modern art meaning essay

Summary of Modern Art

Modern art represents an evolving set of ideas among a number of painters, sculptors, photographers , performers, and writers who - both individually and collectively - sought new approaches to art making. Although modern art began, in retrospect, around 1850 with the arrival of Realism , approaches and styles of art were defined and redefined throughout the 20 th century. Practitioners of each new style were determined to develop a visual language that was both original and representative of the times.

Overview of Modern Art

The rapid growth of industry and the progress of technology propelled artists to represent the world in new and innovative ways. The result was an art that took on new colors, alternative forms, emotional expressions, and experiments in abstraction.

The Important Artists and Works of Modern Art

Impression, Sunrise

Artist: Claude Monet

In this seminal work of modern art, Monet's loose handling of paint and his focus on light and atmosphere within the landscape scene are all key characteristics of Impressionism, which is widely considered the first fully modern movement. Monet's use of abstraction evokes what the artist sensed or experienced while painting the scene, which was a highly unusual approach for a painter to adopt at the time. The title of the work, Impression, Sunrise not only provided critics with the name that the movement would later receive, but also conveys the transitory, fleeting and subjective nature of the painting. It is Monet's visual impression of what he observed during that sunrise.

Oil on canvas - Musée Marmottan Monet

The Large Bathers

Artist: Paul Cézanne

The Large Bathers is one of the finest examples of Cézanne's exploration of the theme of the modern, heroic nude within a natural setting. The series of nudes are arranged into a variety of positions, like objects in a still life, under the pointed arch formed by the intersection of trees and the sky. Cézanne was attempting a departure from the Impressionist motifs of light and natural effect and instead composed this scene as a series of carefully constructed figures, as if creating sculpture with his paintbrush. He was more concerned with the way the forms occupied space than with recording his visual observations. This destruction of regular illusionism and the radical foray into increased abstraction is considered an important precursor to Cubism.

Oil on canvas - The Philadelphia Museum of Art

Les Demoiselles d'Avignon

Artist: Pablo Picasso

For Les Demoiselles d'Avignon , Picasso gathered inspiration from a variety of sources, including African tribal art, Expressionism, and the Post-Impressionist paintings of Paul Cézanne. Assimilating these seemingly disparate sources in one piece was a new approach to art making and conveys just how much artists' perspectives expanded with the rise of modernism. The painting originally raised significant controversy for its depiction of a brothel scene and for the jagged, protruding, and abstract forms used to depict the women. It is also widely considered the artwork that launched the Cubism movement. The multiplicity of styles incorporated within this work - from Iberian sculpture referenced in the women's' bodies to the sculptural deconstruction of space derived from Cézanne - not only represent a clear turning point in Picasso's career, but make the painting an incredibly distinct achievement of the modern era.

Oil on canvas - The Museum of Modern Art, New York City

Artist: Marcel Duchamp

Duchamp's invention of the readymade - a manufactured, found object divorced from its utilitarian purpose and presented in a new way as art - helped redefine what constituted a work of art within the modern era. Henceforth, a unique work of art no longer required the act of creation by the artist or visual evidence of the artist's hand in its production, the artist merely needed to designate the work as art for it to be considered as such. Duchamp's Fountain is a mass-produced porcelain urinal, turned on its back and inscribed with the name R. Mutt, a combination of a plumbing company name and a comic. By using an everyday, prefabricated object Duchamp forced the viewer to reconsider the definition of art and who makes that definition. This work in particular, and other readymades, were major influences on the later movements of Pop art, which focused on combining low and high art, and Conceptualism, wherein the idea behind the artwork is as important as the final object.

Porcelain - The Philadelphia Museum of Art

The Persistence of Memory

Artist: Salvador Dalí

This iconic Surrealist painting naturalistically depicts an otherworldly landscape where time is a series of melting watches surrounded by swarming ants that hint at decay, an organic process which held great fascination for Dalí. He sought to portray "images of concrete irrationality," bringing haunting dreamscapes, like this allegorically empty space where time has no power, out of the subconscious mind and onto the canvas. Dalí's celebrated and vivid imagination, his fascination with dream imagery and metaphor, and his exploration into the human subconscious all follow the key characteristics of the Surrealism movement in the early-20 th century.

Autumn Rhythm (Number 30)

Artist: Jackson Pollock

Through the development of his "drip" style of painting, and thedelicate dance executed in the process of creating the work, Jackson Pollock helped define the idea of Action Painting. With these paintings, Pollock - one of the most famous Abstract Expressionists - discovered a new abstract, visual language for his unconscious that moved beyond the Freudian symbolism of the Surrealists. He broke up the rigid, shallow space of Cubist pictures, replacing it with a dense web of lines and forms, like an unfathomable galaxy of stars. In some respects this work evokes both Impressionism and Surrealism, in the loose, gestural application of the paint and the unconscious nature of the expression laid down on the canvas.

Enamel on canvas - The Metropolitan Museum of Art, New York City

Artist: Jasper Johns

Flag , Johns' first major work, broke away from the emotionally driven style of the Abstract Expressionists by portraying a recognizable, everyday object, which according to Johns is "seen but not looked at." Although the work is representational, the painting is also abstract in its many textures, layers, and materials, including strips of newspaper painted over with encaustic, and the tactile brush strokes that create a painterly, expressive surface. Johns turns a flag, a three-dimensional object, into a two-dimensional painting. This practice of appropriating familiar objects recalled the practices of the earlier Dadaists, particularly Marcel Duchamp, who revolutionized modern art with the readymade. Johns' approach with his Flag paintings renewed interest in Dada and was as an important precursor to Pop art particularly through his use of everyday, mass-produced objects.

Encaustic, oil, and collage on fabric mounted on plywood, three panels - The Museum of Modern Art, New York City

Marilyn Diptych

Artist: Andy Warhol

Andy Warhol completed this work (the first of many devoted to Marilyn Monroe) shortly after the actress's untimely death in August 1962. The image of Monroe, which Warhol recycled and used for all his Marilyn silkscreen paintings, was taken from a publicity shot originally used for the film Niagara . Not dissimilar from Warhol's motifs of Campbell's soup cans or Brillo boxes, the artist stacks and repeats the same image of Monroe here as if she were a consumer product in a grocery store. By juxtaposing the bright colors with monochrome in the diptych, Warhol alludes to her mortality. Though Warhol was a great admirer of the actress, he acknowledged in this and similar works that celebrity was itself a consumer product. Marilyn Diptych is designed as both a tribute to the late icon and a harsh commentary on how we had come to treat these pop cultural icons in the modern era.

Silkscreen ink on synthetic polymer paint on canvas - The Museum of Modern Art, New York City

One Ton Prop (House of Cards)

Artist: Richard Serra

One Ton Prop presages Serra's mature works, where gravity, weight, counterforce, sinuous movement, and other physical and visual properties are embodied by steel. This sculpture, consisting of four rolled sheets of lead propped on each other, is less a visual exercise for the viewer and more of an intellectual one, obliging one to contemplate the physical properties that allow the piece to remain upright rather than collapse. The unprecedented complexity of such a work is fairly typical of post-minimal sculpture, which relied upon a variety of visual sources and theories for inspiration. While One Ton Prop embodies certain principles of Minimalism, Conceptualism, and even Dada, it is generally referred to as Process art because the process of its construction is inherent and apparent in the final work. The multiplicity of sources and possible styles is typical of the pluralist contemporary world, and the contemporary art that goes with it.

Lead antimony, four plates - The Museum of Modern Art, New York City

Definition of Modern Art

Modern art is the creative world's response to the rationalist practices and perspectives of the new lives and ideas provided by the technological advances of the industrial age that caused contemporary society to manifest itself in new ways compared to the past. Artists worked to represent their experience of the newness of modern life in appropriately innovative ways. Although modern art as a term applies to a vast number of artistic genres spanning more than a century, aesthetically speaking, modern art is characterized by the artist's intent to portray a subject as it exists in the world, according to his or her unique perspective and is typified by a rejection of accepted or traditional styles and values.

The Beginnings of Modern Art

Classical and early modern art.

The centuries that preceded the modern era witnessed numerous advancements in the visual arts, from the humanist inquiries of the Renaissance and Baroque periods to the elaborate fantasies of the Rococo style and the ideal physical beauty of 18 th -century European Neoclassicism . However, one prevalent characteristic throughout these early modern eras was an idealization of subject matter, whether human, natural, or situational. Artists typically painted not what they perceived with subjective eyes but rather what they envisioned as the epitome of their subject.

Age of Modernism and Art

The modern era arrived with the dawn of the industrial revolution in Western Europe in the mid-19 th century, one of the most crucial turning points in world history. With the invention and wide availability of such technologies as the internal combustion engine, large machine-powered factories, and electrical power generation in urban areas, the pace and quality of everyday life changed drastically. Many people migrated from the rural farms to the city centers to find work, shifting the center of life from the family and village in the country to the expanding urban metropolises. With these developments, painters were drawn to these new visual landscapes, now bustling with all variety of modern spectacles and fashions.

A major technological development closely-related to the visual arts was photography. Photographic technology rapidly advanced, and within a few decades a photograph could reproduce any scene with perfect accuracy. As the technology developed, photography became increasingly accessible to the general public. The photograph conceptually posed a serious threat to classical artistic modes of representing a subject, as neither sculpture nor painting could capture the same degree of detail as photography. As a result of photography's precision, artists were obliged to find new modes of expression, which led to new paradigms in art.

