FIRST EXPRESSIONS OF ROMANESQUE STYLE 349
Architecture 349
Monumental Stone Sculpture 350
MATURE ROMANESQUE 351
Pilgrimage Churches and Their Art 351
PRIMARY SOURCES: The Pilgrim’s Guide 352
Cluniac Architecture and Sculpture 356
PRIMARY SOURCES: St. Bernard of Clairvaux (1090—1153) 359
Cluniac Wall Painting 365
Cistercian Architecture and Art 366
Other Benedictine Architecture and Wall Painting 367
Book Illustration 368
THE ART HISTORIAN’S LENS: Preserving and Restoring Architecture 369
OTHER REGIONAL VARIANTS OF ROMANESQUE STYLE 372
Western France: Poitou 372
Southeastern France: Provence 373
The Holy Land 374
Tuscany 375
Germany 378
The Meuse Valley: Mosan Style 379
MATERIALS AND TECHNIQUES: Vaulting 380
Normandy and England 381
THE PARADOXICAL MEANING OF ROMANESQUE 386
Chapter 12: Gothic Art
EARLY GOTHIC ART IN FRANCE 391
Saint-Denis: Suger and the Beginnings of Gothic Architecture 391
PRIMARY SOURCES: Suger of Saint-Denis (1081—1151) 393
Chartres Cathedral 395
Laon Cathedral 397
Cathedral of Notre-Dame in Paris 398
HIGH GOTHIC ART IN FRANCE 399
The Rebuilding of Chartres Cathedral 400
PRIMARY SOURCES: Theophilus Presbyter (12th Century) 402
MATERIALS AND TECHNIQUES: Stained Glass 405
THE ART HISTORIAN’S LENS: Modules and Proportions 406
Amiens Cathedral 408
Reims Cathedral 408
RAYONNANT OR COURT STYLE 413
Sainte-Chapelle 413
Saint-Urbain in Troyes 415
Manuscript Illumination 416
LATE GOTHIC ART IN FRANCE 418
Manuscript Illumination 418
Sculpture 420
Architecture: The Flamboyant Phase 422
THE SPREAD OF GOTHIC ART 423
Spain 423
England 426
Germany 430
PART THREE: THE RENAISSANCE THROUGH ROCOCO
Chapter 13: Art in Thirteenth- and Fourteenth-Century Italy
THE GROWTH OF MENDICANT ORDERS AND THE VISUAL ARTS IN ITALY 438
The Franciscans at Assisi and Florence 438
Churches and Their Furnishings in Urban Centers 441
MATERIALS AND TECHNIQUES: Fresco Painting and Conservation 441
Pulpits in Pisan Churches 442
Expanding Florence Cathedral 445
Building for the City Government: The Palazzo della Signoria 448
PAINTING IN TUSCANY 449
Cimabue and Giotto 449
Siena: Devotion to Mary in Works by Duccio and Simone 453
PRIMARY SOURCES: Agnolo di Tura del Grasso 454
THE ART HISTORIAN’S LENS: The Social Work of Images 455
Pietro and Ambrogio Lorenzetti 458
Artists and Patrons in Times of Crisis 461
PRIMARY SOURCES: Inscriptions on the Frescoes in the Palazzo Pubblico, Siena 461
NORTHERN ITALY 465
Venice: Political Stability and Sumptuous Architecture 465
Milan: The Visconti Family and Northern Influences 465
Chapter 14: Artistic Innovations in Fifteenth-Century Northern Europe
COURTLY ART: THE INTERNATIONAL GOTHIC 471
Sculpture for the French Royal Family 471
Illuminated Manuscripts: Books of Hours 473
Bohemia and England 474
URBAN CENTERS AND THE NEW ART 476
Robert Campin in Tournai 477
Jan van Eyck in Bruges 479
MATERIALS AND TECHNIQUES: Panel Painting in Tempera and Oil 479
Rogier van der Weyden in Brussels 485
PRIMARY SOURCES: Cyriacus of Ancona (1449) 485
LATE FIFTEENTH-CENTURY ART IN THE NETHERLANDS 487
Aristocratic Tastes for Precious Objects, Personal Books, and Tapestries 487
THE ART HISTORIAN’S LENS: Scientific and Technical Study of Paintings 488
