Sphinx moved from the Introduction to this chapter. New images include stele of the sculptor, Userwer and statue of Queen Karomama in the Louvre. Completely revised discussion of Cycladic figures in light of recent research, including two new figures. Reworked Knossos complex text acknowledges its probable role as a ceremonial center. Treatment of Harvester Rhyton expanded. Discussion of Mycenaean tombs reorganized to include metalwork found in the shaft graves, with tholos tombs explanation now following.
Historical preludes reduced to focus on cultural and historical factors related to the history of art. Reorganized for greater clarity and coherence, including box placement. Expanded discussion of Aegina architecture and sculpture, and box on color in Greek sculpture focuses on Aegina, thus making it a model analysis for the basic points in architecture and architectural sculpture. Moved ceramic painting technique box to Archaic section in relation to the vessels where most relevant and added detailed views of use of each technique.
Expanded treatment of the Etruscans with addition of a wall painting, a sarcophagus lid, and the Ficoroni Cista. Added clarity to discussions of representational modes—classicizing and veristic. Added box on portraiture using the Polybius text and the Barberini Togatus. Expanded treatment of tetrarchic sculpture, concentrating on introduction of a new ideal along with verism and classicism. Reorganized discussion of Constantinian art. New chapter opener introduces the eclecticism of Byzantine art and foregrounds the continuity of the classical heritage in the Byzantine world.
Expanded treatment of Jewish art. Extensively revised Ravenna monuments, especially San Vitale. Reorganized Middle Byzantine discussion for clearer sense of chronology as well as geography. Much expanded section on the Chora church as a late Byzantine monument. Revised to bring greater emphasis on art and society with simpler historical periodization. New chapter opener features Maqamat image of a preacher in a mosque, with many new images of art and architecture throughout.
Expanded material on Mughal South Asia. Added new box on the topic of ornament with exemplary illustrations. New coverage of sites, including Bamiyan whose Buddha images were destroyed in Period divisions updated for greater clarity and comprehension.
New illustrations of bronze-casting technique for improved understanding of process. New images include Neolithic cong, bronze guang ,Tang equestrian pair, and detail of Admonitions of the Imperial Instructress to Court Ladies. New discussion of Japan in the eighth century as the eastern terminus of the Silk Route. Increased emphasis on Japan's native religion of Shinto with addition of a Shinto painting. Expanded discussion of Chinese emigrant monks and their influence in section on Zen art.
Substantially revised and updated sections on Mesoamerican and ancient Andean art. New images include Maya stela, Moche portrait vessel, Olmec sculptural offering, and cylinder vase with image of the Maya ballgame. Expanded discussion of Maya hieroglyphic writing. Revised and expanded discussion of Ife portraiture to emphasize idea that among earliest known examples of African sculpture, naturalistic representations of human body were not uncommon. Added treatment of the Ethiopian ancient sites of Lalibela, Gondar and Aksum.
Fifteenth-century ivory hunting horn speaks to European contact and trade to west and central Africa that included the export of objects made in Africa for European aristocracy. Moved reduced discussion of Vikings before the Carolingians to permit continuity between Carolingians and Ottonians. Abbreviated and condensed historical discussions not directly related to the situation in the art.
Expanded discussion of Maya hieroglyphic writing. Revised and expanded discussion of Ife portraiture to emphasize idea that among earliest known examples of African sculpture, naturalistic representations of human body were not uncommon. Added treatment of the Ethiopian ancient sites of Lalibela, Gondar and Aksum. Fifteenth-century ivory hunting horn speaks to European contact and trade to west and central Africa that included the export of objects made in Africa for European aristocracy.
Moved reduced discussion of Vikings before the Carolingians to permit continuity between Carolingians and Ottonians. Abbreviated and condensed historical discussions not directly related to the situation in the art.
Expanded discussion of Moissac to give sense of one ensemble in some detail. Stained-glass technique box moved to coincide with the discussion of Saint-Denis and a full panel of glass from that church illustrated.
Consolidated and expanded treatment of Assisi. Discussion of Giotto and Duccio reworked to include new focus work in each program, the Kiss of Judas for Giotto and the Raising of Lazarus for Duccio. Added Simone Martini with discussion of his Annunciation. Introduced Hedwig Codex for more variety in German section. More developed discussion of Hours of Mary of Burgundy to elaborate on its evidence of new devotional practices.
Expanded treatment of Unicorn tapestry to include technique and effect, as well as iconography. New box on the processs of oil painting. Expanded treatment of Orsanmichele including new image of building. Revised box on Renaissance perspective and moved to correspond with Masaccio. Expanded discussion of the Sistine mural project. Discussion of Mannerism and Council of Trent reversed to conform with chronology and history.
Expanded discussion of Garden of Earthly Delights includes new interpretive ideas and incorporates exterior wing panels.
Added technique box on etchings and drypoint. Expanded Southeast Asia coverage to include Islamic art. Incorporated discussion of European engagement with Mughal art. New image by Yun Shouping, Amaranth. Greater emphasis on importance of crafts with addition of porcelain plate, kosode , and contemporary lacquer box. New emphasis on architecture and crafts in the postwar period.
Tea Ceremony discussion consolidated into one section. New chapter opener focuses on Navajo textile woven by Julia Jumbo. Additional contemporary Native American art incorporated into chapter. Revised and updated sections on Aztec and Inca art. Revised and updated introduction to Australia. Reworked Melanesia section to broaden range of culture areas: added New Britain Tubuan mask, discussions of role of women and different uses of masks.
Revamped Polynesia introduction to be Polynesian centered, not European-centered. Contemporary art in Oceania included. Incorporated image of British punitive expedition to Benin with short discussion of development of major collections of African art in Europe and America. Collection development tied to European expansion, political and economic interests.
Moved discussion of divination among the Chokwe closer to discussion of Yoruba divination. Reorganized chapter now encompasses the early nineteenth century to avoid breaking up the discussion of Neoclassicism and Romanticism. Revised and expanded discussion of how courtly system of individual patronage transformed, first into a Salon system, and then into an academic system of training, exhibition, and sale of art. Revised and updated to emphasize the varying ways the academy and avant-garde envisaged and expressed modernity.
Expanded discussion also includes exploration of differing concepts of modernity in France, England, the United States, and elsewhere. Photography moved to early part of chapter. Works by Manet now discussed together and in relation to Realism. Reworked to extend to so chapter covers the years of Modernism more fully. Updated to reflect the early centrality of Paris in the first half of twentieth century as a center of innovation in the art-world and its subsequent displacement by New York.
Reorganized and revised according to a thematic structure. Emphasis placed on the s as a turning point in the global understanding of art and the subsequent globalization of art in the fast-paced communications age.
Fifty percent new images reflect themes outlined in the text. Over the many years we have taught undergraduate beginners, we have always enjoyed sharing—both with our students and our fellow educators—the new discoveries and fresh interpretive perspectives that are constantly enriching the history of art. We relished the opportunity here to incorporate some of the latest thinking and most recent discoveries—whether this involved revising the dating and interpretation of well-known Prehistoric monuments like Stonehenge fig.
Indeed, changes have been made on many levels—from the introduction to the bibliography, and from captions to chapter introductions. Who Owns the Art? The Elgin Marbles and the Euphronios Krater Pearson offers affordable and accessible purchase options to meet the needs of your students. Connect with us to learn more. He has served on the board of the International Center of Medieval Art and as President both of the American Committee of the International Corpus Vitrearum histlry of his local school board.
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