Gardner's Art Through the Ages: A Concise Western History (2nd Edition)
Fred S. Kleiner
Featuring unique NEW study tools for students and dynamic NEW lecture resources for instructors, GARDNER'S ART THROUGH THE AGES: A CONCISE WESTERN HISTORY, Second Edition takes this brilliant bestseller to new heights in addressing the challenges of today's classroom. It is specifically designed for the one-semester survey. The second edition adds to this heritage with new images and new full-color reconstructions, as well as a unique "scale" feature that helps students visualize the size of each work.
Death. Such representations parallel the development of liturgical hymns recounting the Virgin’s lamenting her son’s death on the Cross. At Nerezi, the painter set the scene in a hilly landscape below a blue sky—a striking contrast to the abstract golden world of the mosaics favored for church walls elsewhere in the Byzantine Empire. The artist strove to make utterly convincing an emotionally charged realization of the theme by staging the Lamentation in a more natural setting and peopling it.
1-4 Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, France, ca. 22,000 BCE. 11Ј 2Љ long. Many Paleolithic paintings include abstract signs and handprints. Some scholars think the Pech-Merle painted hands are “signatures” of cult or community members or, less likely, of individual painters. right in the illustration) may have been inspired by the rock formation in the wall surface resembling a horse’s head and neck. Like the clay bison at Le Tuc d’Audoubert,.
Were on the Cycladic island of Delos. Although at the outset each league member had an equal vote, Athens was “ﬁ rst among equals,” providing the allied ﬂeet commander and determining which cities were to furnish ships and which were instead to pay an annual tribute to the treasury at Delos. Continued ﬁghting against the Persians kept the alliance intact, but Athens gradually assumed a dominant role. In 454 BCE, the Athenians transferred the Delian treasury to Athens, ostensibly for security.
For an illuminating afternoon spent discussing publication design and production issues and for his insightful contribution to the creation of the scales that accompany all reproductions of paintings, sculptures, and other artworks in this edition. I am also deeply grateful to Kathleen Cohen and Yu Bong Ko for their work on the Study Guide and the AP Guide, respectively. Finally, I owe thanks to my colleagues at Boston University and to the thousands of students and the scores of teaching fellows.
From a record of Titus’s battleﬁeld success into a celebration of imperial virtues. A similar intermingling of divine and human ﬁgures occurs in the Mysteries frieze (FIG. 3-18) at Pompeii, but the Titus panel is the ﬁ rst known instance of divine beings interacting with humans on an ofﬁcial Roman historical relief. (On the Ara Pacis, FIG. 3-25, the gods, heroes, and personiﬁcations appear in separate framed panels, carefully segregated from the procession of living Romans.) The Arch of Titus.