Panel Paintings in the Southern Netherlands 490
The Northern Netherlands 492
REGIONAL RESPONSES TO THE EARLY NETHERLANDISH STYLE 494
France 494
PRIMARY SOURCES: Fray José De Sigüenza (1544?—1606) 494
Spain 495
Central Europe 495
PRIMARY SOURCES: From the Contract for the St. Wolfgang Altarpiece 499
PRINTING AND THE GRAPHIC ARTS 499
Printing Centers in Colmar and Basel 501
MATERIALS AND TECHNIQUES: Printmaking 501
Chapter 15: The Early Renaissance in Fifteenth-Century Italy
FLORENCE IN THE FIFTEENTH CENTURY 507
The Baptistery Competition 507
PRIMARY SOURCES: In Praise of the City of Florence (ca. 1403—04) by Leonardo Bruni 507
Architecture and Antiquity in Florence 509
PRIMARY SOURCES: Lorenzo Ghiberti (ca. 1381—1455) 509
MATERIALS AND TECHNIQUES: Brunelleschi’s Dome 512
PRIMARY SOURCES: Leon Battista Alberti on what makes a building beautiful 514
Ancient Inspirations in Florentine Sculpture 515
MATERIALS AND TECHNIQUES: Perspective 516
Painting in Florentine Churches and Chapels 525
THE ART HISTORIAN’S LENS: Patronage Studies 525
Florentine Painters in the Age of the Medici 530
DOMESTIC LIFE: PALACES, FURNISHINGS,
AND PAINTINGS IN MEDICEAN FLORENCE 533
Palace Architecture 533
PRIMARY SOURCES: Domenico Veneziano Solicits Work 534
Paintings for Palaces 536
PRIMARY SOURCES: Giovanni Dominici Urges Parents to Put Religious Images in Their Homes 539
Portraiture 541
RENAISSANCE ART THROUGHOUT ITALY, 1450—1500 543
Piero della Francesca in Central Italy 543
Alberti and Mantegna in Mantua 546
Venice 550
Rome and the Papal States 553
Chapter 16: The High Renaissance in Italy, 1495—1520
THE HIGH RENAISSANCE IN FLORENCE AND MILAN 558
Leonardo da Vinci in Florence 559
Leonardo in Milan 559
PRIMARY SOURCES: Leonardo da Vinci (1452—1519) 562
Leonardo Back in Florence and Elsewhere 564
ROME RESURGENT 566
Bramante in Rome 566
Michelangelo in Rome and Florence 568
PRIMARY SOURCES: Michelangelo Interprets the Vatican Pietà 568
Michelangelo in the Service of Pope Julius II 571
MATERIALS AND TECHNIQUES: Drawings 575
Raphael in Florence and Rome 577
THE ART HISTORIAN’S LENS: Cleaning and Restoring Works of Art 578
PRIMARY SOURCES: On Raphael’s Death 583
VENICE 584
Giorgione 584
Titian 585
Chapter 17: The Late Renaissance and Mannerism in Sixteenth-Century Italy
LATE RENAISSANCE FLORENCE: THE CHURCH, THE COURT, AND MANNERISM 593
Florentine Religious Painting in the 1520s 593
The Medici in Florence: From Dynasty to Duchy 595
PRIMARY SOURCES: Benvenuto Cellini (1500—1571) 600
ROME REFORMED 603
Michelangelo in Rome 603
PRIMARY SOURCES: Michelangelo the Poet 603
The Catholic Reformation and Il Gesù 607
NORTHERN ITALY: DUCAL COURTS AND URBAN CENTERS 609
The Palazzo del Te 609
PARMA AND CREMONA 611
Correggio and Parmigianino in Parma 611
Cremona 613
VENICE: THE SERENE REPUBLIC 613
Sansovino in Venice 613
Andrea Palladio and Late Renaissance Architecture 614
PRIMARY SOURCES: Andrea Palladio (1508—1580) 616
Titian 617
MATERIALS AND TECHNIQUES: Oil on Canvas 618
PRIMARY SOURCES: From a Session of the Inquisition Tribunal in Venice of Paolo Veronese 620
Titian’s Legacy 621
Chapter 18: Renaissance and Reformation in Sixteenth-Century Northern Europe
FRANCE: COURTLY TASTES FOR ITALIAN FORMS 625