The Artist's Perspective and Modern Art

In the early decades of the 19 th century, a number of European painters began to experiment with the simple act of observation. Artists from across the continent, including portraitists and genre painters such as Gustave Courbet and Henri Fantin-Latour , created works that aimed to portray people and situations objectively, imperfections and all, rather than creating an idealized rendition of the subject. This radical approach to art would come to comprise the broad school of art known as Realism .

Also early in the 19 th century, the Romantics began to present the landscape not necessarily as it objectively existed, but rather as they saw and felt it. The landscapes painted by Caspar David Friedrich and J.M.W. Turner are dramatic representations that capture the feeling of the sublime that struck the artist upon viewing that particular scene in nature. This representation of a feeling in conjunction with a place was a crucial step for creating the modern artist's innovative and unique perspective.

Early Abstraction and Modern Art

Similarly, while some artists focused on objective representation, others shifted their artistic focus to emphasize the visual sensation of their observed subjects rather than an accurate and naturalistic depiction of them. This practice represents the beginnings of abstraction in the visual arts. Two key examples of this are James McNeill Whistler's Nocturne in Black and Gold: The Falling Rocket (1874) and Claude Monet 's Boulevard des Capucines (1873). In the former, the artist couples large splatters and small flecks of paint to create a portrait of a night sky illuminated by fireworks that was more atmospheric than representational. In the latter, Monet provides an aerial view of bustling modern Parisian life. In portraying this scene, Monet rendered the pedestrians and cityscape as an "impression," or in other words, a visual representation of a fleeting, subjective, and slightly abstracted, perspective.

Modern Art Themes and Concepts

Modern artists.

The history of modern art is the history of the top artists and their achievements. Modern artists have strived to express their views of the world around them using visual mediums. While some have connected their work to preceding movements or ideas, the general goal of each artist in the modern era was to advance their practice to a position of pure originality. Certain artists established themselves as independent thinkers, venturing beyond what constituted acceptable forms of "high art" at the time which were endorsed by traditional state-run academies and the upper-class patrons of the visual arts. These innovators depicted subject matter that many considered lewd, controversial, or even downright ugly.

The first modern artist to essentially stand on his own in this regard was Gustave Courbet , who in the mid-19 th century sought to develop his own distinct style. This was achieved in large part with his painting from 1849-1850, Burial at Ornans , which scandalized the French art world by portraying the funeral of a common man from a peasant village. The Academy bristled at the depiction of dirty farm workers around an open grave, as only classical myths or historical scenes were fitting subject matter for such a large painting. Initially, Courbet was ostracized for his work, but he eventually proved to be highly influential to subsequent generations of modern artists. This general pattern of rejection and later influence has been repeated by hundreds of artists in the modern era.

Modern Art Movements

The discipline of art history tends to classify individuals into units of like-minded and historically connected artists designated as the different movements and "schools." This simple approach of establishing categories is particularly apt as it applies to centralized movements with a singular objective, such as Impressionism , Futurism , and Surrealism . For example, when Claude Monet exhibited his painting Impression, Sunrise (1872) as part of a group exhibition in 1874, the painting and the exhibition as a whole were poorly received. However, Monet and his fellow artists were ultimately motivated and united by the criticism. The Impressionists thus set a precedent for future independently minded artists who sought to group together based on a singular objective and aesthetic approach.

This practice of grouping artists into movements is not always completely accurate or appropriate, as many movements or schools consist of widely diverse artists and modes of artistic representation. For example, Vincent van Gogh , Paul Gauguin , Georges Seurat and Paul Cézanne are considered the principal artists of Post-Impressionism , a movement named so because of the artists' deviations from Impressionist motifs as well as their chronological place in history. Unlike their predecessors, however, the Post-Impressionists did not represent a cohesive movement of artists who united under a single ideological banner. Furthermore, the case can be made that some artists do not fit into any particular movement or category. Key examples include the likes of Auguste Rodin , Amadeo Modigliani , and Marc Chagall . Despite these complications, the imperfect designation of movements allows the vast history of modern art to be broken down into smaller segments separated by contextual factors that aid in examining the individual artists and works.

The Avant-Garde and The Progression of Modern Art

The avant-garde is a term that derives from the French "vanguard," the lead division going into battle, literally advance guard, and its designation within modern art is very much like its military namesake. Generally speaking, most of the successful and creative modern artists were avante-gardes. Their objective in the modern era was to advance the practices and ideas of art, and to continually challenge what constituted acceptable artistic form in order to most accurately convey the artist's experience of modern life. Modern artists continually examined the past and revalued it in relation to the modern.

Modern, Contemporary, and Postmodern Art

Generally speaking, contemporary art is defined as any form of art in any medium that is produced in the present day. However, within the art world the term designates art that was made during and after the post-Pop art era of the 1960s. The dawn of Conceptualism in the late 1960s marks the turning point when modern art gave way to contemporary art. Contemporary art is a broad chronological delineation that encompasses a vast array of movements like Earth art , Performance art , Neo-Expressionism , and Digital art . It is not a clearly designated period or style, but instead marks the end of the periodization of modernism.

Postmodernism is the reaction to or a resistance against the projects of modernism, and began with the rupture in representation that occurred during the late 1960s. Modernism became the new tradition found in all the institutions against which it initially rebelled. Postmodern artists sought to exceed the limits set by modernism, deconstructing modernism's grand narrative in order to explore cultural codes, politics, and social ideology within their immediate context. It is this theoretical engagement with the ideologies of the surrounding world that differentiates postmodern art from modern art, as well as designates it as a unique facet within contemporary art. Features often associated with postmodern art are the use of new media and technology, like video, as well as the technique of bricolage and collage , the collision of art and kitsch, and the appropriation of earlier styles within a new context. Some movements commonly cited as Postmodern are: Conceptual art , Feminist art , Installation art and Performance art .

Useful Resources on Modern Art

• Modern Art Movements All major modern art movements, as well as a number of related styles and tendencies
• Modern Art Artists Comprehensive guide to the most important modern and contemporary artists
• The Progression of Modern Art This timeline displays the major trends and movements in modern art
• Top Modern Art Works This timeline is a guide to the 50 most important and groundbreaking works of art from the modern era
• The Shock of the New By Robert Hughes
• Art Since 1900 Our Pick By Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh
• Theories of Modern Art: A Source Book by Artists and Critics By Herschel B. Chipp, Peter Selz, Joshua C. Taylor
• Art in Theory, 1900-2000: An Anthology of Changing Ideas Our Pick By Charles Harrison and Dr. Paul J. Wood, eds.
• Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. By Alfred Hamilton Barr, Irving Sandler, Amy Newman
• The Tradition of the New By Harold Rosenberg
• The Theory of the Avant-Garde By Renato Poggioli, Gerald Fitzgerald
• The Meanings of Modern Art By John Russell
• Museum of Modern Art's Library and Archives MoMA's physical and online archives provide among the world's most comprehensive surveys of modern and contemporary art
• The San Francisco Museum of Modern Art Collection The SFMoMA collection features 30,000 works, with interactive educational resources for special topics in modern art
• Modern Art Notes Modern art and Contemporary art blog by Tyler Green
• Uncertainty: Modernity and Art Our Pick Episode from "This is Civilisation" British series
• Great Museums: In Our Time: The Museum of Modern Art Our Pick
• The Contemporary and the Historical Our Pick By Donald Kuspit / Artnet.com
• Modernist Painting By Clement Greenberg
• African Influences in Modern Art By Denise Murrell / Department of Art History and Archaeology, Columbia University
• Art, Philosophy, and the Philosophy of Art By Arthur C. Danto

Related Artists

Related Movements & Topics

Content compiled and written by Justin Wolf

Edited and published by The Art Story Contributors

Modern Art – An Exploration of the 20th-Century Modernist Movement

The Modernism movement within art, arising in the early 20 th century, referred to art that accurately reflected the society in which artists found themselves. After the French industrial revolution, artists demonstrated a great desire to move away from the traditional aspects that previously governed fine art in favor of creating artworks that sought to capture the experiences and values in modern industrial life. Thus, Modern Art existed as a broad movement that incorporated a variety of other “isms” under its title.

Table of Contents

• 1 What Is Modernism?
• 2 An Appropriate Modernism Definition
• 3.1 The Influence of the Industrial Revolution
• 3.2 The Influence of War
• 4 Main Characteristics of Modern Art
• 5 Criticisms of Modern Art
• 6.1 Impressionism (1870s – 1880s)
• 6.2 Fauvism (1905 – 1907)
• 6.3 Expressionism (1905 – 1920)
• 6.4 Cubism (1908 – 1914)
• 6.5 Futurism (1909 – 1944)
• 6.6 Dadaism (1916 – 1924)
• 6.7 Surrealism (1924 – 1950s)
• 6.8 Abstract Expressionism (1940s – 1950s)
• 6.9 Pop Art (1950s – 1960s)
• 7 Modern Art in America
• 8.1 Paul Cézanne (1839 – 1906)
• 8.2 Claude Monet (1840 – 1926)
• 8.3 Georges Seurat (1859 – 1891)
• 8.4 Henri Matisse (1869 – 1954)
• 8.5 Giacomo Balla (1871 – 1958)
• 8.6 Pablo Picasso (1881 – 1973)
• 8.7 Marcel Duchamp (1887 – 1968)
• 8.8 Salvador Dalí (1904 – 1989)
• 8.9 Jackson Pollock (1912 – 1956)
• 8.10 Andy Warhol (1928 – 1987)
• 9 Modernism into Postmodernism

What Is Modernism?

