By Fred S. Kleiner
GARDNER'S paintings during the a while, quantity II, 14TH version provide you with a accomplished, beautifully-illustrated travel of the world's nice inventive traditions! effortless to learn and comprehend, the fourteenth variation of the main widely-read paintings heritage publication within the English language keeps to adapt, supplying a wealthy cultural backdrop for every of the coated classes and geographical destinations, and incorporating new artists and paintings types -- all reproduced in accordance with the top criteria of readability and colour constancy. an entire on-line surroundings, together with all photographs and an publication, is additionally on hand. the original Scale characteristic may help you greater visualize the particular measurement of the artistic endeavors proven within the ebook. a brand new timeline inside of every one bankruptcy, in addition to "The substantial Picture" overviews on the finish of each bankruptcy, can help you evaluate for checks. Please observe that quantity II begins with bankruptcy 14 from quantity I for assessment reasons or for classes that holiday the cloth for the direction on the 1300's. quantity II then strikes from bankruptcy 14 to bankruptcy 20.
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Extra info for Gardner's Art through the Ages: A Global History, Volume 2 (14th Edition)
The 12 Olympian gods (and their Roman equivalents) were: ❙ Zeus (Jupiter) King of the gods, Zeus ruled the sky and allotted the sea to his brother Poseidon and the Underworld to his other brother, Hades. His weapon was the thunderbolt. Jupiter was also the chief god of the Romans. ❙ Hera (Juno) Wife a nd si ster o f Z eus, H era w as t he g oddess o f marriage. ❙ Poseidon (Neptune) Poseidon was lord of the sea. He controlled waves, storms, and earthquakes with his three-pronged pitchfork (trident).
When F lemish a rtist Peter Paul Rubens ( 1577–1640) painted Lion H unt (FIG. I-14), he u sed foreshortening for a ll the h unters a nd a nimals—that is, he re presented t heir b odies at a ngles to t he p icture p lane. When in life one views a figure at an an gle, th e b ody a ppears to contract as it extends back in space. Foreshortening is a kind of perspective. It produces the illusion that one part of the body is farther away than another, even though all the forms are on the same surface.
His paintings are often social commentaries on recent events and incorporate readily identiﬁable people. executions. B ehind, on t he w all of a s tately government building, hangs the framed portrait of the judge who pronounced the initial sentence. Personal style, not period or regional style, sets Shahn’s canvas apart from O’Keeffe’s. The contrast is extreme here because of the very different subjects the artists chose. But even when two artists de pict t he s ame sub ject, t he re sults c an v ary w idely.