A RT H ISTORY
B IBLIOGRAPHIC
I NFORMATION
Stokstad, Marilyn, et al. Art History.
New York. H.N. Abrams. 1995.
Call No. - 709 20
Dewey Class No. – 709
Library of Congress No. - N5300. S923 1995
ISBN: 0810919605 (Abrams: hardcover)
C ONTENTS I NCLUDE
Preface 29 Chapters
Acknowledgments Glossary
Introduction Bibliography
Starter Kit Index
Use Notes Credits
T EXTILES
Cope, from the Treasury of The Golden Fleece.
Flemish, mid 15th century. Cloth with gold and
colored silk embroidery
Shoulder bag, from Kansas, Delaware, La Foire Chinoise (The Chinese Fair). 1743-75.
c. 1860. Wool fabric, cotton fabric and Tapestry of wool and silk
Thread, silk ribbon and glass beads
Bishop Odo Blessing the Feast, section 47-48 of the Bayeux
Tapestry, c. 1066-82. Linen with wool
Banner of Las Navas de Tolosa. First half of the 13th
century. Silk tapestry-weave with gilt parchment
A RRANGEMENT
29 Chapters arranged in a timeline fashion.
Starting with…
Prehistory and Prehistoric Art in Europe,
BCE 40,000 – 1000
And ending with…
Art in the United States and Europe since World War II,
AD 1940 – 2000
Each Chapter is beautifully introduced on a two page
color layout of a work of art from the period about to
be discussed. An illustrated timeline borders the top,
and a map of the area is provided on the right side of
the chapter page.
M ORE A RRANGEMENT &
I NDEXING
The Glossary is arranged alphabetically.
The Bibliography contains three classifications of
listings; General Surveys, Art History Reference Tools,
and Books for individual Chapters 1 – 29. Sources of
quotations cited in short form in the text can also be
found in this bibliography.
The Index is also arranged alphabetically, with
illustration references in Italic type and definitions of
glossary references in Boldface type. The index
includes listings by artist, period, topic, and particular
works of art.
Sample Pages 516-518 Architectural Sculpture/Romanesque Art
S COPE AND C URRENCY
The scope of this work is as broad as is the
expanse of human history. Art History opens up
the windows on the world of art.
Spanning all the ancient cultures, chapters are
devoted to the art of the ancient Near East,
Egypt, the Aegean, Etruscan and Roman art,
Christian, Jewish and Byzantine art, Islamic art,
the art of India, China, Japan, the Americas,
Africa, and the Pacific Islands.
S COPE AND C URRENCY …
Art History tells the many-sided story of art as
one of the oldest, most revelatory, and most
intriguing of human activities.
The world’s finest paintings, sculpture, and works
of architecture are covered here, as are
drawings, photographs, works in metal, ceramics,
and textiles.
This book tackles the issues of art, philosophical
considerations focus on artists in general and in
particular, society's relationship to art, including
the role of the patron, and the importance of
museums.
S COPE AND C URRENCY …
The 1,625 stunning illustrations (761 in full color)
are unrivaled in their selection and quality by any
book of this type.
Art History features 29 integrated Maps and
Timeline Charts that visually reinforce the
relationship of artworks and cultures in space
and time.
M ETAL W ORK
Funerary mask of Tutankhamen as
it looked when discovered and then
cleaned. Gold inlaid with glass and
semiprecious stones 1336 -1327 BCE
Bronze with bone and glass eyes,
Young Warrior, found in the sea
Off Riace, Italy. C. 460-450 BCE
Gold Pendant, from Chryssolakkos,
Near Malia, Crete. C. 1700-1550 BCE
Bronze Shiva Nataraja, from Tiruvalangadu,
Tamil Nadu, India. Chola dynasty, Early
Medieval Period, c. 1000 ce
Bronze Incense burner from the tomb
Gold Pectoral, from the tomb of Scythian at of Prince Liu Sheng, Mancheng, Hebei.
Ordzhonikidze, Russia, 4th century BCE Han dynasty, 113 BCE
I NTENDED P URPOSE
Written as a classroom tool, this college text is
suited for an introductory course in art history.
Presenting a broad view of art through the
centuries, it introduces beginning students to the
works of all artists in all media in a positive and
sympathetic manner.
Stokstad's Art History gives students rich cultural
and social contexts for art, along with eloquent
explanations of art's formal qualities and
particular terminology.
A DDITIONAL P URPOSES
Created for today’s reader, Art History is a dynamic
and endlessly rewarding one-book source of
information and pleasure for anyone interested in art.