Known as a global movement that existed in society and culture, Modern Art developed at the start of the 20 th century in reaction to the widespread urbanization that appeared after the industrial revolution. Modern Art, also referred to as Modernism, was viewed as both an art and philosophical movement at the time of its emergence. This movement reflected the immense longing of artists to produce new forms of art, philosophy, and social structures that precisely reflected the newly developing world.

Modernism included a variety of different styles, techniques, and media within the broad movement. However, the fundamental principle that was demonstrated in all the artworks of each movement within Modernism was a complete dismissal of history and traditional concepts associated with realism.

Artists began to make use of new images, materials, and techniques to create artworks that they thought better reflected the realities and hopes that existed in rapidly modernizing societies.

Due to the fact that it was not considered a singular and cohesive movement, many different movements developed that fell into the bracket of Modernism. These Modern movements included Post-Impressionism , Fauvism, Cubism, Dadaism, Expressionism, and Futurism, to name a few. The unifying element that existed within these movements was the consistent yearning to break away from the customs of representational art .

A great influence of Modernism was considered to be the Impressionism movement, as artists practicing within this period began to make use of non-naturalistic colors when depicting subjects. Impressionism was wildly unpopular with high society at the time, as it embraced elements that did not fit into the traditional way of making art. Thus, this deviation from the norm was said to pave the way for the beginning of Modernism Art as it embraced the start of abstract tendencies that were still to be explored.

Modernists disregarded old rules relating to color, perspective, and composition in order to create their own visions of how artworks should be constructed. These attitudes were strengthened by the rapid changes that were brought on by the industrial revolution decades before, as well as the start of World War One in 1914. Artists, in reaction to the horror and brutality that was seen in society as a result of war, abandoned intellect for intuition within their artworks and depicted the world exactly as they observed it.

This period of rapid changes characterized modern society at the time, leading artists to constantly update and refine their techniques when making art so as to accurately depict the aspirations and dreams of the modern world that had developed. Modernism was a response to the rapidly changing conditions of life due to the rise of industrialization and the beginning of wartime, with artists looking for new subject matter, working techniques, and materials to better capture this change.

Additionally, the reason for this change in technique was because artists regarded traditional forms of art to be outdated and therefore obsolete within modern society. Artists stated that they felt a growing alienation from the previous Victorian society and searched for new modes of expression that would adequately reflect how they felt within the new world. Modernism was heavily motivated by the different social and political agendas of the time, with artists attempting to reflect these ideal visions of human life and society in their works.

Whilst artists experimented with new techniques to adequately depict modern life, they also attempted to express the emotional and psychological effects of negotiating a world in rapid changes in their artworks. This was an important element in Modern art, with artists like Henri Matisse and Paul Cézanne exploring their subject matters in-depth and in ways that shocked society.

Modernism Art was essentially the creative world’s answer to the rationalist customs and viewpoints of the new lives and ideas that were provided by the technological progressions of industrialization. Artists attempted to represent their experience of modern life in innovative ways irrespective of the artistic genre they were working from. Thus, Modern Art was characterized by artists who rejected traditional styles and values, instead including their own perspective into their works and portrayed their subjects exactly as they existed in the world.

By the 1960s, Modernism had become a leading movement within the art sphere. While some academics have said that the movement continued into the 21 st century, others have stated that it evolved into a late type of Modernism that was termed “Postmodernism.” Despite using the term “modernism” in its name, the Postmodern art movement demonstrated a vast departure from Modernist principles, as it rejected its fundamental assumptions in an effort to produce a new kind of art.

An Appropriate Modernism Definition

Modernism has been interpreted to mean a variety of things, ranging from a manner of thinking to an aesthetic form of self-examination. Additionally, the movement has also been viewed as a broad social, cultural, and political initiative that upheld the principles of impermanence within the newly urbanizing world.

The terms “Modernism” and “Modern Art” were used by art historians and critics when describing the series of art movements that emerged after the Realism period that was dominated by artist Gustav Courbet . Realism occurred just prior to the Industrial Revolution in France and along with Courbet’s distinct style, marked the beginning of an art period that abandoned the romanticism that previously dictated artmaking.

The philosophical characteristics that accompanied the Modernist movement helped to define it as a way of thinking in addition to an art medium . This was demonstrated by the self-consciousness and self-reference that artists included within their artworks. These brazen and unashamed elements were used to refer to their new modern reality, as well as to highlight their straying away from what was previously seen as fine art.

In Western society, Modernism was defined as a socially liberal trend of thought. Modern Art was said to acknowledge the strength of human beings in creating, enhancing, and restructuring their environment through the advancements in technology and scientific knowledge. These changes were demonstrated through the subsequent art movements that developed, which all found their basic principles under the broad term of Modernism.

Poet Ezra Pound’s famous 1934 line, “Make it New”, went on to exist as the benchmark of the Modernism approach, as Pound ordered artists and creatives to produce art out of distinctly innovative materials.

Thus, an appropriate Modernism definition would be artworks that rejected all traditional forms of art in an attempt to include the perspective of artists and the consequences and effects of industrialization in the developing contemporary world.

The Origins of Modern Art

Modern Art was said to begin in 1863 after artist Édouard Manet exhibited his shocking and disrespectful painting, Le Dejeuner sur l’herbe , at the Salon des Refuses in Paris. Despite Manet’s artwork paying respect to a Renaissance artwork by Raphael, its exhibition to society is widely considered to mark the start of the changes that began to occur in art, which led to the emergence of Modernism.

After Manet’s painting, the new generation of artists were tired of following the conventional academic art forms that dominated the 18th and early 19th century. These artists were branded as “modern”, and they started to create a variety of Modernism paintings that were based on new themes, materials, and methods.

Whilst sculpture and architecture were also affected by these new ideas within art, their period of changes occurred at a later stage. Initially, fine art painting appeared to be the first creative sphere that abandoned traditional views in favor of a Modern outlook that acutely reflected society at the time.

In the centuries that preceded the Modern era, many advancements were made in the numerous styles that developed, as shown in movements such as the Renaissance, Baroque, and Rococo periods . The prevailing characteristic that appeared throughout these movements in art was the idealization of the subject matter.

Instead of painting exactly what they saw, artists were known to paint what they imagined to be the epitome of their subject.

The first Modern artist who veered away from these traditional values of art was Gustave Courbet, who sought to establish his own distinct style in the mid-19 th century. Courbet achieved this with his large 1948 – 1850 painting, Burial at Ornans , as he portrayed a funeral of an ordinary man with filthy farmworkers surrounding the open grave. This angered the formal art academy, as only works devoted to classical myths or historical scenes were seen as appropriate subject matter for a painting of this proportion.

Despite being shunned for this artwork, Courbet’s painting went on to be highly influential to the following generations of Modern artists. This idea of rejecting artworks previously reserved for religious and important imagery was embraced by artists when Modernism fully developed, with artists creating immense artworks to depict the lives and struggles of common society as they saw fit.

The Influence of the Industrial Revolution

The onset of the Industrial Revolution in France in the mid-19 th century was seen as a turning point in both the world’s history and the elements of formal art. With the invention and rapid advancement of technology, artists began to abandon a romanticized view of the world in order to accurately depict what they were seeing. This drastic urbanization led to a change in the pace and quality of ordinary life, with artists feeling compelled to represent this change in the works.

Many people began to relocate from rural farms into city centers in order to find work, which transferred the center of life from the country and villages to the growing urban capitals. Artists were drawn to these rapid developments and began to depict the new visual landscapes that emerged in society, as they bustled with a variety of modern wonders and styles that were waiting to be fully explored.

A significant technological advancement that occurred within this time frame was the invention of the camera in 1888 , which began to rapidly progress. As technology began to develop, photography became more and more accessible to the general public. Suddenly, ordinary people were able to create their own portraits simply by taking a photograph, instead of commissioning an artwork to be made.

This development in portraiture presented a threat to traditional artistic modes of portraying a subject, as no existing artforms were able to capture the same degree of detail and depth as a photograph could. Due to the accuracy of photography, artists were forced to find new methods of expression, which led to new ideas and paradigms in the artistic community.

The Influence of War

Whilst modern society believed in the idea of progress and its many benefits, this belief faded when the First World War began. This period of time sparked further outrage that was felt in connection to traditional art, as artists began to question the morality of urbanization if it could lead to something as gruesome as war.

World War One had a destructive impact on Europe and on the minds of every individual that it reached. A noticeable shift in artistic creation happened after the war, as societies began to distance themselves from its aftermath. Cities began to quickly expand, which led artists, writers, and philosophers to begin adopting views and beliefs that differed from those that existed prior to the war.

Some artists turned towards notions of beauty, order, and harmony within their modern works as a way to offset the disorder, separation, and ugliness that was left from the war. Others began to represent the individuals as hollow and ghostlike within their artworks, in an attempt to refer to the destruction that the war had caused. This was very noticeable in the artworks that formed part of the German Expressionist movement during World War One.

However, some artists viewed this fragmentation and deformity of figures in the art to be cruel, as society had already suffered so much death and pain when soldiers returned home.

Some artists believed that returning to prewar Cubism and Expression was impossible, and so instead looked ahead for a new form of expression that would appropriately capture their current time whilst not coming across as brutal.

Main Characteristics of Modern Art

Lasting for almost an entire century, Modern Art involved multiple different art movements that all incorporated a variety of different elements and techniques. Modernism embraced everything in its subsequent movements, including pure abstraction, hyperrealism, and anti-art styles to name a few. Due to the movement’s great diversity, it is difficult to consider any unifying characteristics which can be used to define this era.