Chateaux and Palaces: Translating Italian Architecture 626
Art for Castle Interiors 628
MATERIALS AND TECHNIQUES: Making and Conserving Renaissance Tapestries 629
SPAIN: GLOBAL POWER AND RELIGIOUS ORTHODOXY 631
The Escorial 632
El Greco and Religious Painting in Spain 633
CENTRAL EUROPE: THE REFORMATION AND ART 634
Catholic Contexts: The Isenheim Altarpiece 635
Albrecht Dürer and the Northern Renaissance 638
PRIMARY SOURCES: Albrecht Dürer (1471—1528) 641
Religious and Courtly Images in the Era of Reform 643
Painting in the Cities: Humanist Themes and Religious Turmoil 646
ENGLAND: REFORMATION AND POWER 647
PRIMARY SOURCES: Elizabethan Imagery 649
THE NETHERLANDS: WORLD MARKETPLACE 650
The City and the Court: David and Gossaert 651
THE ART HISTORIAN’S LENS: The Economics of Art 651
Antwerp: Merchants, Markets, and Morality 652
PRIMARY SOURCES: Karel van Mander Writes About Pieter Bruegel the Elder 656
Chapter 19: The Baroque in Italy and Spain
PAINTING IN ITALY 663
Caravaggio and the New Style 664
Artemisia Gentileschi 667
PRIMARY SOURCES: Artemisia Gentileschi (1593—ca. 1653) 669
Ceiling Painting and Annibale Carracci 670
ARCHITECTURE IN ITALY 675
The Completion of St. Peter’s and Carlo Maderno 675
Bernini and St. Peter’s 676
Architectural Components in Decoration 678
A Baroque Alternative: Francesco Borromini 679
The Baroque in Turin: Guarino Guarini 682
The Baroque in Venice: Baldassare Longhena 684
SCULPTURE IN ITALY 684
Early Baroque Sculpture: Stefano Maderno 684
The Evolution of the Baroque: Gianlorenzo Bernini 684
A Classical Alternative: Alessandro Algardi 687
MATERIALS AND TECHNIQUES: Bernini’s Sculptural Sketches 688
PAINTING IN SPAIN 689
Spanish Still Life: Juan Sánchez Cotán 690
Naples and the Impact of Caravaggio: Jusepe de Ribera 690
Diego Velázquez: From Seville to Court Painter 691
Monastic Orders and Zurbarán 695
PRIMARY SOURCES: Antonio Palomino (1655—1726) 695
Culmination in Devotion: Bartolomé Esteban Murillo 696
Chapter 20: The Baroque in the Netherlands
FLANDERS 701
Peter Paul Rubens and Defining the Baroque 701
PRIMARY SOURCES: Peter Paul Rubens (1577—1640) 704
Anthony van Dyck: History and Portraiture at the English Court 707
Local Flemish Art and Jacob Jordaens 708
The Bruegel Tradition 709
Still-Life Painting 710
THE DUTCH REPUBLIC 713
The Haarlem Academy: Hendrick Goltzius 713
The Caravaggisti in Holland: Hendrick Terbrugghen 713
The Haarlem Community and Frans Hals 714
The Next Generation in Haarlem: Judith Leyster 717
Rembrandt and the Art of Amsterdam 718
THE ART HISTORIAN’S LENS: Authenticity and Workshops: Rubens and Rembrandt 718
MATERIALS AND TECHNIQUES: Etching, Drypoint, and Selective Wiping 722
THE MARKET: LANDSCAPE, STILL-LIFE, AND GENRE PAINTING 725
Landscape Painting: Jan van Goyen 725
City Views: Jacob van Ruisdael 726
Architectural Painting: Pieter Saenredam 728
Still-life Painting: Willem Claesz. Heda 729
Flower Painting: Rachel Ruysch 730
Genre Painting: Jan Steen 730
Intimate Genre Painting: Jan Vermeer 732
Exquisite Genre Painting: Gerard ter Borch 734
Chapter 21: The Baroque in France and England
FRANCE: THE STYLE OF LOUIS XIV 738
Painting and Printmaking in France 739
PRIMARY SOURCES: Nicolas Poussin (ca. 1594—1665) 742