Art historians would find this book useful when
writing about an artists' life. Information on the social
history of the time would help writers understand the
economic and political forces shaping the artists, their
patrons, and their public.
“Destined to establish itself as a modern classic, this
hugely informative, wholly enjoyable global history of
art from prehistoric times to the present, views art as
a fundamental, inextricable vehicle for the human
spirit.” From Publishers Weekly
S CULPTURE
Hagesandros, Polydoros, and Athanadoros of Rhodes.
Laocoon and His Sons, 1st century ce. Marble David Smith. Cubi XIX. 1964.
Stainless Steel
Gianlorenzo Bernini. Saint Teresa of
Avila in Ecstasy. 1645-52. Marble
Mask representing an Iyoba,
From Benin, c. 1550 ce. Ivory,
iron and copper
Women from Brassempouy,
France. C. 22,000 BCE. Ivory
Michelangelo. Moses, tomb of Julius II.
c. 1513-15. Marble Nanni di Banco. Four Crowned
Martyrs. C. 1410-13. Marble
F ORMAT
The first edition is in Book format, (Print, Microform,
and Electronic)
There are three Editions, also a teacher version, a
student version, revised and supplemental editions.
The formats include hardcover, soft cover, and CD-
ROM.
11.8 x 9 x 2.5 inches, 8 pounds, 1,167 pgs.
1 v. (various paging's) : ill. (some col.), col. maps ; 30
cm.
PAINTINGS
Vincent Van Gogh, The Starry Night.
Judgment before Osiris, Dynasty 19,
Interior, Sistine Chapel, Vatican, Rome. 1889. Oil on canvas
c. 1285 BCE. Painted papyrus
Michelangelo’s famous ceiling frescoes,
And Last Judgment. 1475-81
John Sloan. Backyards, Greenwich Robert Henri. Laughing Child.
Village. 1914. Oil on canvas 1907. Oil on canvas
Rachel Ruysch. Flower Still Life.
After 1700. Oil on Canvas
S PECIAL F EATURES
The Introduction begins with a question, “What
is Art?”, and It’s broken into eight brief
paragraphs to try and explain it.
While the text carries the central narrative of Art
History, Set-off Boxes present interesting and
instructive material that enriches the text.
Maps and timelines visually place artworks in
time and space, and Time Scales on each page let
readers know where they are within the period
each chapter covers.
S PECIAL F EATURES …
The Starter Kit is a basic primer of concepts and
working assumptions used in the study of art history.
It serves as a quick reference guide for this entire
book and for observing art in general.
Special essays called The Object Speaks offer
tantalizing insights on topics such as authenticity,
patronage, and artistic intention.
A Parallels feature in every chapter presents
comparative information in tabular form that puts the
major events and artworks in a global context
PAINTINGS
Masaccio. Trinity with the Virgin, Saint John A view of the world, detail from
The Evangelist, and Donors. C. 1425 (?) Fresco Codex Fejervary-Mayer. Aztec or
Mixtec, c. 1400-1521. Paint on
Animal Skin
Hall of Bulls, Lascaux caves. c. 15,000 –
13,000 BCE Paint on Limestone
Gustave Klimt. The Kiss. 1907-8.
Oil on canvas
Leonardo. Mona Lisa.
C.1503-6. Oil on canvas Caravaggio. Calling of Matthew.
c. 1599-1602. Oil on canvas
Jackson Pollock. Autumn Rhythm (number 30). 1950. Oil on canvas
A UTHORITIES
Booklist
(April 15, 1996; 0-8109-1960-5; 978-0-8109-1960-0)
Stokstad's landmark publication will join the ranks of long-cherished
standards in the field by Janson and Hartt even though it radically alters
our approach to the history of art. Scholar and professor Stokstad is a
humanistic art historian, training her penetrating eye not only on works
of art but also on artists, patrons, audiences, and places of display. She
is inclusive and contextual, drawing parallels between the art of Africa,
India, Europe, Asia, and the Americas, finding common ground, and
celebrating uniqueness. Stokstad eschews "schools" and writes, instead,
of styles, their iconography, and how and why they change. Her lucid
and stimulating analysis is contemporary without being trendy and takes
into account both physical and spiritual beauty, culture at large and
individual geniuses, and all the political, religious, and technological
factors that affect the creation and appreciation of art. A spectacular
design, great wealth of color illustrations, and Stokstad's sense of the
grand continuity of art through time and across oceans make this an
exceptional, thoroughly enjoyable survey. --Donna Seaman
A UTHORITIES …
Marilyn Stokstad, teacher, art historian, and museum curator,
has been a leader in her field for decades and has served as
president of the College Art Association and the International
Center of Medieval Art.