However, one thing that can be said about Modernism Art that managed to separate it from prior movements, as well as the Postmodern movement which followed it, was that artists truly believed that their art was important and held real value. This differed from their predecessors who simply assumed that their work was valuable if it incorporated traditional elements, purely because the art academies told them so.

Despite there being no singular defining characteristic of Modern Art, it incorporated various important characteristics over a few of the movements. The first characteristic was that most Modern Art movements attempted to create a new type of art, through using styles such as collage art, assemblage, animation, photography, land art , and performance art.

The second characteristic was that most modern painters attempted to make use of new materials when creating art, such as attaching fragments of newspapers and other items to canvases. A good example of this is artist Marcel Duchamp, who popularized the use of readymade objects through his iconic artworks which he essentially created out of trash. By using a variety of new materials, a type of assemblage art was created, which allowed some artists to combine a variety of different and ordinary materials in one singular work.

The third characteristic that most Modernists incorporated into their work was a vivid use of color. The movements that made use of this technique the most were Fauvism and Expressionism, as artists practicing within these genres tended to exploit color in a variety of ways so as to emphasize the emotions they were attempting to convey.

Lastly, the fourth characteristic that was used within these Modernism movements was the invention of new techniques. Examples of this include automatic drawing and frottage that were invented by Surrealist artists , and benday dots and silkscreen painting that were introduced by Pop artists and brought into formal art.

Criticisms of Modern Art

Like every other artistic period, Modern Art had its fair share of criticisms. Due to the fact that Modernism disregarded conventional elements of art and placed emphasis on freedom of expression, experimentation, and radicalism, it was met with complete disbelief and outrage from audiences. Modernism also managed to alienate certain audiences through its eccentric and unpredictable effects, such as the disturbing motifs that were included in Surrealist artworks.

A major criticizer of the Modern Art era was the Nazi government in Germany, who deemed the artworks that fell into the bracket of Modernism as narcissistic and nonsensical. The Nazis went so far as to label Modern Art as “degenerate art”, and had some works belonging to the German Expressionism movement destroyed.

Most Important Movements Within Modernism

As Modernism was merely an umbrella term for a variety of different movements that came into existence after the Industrial Revolution and in the early 20 th century, it is easy to wonder: what is Modernism? Essentially, Modernism was a period in which many movements existed. What made these movements similar was the unifying characteristic that rejected all traditional forms of art, which made them each modern within their own sense.

Impressionism (1870s – 1880s)

Seen as an important precursor to the Modernist movement, Impressionism made famous the use of non-naturalist colors in the artworks that were created. The importance of Impressionism was demonstrated by artist Claude Monet , whose landscape works focused on capturing transient moments of light and color in excruciating detail.

This attention to detail was also seen when artists chose the colors within their artworks, as these vivid and shocking colors were said to emphasize the emotions that they felt. Additionally, Impressionists made use of loose and highly textured brushstrokes that made the painting unrecognizable if viewed from up close. These specific techniques made Impressionism very disliked in the conventional art spheres, as the works created did not conform to the traditional elements of art.

This led to Impressionism being seen as an important influence of Modernism, as it was one of the initial movements to reject the realism associated with traditional art through the color palette and brush strokes used. Impressionism went on to validate the use of unrealistic colors in artworks, which went on to pave the way for the emergence of abstract art . This continued to be upheld as an important characteristic in the Modern Art movements that developed.

Fauvism (1905 – 1907)

Led by Henri Matisse, Fauvism was an incredibly short-lived movement that existed during the mid-1900s in Paris. Despite its lifespan, it was an incredibly dynamic and influential movement and was seen as a very fashionable and modern style during its time.

Fauvism is known for launching at the Salon d’Automne , with the movement becoming instantly renowned for its intense, loud, and non-naturalistic colors that were used in the artworks created. This excessive use of color made the previous movement of Impression seem monochromatic in its palette choice, with the use of colors being extremely exaggerated in Fauvism.

The major contribution of Fauvism to the Modern Art movement was its demonstration of the power of color. Fauvism showcased the independent strength that colors possessed, which turned artworks into a force to be reckoned with when various colors were combined. Additionally, Fauvism was seen as a highly subjective movement, existing as a strong contender to the previous classical artistic style that was used.

Expressionism (1905 – 1920)

Despite being predicted in the artworks by artists such as Paul Gauguin and Vincent Van Gogh, the Expressionist movement only truly came into being in pre-war Germany. Two groups within Expressionism emerged named Die Brücke and Der Blaue Reiter , which went on to define this movement as one that belonged within Modern Art.

Existing before and after World War One, Expressionism was said to be heavily based on the brutalities that occurred. The Expressionist movement used the horror associated with the war as its main subject and created works that accurately echoed the devastation and consequences felt in society after it ended.

Die Brücke , translated to “the bridge”, was formed in Dresden in 1905 and existed as one of the integral groups within Expressionism. Founded by artist Ernst Ludwig Kirchner , Die Brücke made use of figural distortions, a primal straightforwardness of rendering, and expressive use of color in its artworks.

The second essential group within the Expressionist movement was Der Blaue Reider . Known as “the Blue Rider”, this group was founded by Wassily Kandinsky in Munich in 1911 and centered around the potential of pure abstraction within the art that was created. Kandinsky also argued that abstraction offered completeness that mere representation did not.

The importance of Expressionism within Modernism was that the movement popularized the idea of subjectivity in painting. Additionally, the vivid color palette used in Expressionist artworks existed as a fundamental characteristic within other Modern Art movements.

Cubism (1908 – 1914)

Developed by artists Pablo Picasso and Georges Braque, Cubism existed as quite a harsh and challenging style of painting. This art form differed greatly from previous movements that were inspired by the techniques of linear perspective and softly curved volumes made famous in the Renaissance. Instead, Cubism made use of a compositional arrangement of flat and shattered planes that were combined to make up a painting.

Cubism was developed into two versions, namely Analytical Cubism and Synthetic Cubism. Analytical Cubism, which existed from 1910 to 1012, examined the use of basic shapes and overlapping surfaces to portray the individual forms of the subjects in a painting. Synthetic Cubism appeared after and ran from 1912 to 1914. This style emphasized on including characteristics such as simple shapes and bright colors that held hardly any depth in the artworks that were created.

Despite its influence over abstract art, the appeal surrounding Cubism was extremely limited. However, an important contribution of the Cubism movement within Modern Art was that it offered an entirely new alternative to standard perspective due to its creation of the flat picture plane.

Futurism (1909 – 1944)

The Futurist movement, founded by Italian art theorist and poet Filippo Tommaso Marinetti, was an art form that celebrated technology, speed, inventions such as the automobile and the airplane, and scientific achievement.

This movement saw all of these avenues of development as worthy of praise and believed that they were responsible for the advancement of modern society. Futurism captured the dynamism and energy that existed in the modern world and proposed the creation of art that celebrated modernity and the development of technology in all its forms.

Existing as a heavily influential movement, it borrowed elements from other eras such as Neo-Impressionism, Italian Divisionism, and Cubism. This was demonstrated through the splintered forms and numerous viewpoints that were typical of some Futurist artworks.

Futurism was at its most influential stage between 1909 and 1914, as World War One brought the first wave of Futurism to a close. This led artists to turn to different styles that incorporated elements of modernity. However, after the war had ended, Marinetti revived the movement and continued to develop into what was called second-generation Futurism. Thus, Futurism was seen as a significant Modern Art movement as it introduced the element of movement into art and linked the concept of beauty to scientific achievement.

Dadaism (1916 – 1924)

Seen as the first anti-art movement to be established, Dada was an art practice that rebelled against the system which had allowed the atrocity of World War One to take place. Dadaism began at the Cabaret Voltaire in Switzerland and was led by a group of artists who had relocated to the neutral country during the outbreak of the war.

The boisterous, facetious, and iconoclastic performances that were created were intended to lay heavy criticism on the bourgeois society and the economic forces that the Dadaists blamed for the onset of war. Dadaism quickly became a revolutionary movement as its main aim was to undermine the art establishment in an attempt to point out the futility in order and tradition as it led to war.

Using performance art that could not be commodified, the Dada movement advocated for the eradication of the commercial art institution along with its traditional concepts and reasons. Dada artists embraced the notions of irrationality and originality within their works, as demonstrated by artists such as Jean Arp, Hugo Ball, and Marcel Duchamp.

Existing as the most notable artist within the Dada movement was Duchamp, whose infamous 1917 Fountain caused enormous controversy due to him merely making use of an ordinary urinal in his artwork and submitting it for exhibition. Duchamp also introduced the idea of the “ready-mades” into art, which was the use of everyday items in place of traditional artistic elements.

Dadaism existed as an important movement in Modern Art, as it managed to disrupt the traditional art academy through its anarchistic tendencies. Dadaism brought great creativity and critique into modern society, as demonstrated through its embrace of junk items as art, which forced audiences to consider what intellect within art and society truly meant.

Surrealism (1924 – 1950s)

Existing right after the Dadaism movement and still maintaining its seditious humor, Surrealism was established in Paris by writer Andre Breton. Surrealism was seen as the last significant avant-garde movement that existed in the interwar period, as it began to fade out with the onset of World War Two.