THE ART HISTORIAN’S LENS: Forgeries and The Book of Truth 747
French Classical Architecture 748
Sculpture: The Impact of Bernini 754
BAROQUE ARCHITECTURE IN ENGLAND 754
Inigo Jones and the Impact of Palladio 755
Sir Christopher Wren 757
John Vanbrugh and Nicholas Hawksmoor 760
Chapter 22: The Rococo
FRANCE: THE RISE OF THE ROCOCO 762
Painting: Poussinistes versus Rubénistes 763
PRIMARY SOURCES: Jean de Jullienne (1686—1767) 766
MATERIALS AND TECHNIQUES: Pastel Painting 769
Chinoiserie 771
The French Rococo Interior 772
THE ROCOCO IN WESTERN EUROPE OUTSIDE OF FRANCE 774
William Hogarth and the Narrative 774
Canaletto 775
THE ROCOCO IN CENTRAL EUROPE 776
Johann Fischer von Erlach 777
Egid Quirin Asam 779
Dominikus Zimmermann 779
Balthasar Neumann 780
Giovanni Battista Tiepolo and Illusionistic Ceiling Decoration 781
PART FOUR: THE MODERN WORLD
Chapter 23: Art in the Age of the Enlightenment, 1750—1789
ROME TOWARD 1760: THE FONT OF NEOCLASSICISM 787
Artistic Foundations of Neoclassicism: Mengs and Hamilton 788
ROMANTICISM IN ROME: PIRANESI 789
NEOCLASSICISM IN BRITAIN 790
Sculpture and Painting: Historicism, Morality, and Antiquity 791
MATERIALS AND TECHNIQUES: Josiah Wedgwood and Neoclassical Jasperware 792
The Birth of Contemporary History Painting 793
Grand Manner Portraiture in the Neoclassical Style: Joshua Reynolds 795
THE ART HISTORIAN’S LENS: The Elusive Meaning of West’s The Death of General Wolfe 795
Architecture and Interiors: The Palladian Revival 796
EARLY ROMANTICISM IN BRITAIN 798
Architecture and Landscape Design: The Sublime and the Picturesque 799
Early Romantic Painting in Britain 801
Romanticism in Grand Manner Portraiture: Thomas Gainsborough 805
NEOCLASSICISM IN FRANCE 806
Architecture: Rational Classicism 806
The Sublime in Neoclassical Architecture: The Austere and the Visionary 808
Painting and Sculpture: Expressing Enlightenment Values 810
PRIMARY SOURCES: Denis Diderot (1713—1784) 812
The Climax of Neoclassicism: The Paintings of Jacques-Louis David 813
PRIMARY SOURCES: Étienne-Jean Delécluze (1781—1863) 813
Neoclassical Portraiture: Marie-Louise-Élisabeth Vigée-Lebrun 816
ITALIAN NEOCLASSICISM TOWARD 1785 817
Neoclassical Sculpture: Antonio Canova 817
Chapter 24: Art in the Age of Romanticism, 1789—1848
PAINTING 823
Spain: Francisco Goya 823
Britain: Spiritual Intensity and the Bond with Nature 825
MATERIALS AND TECHNIQUES: Blake’s Printing Process 827
PRIMARY SOURCES: John Constable (1776—1837) 829
Germany: Friedrich’s Pantheistic Landscape 831
America: Landscape as Metaphor 832
France: Neoclassical Romanticism 835
France: Painterly Romanticism and Romantic Landscape 840
PRIMARY SOURCES: Eugène Delacroix (1798—1863) 845
Romantic Landscape Painting 847
ROMANTIC SCULPTURE 850
ROMANTIC REVIVALS IN ARCHITECTURE 851
Britain: The Sublime and the Picturesque 851
Germany: Creating a New Athens 854
America: An Ancient Style for a New Republic 854
France: Empire Style 856
Chapter 25: The Age of Positivism: Realism, Impressionism, and the Pre-Raphaelites, 1848—1885
REALISM IN FRANCE 860
Realism in the 1840s and 1850s: Painting Contemporary Social Conditions 861
The Realist Assault on Academic Values and Bourgeois Taste 866
