Description For two-semester courses in Art History, Global Art History, and for Introductory Art courses taught from a historical perspective. ART HISTORY provides students with the most student-friendly, contextual, and inclusive art history survey text on the market. These hallmarks make ART HISTORY the choice for instructors who seek to actively engage their students in the study of art. This new edition of ART HISTORY is the result of a happy and productive collaboration between two scholar-teachers (Marilyn Stokstad and Michael Cothren) who share a common vision that survey courses on the history of art should be filled with as much enjoyment as erudition, and that they should foster an enthusiastic, as well as an educated, public for the visual arts. Like its predecessors, this new edition seeks to balance formal and iconographic analysis with contextual art history in order to craft interpretations that will engage a diverse student population. Throughout the text, the visual arts are treated as part of a larger world, in which geography, politics, religion, economics, philosophy, social life, and the other fine arts are related components of a vibrant and cultural landscape.

Editions for Art History. Combined third edition, Hardcover, 1,256 pages. Marilyn Stokstad, Stephen Addiss.

Please visit more information and to view a video from author, Marilyn Stokstad, to see a chapter from the book and an online demo of the Prentice Hall Digital Art Library. Create a Custom Text: Pearson Custom enables you to work with a dedicated Pearson Custom editor to create your ideal text—publishing your own original content or mixing and matching Pearson content. Contact your Pearson Publisher’s Representative to get started. The chapters are keyed to MyArtsLab resources that enrich and reinforce student learning.

There is increased contextual emphasis now visible with the linking of three key box categories by means of a “target” icon: - The new Closer Look feature, at the center of the target, pulls in for more specificity within the work of art itself, helping the student understand issues of usage, iconography, and style. - The Object Speaks box focuses on an in-depth contextual treatment of a work of art. - The Art and Its Contexts feature at the outer ring of the target represents discussionsof ideas about art that are placed within the broad context of the chapter, or the history of art in general. A new series of maps has been created to enhance the clarity and accuracy of the relationship between the art discussed and its geographical location and political affiliation. Throughout, images have been updated whenever new and improved images were available. New works have been added to the discussion in many chapters to enhance and enrich what is said in the text.

The language used to characterize works of art–especially those that attempt to capture the lifelike appearance of the natural world–has been refined and clarified to bring greater precision and nuance. In response to readers’ requests, discussion of many major monuments has been expanded. For example, the Palette of Narmer, Sainte Chapelle, Bosch’s Garden of Earthly Delights, and the Contarelli Chapel. Several chapters have been reorganized for greater clarity and coherence. Prehistoric Art is now global in scope, the early nineteenth century has been incorporated into the chapter containing the eighteenth century to avoid breaking up the discussion of Neoclassicism and Romanticism, and the last two chapters now break at 1950.

In keeping with this book’s tradition of inclusivity, an even broader spectrum of media is addressed here, with expanded attention, for example, to Gothic stained glass, Renaissance tapestries, and Navajo textiles. Global coverage has been deepened with the addition of new works of art and revised discussions that incorporate new scholarship. New Recovering the Past boxes document the discovery, restoration, or conservation of works of art. Some examples include discussions of the Rosetta stone, the Riace bronzes, and the Sutton Hoo find. Newly colorized line art and 3D renderings throughout the book provide the opportunity for students to better visualize architectural principles and key art processes. About the Author(s) 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 Emerita 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 Michael W. Cothren is Scheuer Family Professor of Humanities at Swarthmore College, where he has also served as Art Department Chair, Coordinator of Medieval Studies, and Divisional Chair of the Humanities.

Since arriving at Swarthmore in 1978, he has taught specialized courses on Medieval, Roman, and Islamic art and architecture, as well as seminars on visual narrative and on theory and method, but he particularly enjoys teaching the survey to Swarthmore beginners. His research and publications focus on French Gothic art and architecture, most recently in a book on the stained glass of Beauvais Cathedral entitled Picturing the Celestial City. Michael is a consultative curator at the Glencairn Museum in Bryn Athyn, Pennsylvania. 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 and of his local school board.

When not teaching, writing, or pursuing art historical research, you can finding him hiking in the red rocks around Sedona, Arizona.

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