Evolving out of the nihilistic Dada movement, Surrealism rejected the notions of order and beauty within its artworks, yet it was not viewed as anti-art or heavily political. Surrealism was built on a preference for the irrational and created artworks that used dreams, hallucination, and random and automatic image generation. This was done to evade rational thought processes in the creation of art, in addition to demonstrating the absurdity that existed in the intellectual minds of society.

Surrealist artists avoided any notion of rationality within their works. Instead, artists leaned towards psychological concepts about the unconscious mind that was primarily introduced by neurologist Sigmund Freud, who believed that this was where the base of artistic creativity lay. Thus, Surrealism attempting to connect with the unconscious mind through interpreting dreams and using automatism within the artworks created.

The main contribution of Surrealism to Modernism was its ability to generate a refreshing set of new artworks that were constructed out of one’s subconscious mind. Surrealism was able to introduce a period of imagination and fun into the interwar years within Modern Art.

Abstract Expressionism (1940s – 1950s)

Developed in New York City after the ending of World War Two, Abstract Expressionism was established by a group of vaguely associated artists who sought to create a stylistically varied body of work. Abstract Expressionism, also known as the New York School, introduced extreme new directions in art and relocated the art world’s attention to focus on Abstract Modernist art.

Abstract Expressionism, which was strongly influenced by European artists living in America, consisted of two main styles. The first was an extremely energetic form of gestural painting that was introduced by Jackson Pollock, and the second was a more passive mood-directed style known as Color Field painting made famous by Mark Rothko .

Abstract Expressionism aimed to create art that, while still abstract in nature, was able to evoke great expression and emotion as an effect. This was inspired by the previous movement of Surrealism, as Abstract Expressionists also subscribed to the notion that art should develop from the unconscious mind. The influence of Abstract Expressionism within Modernism was its ability to popularize abstraction, in addition to inventing a new style called “action painting”, as demonstrated by Pollock’s drip paintings.

Pop Art (1950s – 1960s)

The last influential movement said to exist within Modern Art was Pop Art. Initially emerging in America and England in the late 1950s, Pop Art reflected the popular culture and mass consumerism that existed in America in the early 1960s. Pop Art existed as a dominant form of avant-garde art due to its brazen and easy-to-recognize imagery, its use of vivid block colors, and the inclusion of famous icons.

Andy Warhol was an exemplary figure of the Pop Art movement, as his use of famous icons and popular celebrities in his artworks made his work incredibly well-known. Pop Art also branched into the creation of posters, advertisements, comic strips, and product packaging, to demonstrate the flexibility of art within the new consumer-driven society. Additionally, these materials helped to reduce the separation that existed between commercial art and fine art.

Essentially, Pop Art celebrated the consumerism of the post-World War Two period. The movement rejected Abstract Expressionism in an effort to praise and subsequently glorify advertising, the material consumer culture, and the image representation of the mass production era. Thus, the main contribution of Pop Art within Modern Art was its demonstration that any art deemed worthy could be unsophisticated and mass-marketed, in addition to being constructed out of mere commodities.

Modern Art in America

Due to the expansiveness of Modern Art, it is not easy to integrate the various movements of America and Europe into a chronological timeline. A multitude of historical and sociocultural factors exist for both American and European Modernism, which makes combining the two variations of Modern Art very challenging.

Modern Art took slightly longer to ground itself in America among its artists, critics, and the public. Prior to the development of Modernism, there was a variety of other American movements that had started to embrace elements of modernity in the artworks created.

The event that acted as the true catalyst for the growth of Modernism within America was the 1913 Armory Show, which was exhibited in New York. Nearly 1300 artworks created by 300 artists were displayed, with two-thirds of these artists being American. The style within these works included Ashcan, French Impressionist, Cubist, and Fauvist , which gave fellow artists, collectors, critics, and the public a glimpse into the future of Modern Art.

Modernist ideas began to grow within the minds of American artists , which were encouraged in the upcoming years by refugee artists who fled Europe at the onset of World War One. Additionally, the influx of artists who left Nazi-occupied Europe in the run-up to World War Two also brought new techniques and philosophies, which greatly inspired American artists and helped spur the development of Modern Art.

The introduction of Abstract Expressionism was also seen as a major turning point in American Modernism, as artists were largely influenced by the number of European avant-garde artists who had settled in America. Due to the country’s economic advantage that emerged after the end of World War Two, New York replaced Paris as the unofficial capital of Western art. This was thought to lead to the eventual appearance of Modern Art as a full-blown movement within America.

Notable Modern Artists and Their Well-Known Artworks

Throughout the expansive period of Modern Art, many different artistic movements embraced the rejection of traditionalism and the introduction of modernity within the Modernism paintings created. Listed below are some of the more notable artists and their artworks to come out of the Modernism era.

Paul Cézanne (1839 – 1906)

A significant artist existing in the Impressionist and Post-Impressionist period was Paul Cézanne, whose artworks have been considered as important precursors to the development of Modern Art. Completed in the year that Cézanne passed away, The Large Bathers was painted from 1898 to 1906 and existed as one of the finest examples of Cézanne’s investigation of the theme of the modern and courageous nude within a natural setting.

Cézanne created a series of these bathing nudes, with The Large Bathers existing as both his last and his largest composition in the series. Within this work, Cézanne depicted the female nudes in numerous effortless positions, with the ease that he created his composition being likened to him arranging objects in a still life. The archway formed by the overlapping trees and sky helped to ground the figures in the middle of the painting, in addition to turning them into the focal point through drawing the eyes of the viewer inwards.

When painting The Large Bathers , Cézanne attempted to create an artwork that would be viewed as timeless. He achieved this through his deviation from the Impressionist themes of light and natural effect and instead composed the scene as a series where his emphasis fell on the carefully constructed figures. Cézanne was more interested in the way his forms were able to occupy space as opposed to depicting his visual observations as realistically as possible.

This artwork was seen as a significant predecessor in the development of Cubism, as its disruption of illusionism and growing abstraction were elements that were later adopted in the Cubist movement. The brushstrokes within this painting were obvious, which gave Cézanne’s work an incomplete quality. Additionally, he boldly left traces of his working patterns on his paintings, with his colors blending into each other at certain points.

Despite its seemingly unrefined state, The Large Bathers is still seen as a masterpiece of Modern Art due to the characteristics it introduced to the art world. Cézanne’s work was praised for its use of vivid yet cool colors which swirled around the canvas, with the commanding nature of his colors later going on to be an important characteristic within Modern Art.

Claude Monet (1840 – 1926)

Another influential artist within the Impressionism period was Claude Monet. Impressionism was generally thought to be the first fully Modern movement to exist, with some of its characteristics influencing the later movements in the Modernism period. Within his landscape artworks, Monet placed focus on light and atmosphere, which existed as key characteristics of the Impressionism movement. In his 1873 painting, titled Impression, Sunrise , Monet demonstrated his focus on the same elements.

Impression, Sunrise is seen as Monet’s pioneering Modernism artwork. A misty sunrise over a French harbor is depicted, along with a very blurred background. The orange and yellow tones chosen by Monet contrast vividly with the darker ships, with little to no detail being visible to viewers at all.

Monet’s loose style of painting and use of abstraction evoked what he felt and experienced when painting the scene at the harbor, which was a very uncommon approach for a painter at that time. Additionally, the title of his work conveyed the ephemeral nature of his painting, as it was based purely on what Monet observed at the time of the sunrise.

This painting was very unusual of Monet’s own work during this time and of the Impressionist movement in general, as little to no Impressionist methods of light and color were shown. The colors chosen were incredibly restrained and at certain places, Monet left pieces of the canvas entirely visible.

Monet’s work was considered to be extremely atmospheric and subjective as opposed to analytical, which would go on to be an important characteristic of Modern Art. Monet kept details to a bare minimum within Impression, Sunrise , with the painting making use of a fleeting and near-abstract technique. Due to this, the style of his painting drew more attention than the actual composition itself, which outraged viewers at the time. Audiences even claimed that they were unable to identify what they were viewing at all.

Due to the techniques employed by Monet within Impression, Sunrise , this work is viewed as an important precursor to Modernism, as it made use of a variety of styles that would go on to later inform other Modern movements.

Georges Seurat (1859 – 1891)

An important Neo-Impressionist French artist was Georges Seurat, who’s paintings seemed to supersede his own reputation. Seurat altered the direction of Modern Art through his introduction of the Neo-Impressionism movement , which emerged at a time in modern France where painters were searching for new methods to explore. Existing as the best-known and largest painting done by Seurat is his 1884 to 1886 masterpiece, titled Sunday Afternoon on the Island of La Grande Jatte , which was an important Neo-Impressionist work.

Seurat’s artwork depicts relaxed individuals in a park on an island in the Seine River known as “La Grande Jatte”, which was a popular place for middle- and upper-class Parisians in the 19 th century. What makes this painting so remarkable is that its theme captured something as boring and ordinary as a normal Sunday afternoon, yet it still carried an air of mystery.

At first glance, this work appears to be a painting of ordinary people relaxing in the park. However, upon closer inspection, truly peculiar images come to light. For example, the lady carrying the parasol on the right appears to be walking a monkey on a leash, and the little girl wearing the white dress that is placed in the center of the painting is the only figure who is depicted without a shadow.

Additionally, Seurat’s bizarre artwork introduced a new style of painting called Pointillism , with this technique still being known by this name today. This painting technique was highly systematic and near scientific in its development but was relatively easy for other artists to copy. Seurat started with a layer of small horizontal brushstrokes of complementary colors , upon which he later added small dots that appeared solid and radiant from afar.