Impressionism: A Different Form of Realism 871
PRIMARY SOURCES: Lila Cabot Perry (1848?—1933) 872
MATERIALS AND TECHNIQUES: Impressionist Color Theory 874
BRITISH REALISM 881
The Pre-Raphaelite Brotherhood 881
The Aesthetic Movement: Personal Psychology and Repressed Eroticism 884
PRIMARY SOURCES: James Abbott McNeill Whistler (1834—1903) 885
REALISM IN AMERICA 887
Scientific Realism: Thomas Eakins 887
Iconic Imagery: Winslow Homer 888
THE ART HISTORIAN’S LENS: An Artist's Reputation and Changes in Art Historical Methodology 889
PHOTOGRAPHY: A MECHANICAL MEDIUM FOR MASS-PRODUCED ART 890
First Innovations 891
Recording the World 891
Reporting the News: Photojournalism 894
Photography as Art: Pictorialism and Combination Printing 895
PRIMARY SOURCES: Charles Baudelaire (1821—1867) 896
ARCHITECTURE AND THE INDUSTRIAL REVOLUTION 897
Ferrovitreous Structures: Train Sheds and Exhibition Palaces 898
Historic Eclecticism and Technology 899
Announcing the Future: The Eiffel Tower 900
Chapter 26: Progress and Its Discontents: Post-Impressionism, Symbolism, and Art Nouveau, 1880—1905
POST-IMPRESSIONISM 905
Paul Cézanne: Toward Abstraction 905
PRIMARY SOURCES: Paul Cézanne (1839—1906) 907
Georges Seurat: Seeking Social and Pictorial Harmony 908
Henri de Toulouse-Lautrec: An Art for the Demimonde 911
MATERIALS AND TECHNIQUES: Lithography 911
Vincent van Gogh: Expression Through Color and Symbol 912
Paul Gauguin: The Flight from Modernity 915
PRIMARY SOURCES: Paul Gauguin (1848—1903) 917
SYMBOLISM 917
The Nabis 917
Other Symbolist Visions in France 918
Symbolism Beyond France 920
Symbolist Currents in American Art 922
THE ART HISTORIAN’S LENS: Feminist Art History 923
The Sculpture of Rodin 924
ART NOUVEAU AND THE SEARCH FOR MODERN DESIGN 927
The Public and Private Spaces of Art Nouveau 927
AMERICAN ARCHITECTURE: THE CHICAGO SCHOOL 931
Henry Hobson Richardson: Laying the Foundation for Modernist Architecture 931
Louis Sullivan and Early Skyscrapers 932
Frank Lloyd Wright and the Prairie House 934
PHOTOGRAPHY AND THE ADVENT OF FILM 936
Pictorialist Photography and the Photo Secession 936
Documentary Photography 939
Motion Photography and Moving Pictures 940
Chapter 27: Toward Abstraction: The Modernist Revolution, 1904—1914
FAUVISM 946
CUBISM 950
Reflecting and Shattering Tradition: Les Demoiselles d’Avignon 950
THE ART HISTORIAN’S LENS: The Myth of the Primitive 951
Analytic Cubism: Picasso and Braque 952
Synthetic Cubism: The Power of Collage 953
THE IMPACT OF FAUVISM AND CUBISM 955
German Expressionism 955
MATERIALS AND TECHNIQUES: The Woodcut in German Expressionism 958
PRIMARY SOURCES: Vasily Kandinsky (1866—1944) 960
Austrian Expressionism 962
Cubism after Picasso and Braque: Paris 963
Italian Futurism: The Visualization of Movement and Energy 964
Cubo-Futurism and Suprematism in Russia 966
PRIMARY SOURCES: Kazimir Malevich (1878—1935) 968
Cubism and Fantasy: Marc Chagall and Giorgio de Chirico 969
MARCEL DUCHAMP AND THE ADVENT OF AN ART OF IDEAS 970
CONSTANTIN BRANCUSI AND THE BIRTH OF MODERNIST SCULPTURE 972
AMERICAN ART 974
America’s First Modernists: Arthur Dove and Marsden Hartley 975
EARLY MODERN ARCHITECTURE IN EUROPE 976
Austrian and German Modernist Architecture 976