In 2002, she was awarded the lifetime achievement award from
the National Women's Caucus for Art. In 1997 she was awarded
the Governor's Arts Award as Kansas Art Educator of the Year
and an honorary degree of doctor of humane letters by
Carleton College. She is Judith Harris Murphy Distinguished
Professor Emeriti at the University of Kansas, Lawrence.
She has also served in various leadership capacities at the
University's Spencer Museum of Art and is Consultative Curator
of Medieval Art at the Nelson-Atkins Museum of Art in Kansas
City, Missouri.
P HOTOGRAPHY
Cindy Sherman, Untitled Film Still.
1978. Black and white photograph
Robert Mapplethorpe. Ajittp (Back). Dorothea Lange.
1981. Gelatin silver print Migrant Mother. 1936.
Gelatin Silver print
Barbara Kruger. We wont play
Nature to your Culture. 1983.
Photostat
Robert Frank. Trolley, New Orleans. 1955-56. Gelatin-silver print
P ERSONAL I MPRESSION
This book is simply wonderful. It is physically ponderous,
weighing in at 8 pounds, however, its content easily
compensates for its bulk.
All historical periods of art history are chronicled, with
beautiful illustrations well-produced and nearly all in color.
The text is incisive, easy to follow, and never boring. I would
recommend this book to any and all art lovers, whether
beginners, advanced students, and those who just desire a
comprehensive reference for library or home use.
I personally consider this publication a better choice than
Janson’s, History of Art, it’s more user-friendly and in my
opinion the content is more inclusive, especially regarding
non-Western art.
D RAWINGS
Bunsei. Landscape. Muromachi
Page with Pentecost, Cluny Lectionary.
Period, mid -15th century. Hanging
Early 12th century. Ink and tempera on
Scroll, ink and light colors on paper
vellum
Jean Pucelle, Pages with Betrayal and Arrest of Christ, and
Annunciation. c. 1325-28. Grisaille and color on vellum
Page with Matthew the Evangelist.
c. 816-40. Ink and colors on vellum
Rosalba Carriera. Jean-Antoine
Watteau. 1721. Pastel on paper
R EFERENCE E XAMPLES
When was the Byzantine Empire What is Realism?
in power?
The representation in art of
6th
In 330, of the century, things and experiences as
Constantine, the Emperor of they appear to be in actual,
Rome, moved the capital to visible reality.
Byzantium, renamed
Constantinople. The early What is Prairie Style?
Byzantine Empire, an off
shoot of the Roman Empire, A style of architecture
came into power in 527, the originally describing the work
later Byzantine Empire lasted of Frank Lloyd Wright done
until 1453, when during the first decade of the
Constantinople became an 20th century. Characterized
Islamic capital under the by large flat roofs with broad
Ottoman Turks. overhanging eaves and open-
planned spatial
arrangements.
E NGRAVINGS , C ARVINGS ,
AND W OODCUTS
Sarcophagus lid, in the tomb of Lord Pacal.
Maya culture, c. 683 ce. Limestone
Anna Maria Sibylla Merian.
Plate 9 from Dissertation in Insect
Generations and Metamorphosis
In Surinam. 1719. Hand colored
engraving.
Hans Baldung Grien. Stupefied Groom.
1544. Woodcut image Otto I Presenting Magdeburg
Cathedral to Christ. C. 962-973
Ivory plague
Martin Schongauer. Temptation of Saint
Anthony. c. 1480-90. Engraving
Post, from the Oseburg burial ship.
c. 825. Wood
C OMPLIMENTARY S OURCES
This title is a stand alone source that competes
directly with the following books but also
compliments them.
Gardner's, Art Through the Ages (10th ed., 1996),
Janson's, History of Art (5th ed., 1995),
Hartt's, Art: A History (4th ed. 1993), and
Honour and Fleming's, The Visual Arts: A History
(4th ed., 1995)
C ERAMICS & P OTTERY
Robert Arneson. Portrait of George
Moscone. 1981. Glazed ceramic
Miyashita Zenji, Morino Hiroaki, Tsujimura
Shiro, Ito Sekisui. Four ceramic vessels.
Modern period, after 1970
Josiah Wedgwood. Vase. England. 1786
White jasper body with mid-blue dip
and white relief
Pan Painter. Artemis Slaying Actaeon.
Greece c. 470 BCE. Ceramic
Bowl with Kufic border.
Uzbekistan. 9th-10th century
Earthenware with slip, pigment
Maria Montoya Martinez and Julian Martinez. And glaze
Blackware storage jar. Hopi. c. 1942. Ceramic
The End