This was done to prove his theory that painting in dots was able to create a brighter color than painting in strokes, as the viewer’s eye would be able to optically blend the colors from a distance. This led to a radical turning point within the Modern Art era, as artists were presented with an alternative way to define forms within their artworks as opposed to making use of the worn-out traditional methods.

Henri Matisse (1869 – 1954)

Existing as an important artist within the Fauvism movement was Henri Matisse , who was well-known for his expressive use of color and his fluid and original drawing techniques. Matisse is commonly regarded as an artist who helped define the groundbreaking developments within visual arts, with some of his paintings existing as important works in early Modernism.

One such work is his painting, titled Le Bonheur de Vivre (The Joy of Life) , which he painted from 1905 to 1906. Within this work, Matisse depicted the figures of blue-green and pink nudes dancing, singing, and frolicking in what seemed to be an unblemished and multicolored version of Eden.

Through overemphasizing and simplifying his figures at odd angles, Matisse was able to emphasize the canvas as a mere two-dimensional support for the harmonious contrast of color as opposed to any sort of precise depiction of nature.

Matisse separated color from reasoning within his artwork, as he used these bright tones as an expressive medium that was not intended to make any visual sense.  It was thought that this technique was used to introduce the concept of Primitivism into 20 th century Modernism, with artists like Matisse choosing to paint naïve and simple artworks in an era dominated by rapid industrialization and modernization. Additionally, Matisse’s work implied a lot about the new territory of Modernism that was emerging.

Giacomo Balla (1871 – 1958)

Futurist artist Giacomo Balla produced some incredibly well-known artworks within Modern Art. As a key proponent of Futurism, Balla skillfully depicted light, movement, and speed in his artworks. What set him aside from other Futurists was that his focus on movement did not relate to that produced by a machine, which led his artworks to be quite playful and witty in nature.

Balla’s most notable work, as well as the most well-known work of the Futurist movement, was his 1912 painting, titled Dynamism of a Dog on a Leash . Within this work, Balla combined the idea of art and science, which was influenced by his fascination with chronophotographic studies of animals in motion. Chronophotography existed as a technique whereby several photos were taken in quick succession to capture the movement of a subject.

The artwork depicts a black dachshund walking alongside a woman wearing dark shoes and a dress, which added to the monochrome feeling of the painting. Both the feet of the figure and the dog are shown to be in speedy motion, as signified by their slight blurring and the multiplication of their parts, as well as the numerous depictions of the dog lead.

A striking feature of this artwork is the quiet sincerity that is implied by the skittering dog. Thus, while the painting’s title expressed the lively movement as seen by the motion of the dog, the peaceful honesty present in the work contradicts this.

To reinforce the perception of speed, Balla painted the ground using diagonal lines and positioned his signature and the date at a lively angle. This work made use of characteristics that were significant within Modernism, such as the fascination with speed and technology, which were later referred to in other modern movements.

Pablo Picasso (1881 – 1973)

An important artist working within the Cubism movement was Spanish artist Pablo Picasso. His artworks have been categorized into different periods, such as his Blue Period and his Rose Period, which allowed Picasso to experiment with a variety of styles. These include both Analytic and Synthetic Cubism, as well as making use of some elements of Neoclassicism and Surrealism in his later works.

Out of all his Cubist works, his 1907 painting titled Les Demoiselles d’Avignon remains one of his most notable works. Considered to be the artwork that essentially launched the Cubism movement, Picasso’s work was met with substantial controversy for its portrayal of a brothel scene and for the rough, prominent, and abstract forms he used to represent the women.

When painting Les Demoiselles d’Avignon , Picasso accumulated inspiration from various sources, such as African tribal art , Expressionism, and the Post-Impressionist artworks of Paul Cézanne. These sources are noticeable within Picasso’s work, as demonstrated by several of the women whose faces seemed to be modeled on African masks, as well as the sculptural deconstruction of space that originated from the works of Cézanne.

The multiplicity of the styles used within this painting clearly represented a turning point in Picasso’s career, as well as managing to separate his version of Modern Art from the Western artistic tradition. Thus, the integration of these diverse sources within a single painting demonstrated the new approach to art-making that artists had adopted. This also conveyed how the perspective of artists had expanded with the steady rise of the Modernist movement.

Marcel Duchamp (1887 – 1968)

Commonly regarded as one of the most influential artists who helped define the innovative developments in the plastic arts at the start of the 20 th century is Marcel Duchamp . Additionally, Duchamp is also commonly recognized as the face of the Dada movement, in which he exists as one of its most notable contributors.

Duchamp’s invention of the “readymade”, in which he made use of common items and claimed them to be artworks, rattled the traditional and formal art academies. In using ordinary items, that were sometimes even considered to be junk, Duchamp managed to separate the items from their utilitarian purpose in order to present them as new forms of art. Thus, Duchamp helped to reformulate what made essentially made up a work of art within the modern era.

His most well-known work, created in 1917, remains Fountain . Within this readymade sculpture, Duchamp made use of a store-bought urinal which he signed with the pseudonym “R. Mutt”, before submitting the work to the Society of Independent Artists in New York for exhibition. Fountain caused enormous controversy upon being submitted with the society ultimately rejecting Duchamp’s sculpture, which caused a great uproar in the artistic community at that time.

Duchamp, along with his sculpture, demonstrated that an extraordinary work of art no longer required the act of creation, as an artist simply needed to label the work as art in order for it to be deemed as such. This thought quickly spanned across Europe and the rest of the world, influencing the art-making techniques that existed. Thus, this Dada sculpture is regarded as a major avant-garde landmark in 20 th century Modern Art.

Salvador Dalí (1904 – 1989)

Spanish artist Salvador Dalí was an important figure within the Surrealism movement and was celebrated for his technical skills, drawing ability, and the remarkable yet peculiar images in his work. Existing as an incredibly well-known work of art is his 1931 painting, titled The Persistence of Memory .

This painting depicts an otherworldly landscape in a very organic manner, where time was portrayed as a series of melting watches that were surrounded by crawling ants. The idea of decay as a natural process held great fascination for Dalí, with this concept often coming up throughout history with critics attempting to understand the meaning behind his work.

However, when asked about the meaning of his work, Dalí continuously stated that he did not know the meaning. Additionally, he refused to associate his depictions of clocks with any tangible concepts, simply referring to them only as the “camembert of time.”

Through creating haunting dreamscapes in his Modernism paintings, Dalí succeeded in portraying images of solid absurdity. Dalí developed a technique called a paranoiac-critical method, in which he would self-induce a hypnotic state. He believed that this would allow him to break free of reality as the visions for his paintings would only appear to him in this unrestricted state of mind. Thus, in The Persistence of Memory , a metaphorically empty space is created out of Dalí’s subconscious mind, where time truly had no power.

Dalí’s obsession with dream imagery and metaphor would go on to firmly cement his place in the Surrealism movement of the early 20 th century. Additionally, the unrestrained and seemingly wild thoughts that he translated into his paintings referred to the increasing artistic freedom and experimentation that had developed in Modernism.

Jackson Pollock (1912 – 1956)

The Abstract Expressionism movement developed in New York City as a post-war movement in the 1940s, with Jackson Pollock going on to become one of the movement’s most notable artists. In addition to defining the concept of Action Painting, Pollock developed his “drip” style of painting, which led to him being seen as one of the influential driving forces behind Abstract Modernist art.

Drip painting involved Pollock setting up his canvases horizontally on the ground and then, with a paintbrush or paint jar, walking all around them and letting paint fall wherever he desired. This style within his Modernism paintings allowed Pollock to uncover a new abstract, visual language from his unconscious that moved beyond the techniques associated with Surrealism.

An important drip painting of his, created in 1950, is Autumn Rhythm (Number 30) . At this period of time, Pollock was at the peak of his career and created this nonrepresentational painting out of an unstretched canvas and thinned paint. With his canvas flat on the floor, Pollock dripped, dribbled, scumbled, poured, flicked, and splattered the paint onto the canvas. He then made use of sticks and knives to strengthen and intensify the thick and lyrical composition, which included intricate labyrinths of line.

Within Autumn Rhythm (Number 30) , there is no main point to focus on and no ranking of elements, which allowed Pollock to create a composition where every bit of the surface was regarded as equal. At certain places, Pollock’s work evoked elements of both Impressionism and Surrealism. Pollock’s work was an important contribution to Modern Art, as it demonstrated the complete freedom and lack of formality that artists were experimenting with.

Andy Warhol (1928 – 1987)

Lastly, a notable Pop Artist within the Modern Art era was Andy Warhol. Creating artworks that made use of commercial reproduction, Warhol upheld the Modernist art notion that celebrated the development of technology and the use of machinery. An iconic artwork, that falls within both the Modernism and Postmodernism era, is his 1962 silkscreen, titled Marilyn Diptych .

Within this work, Warhol mass-produced a well-known image of Marilyn Monroe using the silkscreen method and repeated the image of her face 50 times in both color and black and white. At first glance, the sheer amount of Monroe’s face encourages a form of worship to the legendary icon. However, Warhol merely selected this image due to its prominence in popular culture at the time and went on to immortalize it as art.

Marilyn Diptych , along with Warhol’s other artworks, embraced the notion of Modernism through their continuous reference to consumerism and commodification. Additionally, the advancement of technology is demonstrated through the method of production chosen, with Warhol demonstrating the influence that pop culture held over society at the time.

Modernism into Postmodernism

While some art historians believe that Modernist art principles have lived on into the current 21 st century, others have stated that they evolved into a movement now known as Postmodernism. This movement was said to symbolize an intentional departure from the Modernist values that had previously guided artistic creation and involved a wider range of approaches in art such as visual art, literature, design, and other avenues.