German Expressionist Architecture 979
Chapter 28: Art Between the Wars
DADA 985
Zurich Dada: Jean Arp 985
New York Dada: Marcel Duchamp 986
Berlin Dada 987
Cologne Dada 991
PRIMARY SOURCES: Hannah Höch (1889—1978) 991
Paris Dada: Man Ray 992
SURREALISM 993
Picasso and Surrealism 993
Surrealism in Paris: Spurring the Imagination 995
Representational Surrealism: Magritte and Dalí 996
Surrealism and Photography 999
The Surrealist Object 999
ORGANIC SCULPTURE OF THE 1930S 1000
Alexander Calder in Paris 1001
Henry Moore and Barbara Hepworth in England 1002
PRIMARY SOURCES: Barbara Hepworth (1903—1975) 1003
CREATING UTOPIAS 1003
Russian Constructivism: Productivism and Utilitarianism 1003
De Stijl and Universal Order 1005
The Bauhaus: Creating the “New Man” 1007
PRIMARY SOURCES: Piet Mondrian (1872—1944) 1007
The Machine Aesthetic in Paris 1011
PRIMARY SOURCES: Le Corbusier (1886—1965) 1012
MATERIALS AND TECHNIQUES: Reinforced Concrete 1013
ART IN AMERICAN: MODERNITY, SPIRITUALITY, AND REGIONALISM 1015
The City and Industry 1015
Art Deco and the International Style 1020
Seeking the Spiritual 1021
Regionalism and National Identity 1023
The Harlem Renaissance 1024
MEXICAN ART: SEEKING A NATIONAL IDENTITY 1025
Diego Rivera 1025
THE EVE OF WORLD WAR II 1028
America: The Failure of Modernity 1028
Europe: The Rise of Fascism 1030
Chapter 29: Postwar to Postmodern, 1945—1980
EXISTENTIALISM IN NEW YORK: ABSTRACT EXPRESSIONISM 1036
The Bridge from Surrealism to Abstract Expressionism: Arshile Gorky 1036
Abstract Expressionism: Action Painting 1038
PRIMARY SOURCES: Jackson Pollock (1912—1956) 1038
Abstract Expressionism: Color-Field Painting 1040
New York Sculpture: David Smith and Louise Nevelson 1041
EXISTENTIALISM IN EUROPE: FIGURAL EXPRESSIONISM 1042
Jean Dubuffet 1042
Francis Bacon 1043
REJECTING ABSTRACT EXPRESSIONISM: AMERICAN ART OF THE 1950s AND 1960s 1044
Re-Presenting Life and Dissecting Painting 1044
Environments and Performance Art 1046
Pop Art: Consumer Culture as Subject 1049
PRIMARY SOURCES: Roy Lichtenstein (1923—1997) 1050
FORMALIST ABSTRACTION OF THE 1950s AND 1960s 1053
Formalist Painting 1053
Formalist Sculpture: Minimal Art 1056
PRIMARY SOURCES: Frank Stella (b. 1936) 1056
THE PLURALIST 1970s: POST-MINIMALISM 1058
Post-Minimal Sculpture: Geometry and Emotion 1058
Earthworks and Site-Specific Art 1059
THE ART HISTORIAN’S LENS: Studying the Absent Object 1059
Conceptual Art: Art as Idea 1062
Television Art: Nam June Paik 1063
ART WITH A SOCIAL AGENDA 1064
Street Photography 1064
African-American Art: Ethnic Identity 1065
PRIMARY SOURCES: Romare Bearden (1911—1988) 1066
Feminist Art: Judy Chicago and Gender Identity 1068
LATE MODERNIST ARCHITECTURE 1069
Continuing the International Style: Ludwig Mies van der Rohe 1069
Sculptural Architecture: Referential Mass 1070
Chapter 30: The Postmodern Era: Art Since 1980
ARCHITECTURE 1077
Postmodern Architecture: A Referential Style 1077
New Modernisms: High-Tech Architecture 1080
Deconstructivism: Countering Modernist Authority 1082
MATERIALS AND TECHNIQUES: Computer-Aided Design in Architecture 1085
POSTMINIMALISM AND PLURALISM: LIMITLESS POSSIBILITIES IN FINE ART 1085
The Return of Painting 1085