Although existing as a new form of art at the time, Modernism eventually went on to be seen in all the institutions against which it initially rebelled. This led to the development of Postmodernism, which sought to break the established rules about style and worked to introduce even more freedom into the creation of art.

Postmodernism was defined by attitudes of incredulity and irony, as it blatantly dismissed the idea that art or life had any intrinsic value. Postmodernism began to emerge in the 1980s and 1990s and criticized concepts such as reality, human nature, rationale, science, morality, and social progress.

Artists within Postmodernism began to experiment with digital, conceptual, and performance art, among other styles. Postmodernism aimed to surpass the limits set by Modernism and went on to pick apart Modern Art’s grand narrative so as to investigate cultural codes, politics, and social ideology in their immediate context.

It was this engagement with notions of the surrounding world that differentiated Postmodern Art from Modern Art, as well as appointing Postmodernism as a unique factor within the developing Contemporary Art . Postmodernism went on to explore several movements, including Conceptual Art , Feminist Art, Installation Art, and Performance Art.

Modernism was a period of art that encapsulated a variety of different art movements under the same title. Modernists attempted to reflect society exactly as they perceived it and made use of various styles that could adequately capture their thoughts and feelings. Thus, Modern Art existed as a period of great experimentation and rebellion, as the traditional aspects previously dictating artistic creation were rejected in favor of the techniques emerging from the rapidly developing industrialized world.

Take a look at our Modernism Art webstory here!

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, “Modern Art – An Exploration of the 20th-Century Modernist Movement.” Art in Context. April 28, 2021. URL: https://artincontext.org/modern-art/

Meyer, I. (2021, 28 April). Modern Art – An Exploration of the 20th-Century Modernist Movement. Art in Context. https://artincontext.org/modern-art/

Meyer, Isabella. “Modern Art – An Exploration of the 20th-Century Modernist Movement.” Art in Context , April 28, 2021. https://artincontext.org/modern-art/ .

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The Most Famous Artists and Artworks

Discover the most famous artists, paintings, sculptors…in all of history! 

MOST FAMOUS ARTISTS AND ARTWORKS

Discover the most famous artists, paintings, sculptors!

What is Modern Art — Definition, History and Examples

• Art Styles Explained
• Art History Timeline
• Renaissance
• Neoclassicism
• Naturalism vs Realism
• Romanticism
• Art Nouveau
• Kinetic Art
• Post Impressionism
• Primitivism
• Abstract Expressionism
• Avant Garde
• Conceptual Art
• Constructivism Art
• Expressionism
• Harlem Renaissance
• Magical Realism
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D o you ever look at a painting in a modern art museum and wonder “what am I looking at?” We’ve all experienced that moment when we want to know more about the unusual artwork we’re seeing.  Modern artwork is mysterious and thought-provoking, making it an exciting form of expression for artists around the world. But what is modern art exactly, where did it come from, and why do so many people love it? In this blog post, we’ll explore these questions to help you understand the nature of modern art better.

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What is Modern Art Movement?

First, let’s define modern art.

The concept of modern art can seem elusive at first. Before we dive into its history and important artists, let’s look at the modern art definition.

MODERN ART DEFINITION

What is modern art.

Modern art is an art movement that emerged in the late 19th and early 20th centuries. It was characterized by a shift away from traditional styles to a more abstract, experimental approach to creating works of art. Major modern art movements include Impressionism, Expressionism, Cubism, Fauvism, Dadaism and Surrealism. Influential modernist artists include Pablo Picasso, Wassily Kandinsky, Salvador Dalí and Marcel Duchamp. Modern artwork has had a lasting impact on the development of visual culture and continues to influence contemporary art today.

Characteristics of Modern Art:

• Use of vibrant colors and bold brushstrokes
• Abstract, expressive forms and shapes
• Exploration of new concepts such as movement, time, and space
• Rejection of mainstream values and traditional techniques

This article is part of our ongoing series on Art Styles . You can also refer to our Art History Timeline post to help place this movement in context.

What is Modern Art Influenced By?

History of modern art.

Now that we’ve covered the modern art definition it’s important to clarify that the history of modern artwork is a complex and ever-evolving narrative. It began in the late 19th century as a revolt against academic artistic conventions, which championed realism and classicism. 

Led by pioneering artists such as Claude Monet, Paul Cezanne, Vincent van Gogh, and Henri Matisse, and Pablo Picasso. This movement sought to eliminate traditional rules around painting in favor of more experimental approaches to art-making. 

What is modern art and where did it begin? For some great insight on how art evolved into modern art and how and why artists began pushing the limits of the form, check out this video by Nerdwriter1. 

How Art Arrived At Jackson Pollock

To reiterate the video above, artists like Monet and Van Gogh influenced the push toward abstraction and away from realism. These works led to an influx of abstract styles such as Cubism, Fauvism, and Surrealism which had lasting effects on visual culture. 

For example, Cubism was one of the first modern art movements, emerging in the early 20th century. It was a radical departure from traditional painting techniques, with its emphasis on abstract compositions and geometric forms. 

Les Femmes d'Alger (Version "O"), 1955 by Pablo Picasso

Artists such as Pablo Picasso and Georges Braque painted with this technique, seeking to blur distinctions between objects and represent them in a new way, challenging conventional understanding of visual representation. This desire was at the core of modern art.

Today modern art continues to influence contemporary art across all mediums from painting, sculpture and installation through to digital media and performance art.

While each movement has its own distinguishing characteristics and qualities, there is a thread that flows through each modern art movement. Its practitioners sought to push the boundaries of traditional art-making techniques and explore new ways of expressing feelings and ideas through visual media. Let’s take a deeper dive into some of the most important modern art movements in art history and some examples of modern art from each. 

Types of Modern Art

Impressionism.

Impressionism was an art movement that began in France in the late 19th century. It is characterized by its focus on capturing the effects of light and atmosphere, and emphasizes accurate depictions of specific times of day and season. Artists employed brilliant colours, thick brush strokes, high chroma, and vivid light-dark contrasts to create their works. 

Water lilies (1916-1919) by Claude Monet  •  Examples of modern art

Impressionists reacted against traditional academic painting styles and sought to capture fleeting moments or impressions of reality. Famous impressionists such as Claude Monet, Pierre-Auguste Renoir, and Alfred Sisley are renowned for their unique vision and approach to painting.

Modern Art Movements

Cubism is an avant-garde art movement that emerged in the early twentieth century. Pioneered by Pablo Picasso and Georges Braque, it sought to challenge traditional notions of perspective and representation by abstracting forms and reducing them to their most basic shapes. 

 "La Roche-Guyon" (1909) by Georges Braque 

Cubism broke down objects into interlocking planes, creating a fragmented view of reality that challenged viewers to see things differently. Today, cubist works continue to inspire creators to experiment with visual expression in unorthodox ways.

Types of Modern Art Movements

Fauvism is a style of painting that emerged in early twentieth century France. Characterized by bright, expressive colours and simplified forms, it was pioneered by Henri Matisse and André Derain.

André Derain's 'The Turning Road, L'Estaque (1906)

Fauvist works often use shock and contrast to capture the emotional intensity of a subject, emphasizing vivid hues over realism. By focusing on intense colour combinations, Fauve artists conveyed their own unique perspectives on the world around them.

Related Posts

• A Guide to Western Art Movements →
• What is Avant Garde Art Movement?  →
• What is Contemporary Art — Definition & Examples →

Modern Art History

Surrealism is an art movement that emerged in the early twentieth century, characterized by dreamlike imagery and fantastical scenes. It was pioneered by artists such as Salvador Dalí, Max Ernst and Joan Miró, and draws heavily on Freudian psychoanalytic theory. 

Roots (1943) by Frida Kahlo  •  Examples of modern art

By combining subject matter from everyday life with elements of fantasy, surrealist works create a unique visual space where the subconscious comes to life. Surrealism continues to inspire creators to explore the depths of their imagination and represent them through conscious expression.

Types of Modern Art movements

Abstract Expressionism is a style of painting that emerged in post-World War II America. Pioneered by artists such as Jackson Pollock, Mark Rothko and Willem de Kooning, this movement emphasized the artist's emotional and psychological state over representational representation. 

No. 14, 1960 by Mark Rothko

By combining colour, line and form, Abstract Expressionist works explore the depths of human experience through abstract aesthetic techniques. Through its dynamic brushstrokes and symbolic forms, Abstract Expressionism strives to capture the innermost emotions of the painter.

What is Modern Art Pop Art?

Pop Art is a visual art movement that originated in the 1950s and gained massive popularity during the 1960s. It combines elements of popular culture, such as advertisements, comic books, and everyday objects, with abstract art techniques to create a unique aesthetic. 

Pop Art celebrates kitsch and popular culture, challenging traditional artistic conventions and subverting hierarchies of taste. Artists such as Andy Warhol and Roy Lichtenstein are considered to be primary figures of the movement who pushed it from an underground phenomenon to a global one.

Tree of Life (1985) by Keith Haring

While modern artwork may have its roots in traditional artistic conventions, it often seeks to expand our understanding of what art is and can be – from exploring the intangible depths of our unconscious minds to celebrating popular culture or challenging existing social norms. 

Modern art continues to be a major influence on contemporary art, in both its formal and conceptual approaches. These artists pushed boundaries of what could be considered "art" while challenging viewers to look at the world differently.