Sculpture 1089
APPROPRIATION ART: DECONSTRUCTING IMAGES 1091
PRIMARY SOURCES: Cindy Sherman (b. 1954) 1091
Photography and LED Signs 1092
Context and Meaning in Art: The Institutional Critique and Art as Commodity 1094
MULTICULTURALISM AND POLITICAL ART 1096
African-American Identity 1096
The AIDS Pandemic and a Preoccupation with the Body 1098
The Power of Installation, Video, and Large-Scale Photography 1100
PRIMARY SOURCES: Ilya Kabakov (b. 1933) 1102
THE ART HISTORIAN’S LENS: The Changing Art Market 1104
GLOBAL ART 1105
El Anatsui, Adinkra Signs, and Postmodern Ambiguity 1105
Cai Guo Qing: Projects for Extraterrestrials 1106
Glossary
Bibliography
Index
Credits
Blackboard Test Item File (Download Only) for Janson's History of Art: The Western Tradition, Reissued Edition, 8th Edition
Davies, Hofrichter, Jacobs, Simon, Roberts & Denny
©2016
Classroom Response System (Download only) for Janson's History of Art, 8th Edition
Davies, Hofrichter, Jacobs, Simon, Roberts & Denny
©2016
Instructor's Resource Manual and Test Item File (Download Only) for Janson's History of Art: The Western Tradition, Reissued Edition, 8th Edition
Davies, Hofrichter, Jacobs, Simon, Roberts & Denny
©2016
MyTest Test Bank for Janson's History of Art: The Western Tradition, Reissued Edition, 8th Edition
Davies, Hofrichter, Jacobs, Simon, Roberts & Denny
©2016
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Penelope J. E. Davies is Associate Professor at the University of Texas, Austin. She is a scholar of Greek and Roman art and architecture as well as a field archaeologist. She is author of Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius, winner of the Vasari Award.
Walter B. Denny is a Professor of Art History at the University of Massachusetts at Amherst. 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.
Frima Fox Hofrichter is Professor and former Chair of the History of Art and Design department at Pratt Institute. She is author of Judith Leyster, A Dutch Artist in Holland’s Golden Age, which received CAA’s Millard Meiss Publication Fund Award.
Joseph Jacobs is an independent scholar, critic, and art historian of modern art 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.
David L. Simon is Jetté Professor of Art at Colby College, where he received the Basset Teaching Award in 2005. Among his publications is the catalogue of Spanish and southern French Romanesque sculpture in the Metropolitan Museum of Art and The Cloisters.
Ann M. Roberts, Professor of Art at Lake Forest College has published essays, articles and reviews on both Northern and Italian Renaissance topics. Her research focuses on women in the Renaissance, and her most recent publication is entitled Dominican Women and Renaissance Art:The Convent of San Domenico of Pisa.
H. W. Janson was a legendary name in art history. During his long career as a teacher and scholar, he helped define the discipline through his impressive books and other publications.
Anthony F. Janson forged a distinguished career as a professor, scholar, museum professional and writer. From the time of his father’s death in 1982 until 2004, he authored History of Art .
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