Explore More Styles and Movements

This was just one of many fascinating segments of art history. There are many eras, styles, artists, and movements to discover. Let's continue our study by choosing the next stop on your way to becoming an art aficionado. Below you can visit our  Art Styles Index , our  Art History Timeline , or choose an individual movement.

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What is Modern Art? Exploring the Movements That Define the Groundbreaking Genre

Modern art is renowned for its avant-garde aesthetic and celebrated for its forward-thinking artists. Developing over the course of roughly 100 years, it incorporates  many major art movements  and has inevitably seen an eclectic range of styles.

In order to trace modern art's remarkable evolution, one must recognize and understand the many genres that compose it. To do this, however, it is helpful to come up with a modern art definition.

What is Modern Art?

Not to be confused with  contemporary art , the “ modern art ” label refers to late 19th and early-to-mid 20th-century art. Works produced during this time showcase artists' interest in re-imagining, reinterpreting, and even rejecting traditional aesthetic values of preceding styles.

Major Movements and Artists

Starting with light and airy Impressionism and ending with energetic Abstract Expressionism, the modern art genre is composed of several major movements.

Impressionism

Claude Monet, “Impression, Sunrise,” 1872 (Photo: Wikimedia Commons , Public domain)

Widely considered the catalyst for modern art, Impressionism  challenged the rigid rules and realistic depictions of academic painting. The movement emerged in 1872, when Claude Monet  innovatively employed blurred brushstrokes, a focus on light, and a vivid color palette to paint  Impression, Sunrise . 

This style dominated French painting until the turn of the century, with Impressionist artists like Monet, Pierre-Auguste Renoir , and Edgar Degas at the forefront.

Post-Impressionism

Vincent van Gogh , “The Starry Night ,” 1889 (Photo: Wikimedia Commons , Public domain)

Inspired by the artistic freedom introduced by the Impressionists, artists like  Paul Cézanne , Paul Gauguin , Vincent van Gogh , and Henri Toulouse-Lautrec began working in distinctive, unconventional styles. Known as Post-Impressionism , this colorful movement started in the 1890s and showcases an interest in emotion and a preference for subjective interpretation over realistic representation.

Les Fauves, Exhibition at the Salon D'Automne, from L'Illustration, November 4, 1905 (Photo: By Not identified, anonymous via via Wikimedia Commons , Public domain)

Founded by  les Fauves— an avant-garde group of artists including André Derain and  Henri Matisse — Fauvism first appeared in the early 20th century. Like the Post-Impressionists, Fauvists favored unrealistic tones and an emphasis on individual perceptions in their depictions, which typically featured recognizable (yet somewhat abstracted) forms.

Expressionism

Wassily Kandinski, “Reiter,” 1911 (Photo: Wikimedia Commons , Public domain)

Shortly before World War I, painters in Germany and Austria began to take an experimental approach to their practice. Eventually known as Expressionists , these artists adopted and adapted the unprecedented characteristics of other modern movements. Like Post-Impressionist and Fauvist works of art, pieces rendered in the Expressionist style convey a fascination with bright, artificial color and individualistic iconography.

Characterized by deconstructed, fractured forms, Cubism marked modern art's shift toward abstraction. Pioneered in 1907 by Georges Braque and Pablo Picasso , the avant-garde movement materialized as topsy-turvy paintings, multi-dimensional sculptures, and cutting-edge  collages . Like other modern art movements, Cubism emphasized a subjective approach to creating. “When we discovered Cubism,” Picasso explains , “we did not have the aim of discovering Cubism. We only wanted to express what was in us.”

In the 1920s, visual artists Salvador Dalí , Max Ernst, Man Ray , Joan Miró, and Yves Tanguy came together to found  Surrealism , a movement rooted in the subconscious. Lacking “any control exercised by reason, exempt from any aesthetic or moral concern” (André Breton,  Manifestoes of Surrealism) , the genre culminated in a diverse collection of dream-like depictions straight from the artists' imaginations.

Abstract Expressionism

In the middle of the 20th century, an innovative group of artists forewent figurative styles of painting for an original, abstract aesthetic. Known as Abstract Expressionists , these painters placed artistic emphasis not only on modernist characteristics like color, composition, and emotion but on the creative process itself.

Modern Art vs. Contemporary Art

Due to the experimental nature and overlapping themes of both modern and contemporary art , the genres are often confused for one another. However, once one recognizes the movements that compose each, the ambiguous, blurred line that differentiates them becomes clearer.

Typically, modern art is understood to include Impressionism, Abstract Expressionism, and the styles in between. Therefore, contemporary art commences with the first major movement following modernism— Pop Art —and, of course, continues today.

Frequently Asked Questions

What is modern art.

Modern art refers to late 19th and early-to-mid 20th-century art, including Impressionism, Fauvism, and Expressionism. Works produced during this time showcase artists' interest in re-imagining, reinterpreting, and even rejecting traditional aesthetic values of preceding styles.

Is Impressionism modern art?

Impressionism is regarded as the first modern art movement. It challenged the rigid rules and realistic depictions of academic painting, which served as a catalyst for the development of modern art.

This article has been edited and updated.

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Beyond the Mainstream: Essays on Modern and Contemporary Art

Abstract:  This selection of essays by a prominent art historian, critic and curator of modern art examines the art and artists of the twentieth century who have operated outside the established art world. In a lucid and accessible style, Peter Selz explores modern art as it is reflected, and has had an impact on, the tremendous transformations of politics and culture, both in the United States and in Europe. An authoritative overview of a neglected phenomenon, his essays explore the complex relationship between art at the periphery and art at the putative center, and how marginal art has affected that of the mainstream. Author:  Peter Selz Publication date:  January 28, 1998 Publication type:  Book

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• modern art - Children's Encyclopedia (Ages 8-11)

modern art , painting , sculpture , architecture, and graphic arts characteristic of the 20th and 21st centuries and of the later part of the 19th century. Modern art embraces a wide variety of movements, theories, and attitudes whose modernism resides particularly in a tendency to reject traditional, historical, or academic forms and conventions in an effort to create an art more in keeping with changed social, economic, and intellectual conditions.

The beginnings of modern painting cannot be clearly demarcated, but there is general agreement that it started in 19th-century France. The paintings of Gustave Courbet , Edouard Manet , and the Impressionists represent a deepening rejection of the prevailing academic tradition and a quest for a more naturalistic representation of the visual world. These painters’ Post-Impressionist successors can be viewed as more clearly modern in their repudiation of traditional techniques and subject matter and their expression of a more subjective personal vision. From about the 1890s on, a succession of varied movements and styles arose that are the core of modern art and that represent one of the high points of Western visual culture . These modern movements include Neo-Impressionism , Symbolism , Fauvism , Cubism , Futurism , Expressionism , Suprematism , Constructivism , Metaphysical painting , De Stijl , Dada , Surrealism , Social Realism , Abstract Expressionism , Pop art , Op art , Minimalism , and Neo-Expressionism . Despite the enormous variety seen in these movements, most of them are characteristically modern in their investigation of the potentials inherent within the painting medium itself for expressing a spiritual response to the changed conditions of life in the 20th century and beyond. These conditions include accelerated technological change, the expansion of scientific knowledge and understanding, the seeming irrelevance of some traditional sources of value and belief, and an expanding awareness of non-Western cultures .

An important trend that began in the 20th century was that of abstract , or nonobjective, art—i.e., art in which little or no attempt is made to objectively reproduce or depict the appearances or forms of objects in the realm of nature or the existing physical world. It should also be noted that the development of photography and of allied photomechanical techniques of reproduction has had an obscure but certainly important influence on the development of modern art, because these mechanical techniques freed (or deprived) manually executed drawing and painting of their hitherto crucial role as the only means of accurately depicting the visible world.

Modern architecture arose out of the rejection of revivals, classicism, eclecticism, and indeed all adaptations of past styles to the building types of industrializing late 19th- and 20th-century society. It also arose out of efforts to create architectural forms and styles that would utilize and reflect the newly available building technologies of structural iron and steel, reinforced concrete , and glass. Until the spread of postmodernism, modern architecture also implied the rejection of the applied ornament and decoration characteristic of premodern Western buildings. The thrust of modern architecture has been a rigorous concentration on buildings whose rhythmical arrangement of masses and shapes states a geometric theme in light and shade. This development has been closely tied to the new building types demanded by an industrialized society, such as office buildings housing corporate management or government administration . Among the most important trends and movements of modern architecture are the Chicago School , Functionalism , Art Deco , Art Nouveau , De Stijl, the Bauhaus , the International Style , the New Brutalism , and postmodernism .

What's the Difference Between Modern and Contemporary Art?

Asking the elusive question.

By Google Arts & Culture

Landscape with Church (Landscape with Red Spots I) (1913) by Wassily Kandinsky Museum Folkwang

Modern, contemporary. Contemporary, modern. These terms are often used interchangeably. So is there actually any difference between them? And if so, why? One answer is simple: time. Modern art came before contemporary art. Most art historians and critics put the beginning of modern art in the West at around the 1860s, continuing up to the 1960s. Whereas, contemporary art means art made in the present day. But it can be hard to define what the ‘present day’ really means. Is that art made by living artists? Art made in our lifetimes? Or is it artists making work that references or engages with the culture of the present day? Perhaps even artwork made in a way that defines what the ‘present day’ is? So, the start date of contemporary art is, perhaps paradoxically, most often set back in the 1960s and 70s.

Musée d'Orsay, accrochage salle Van gogh (2012) by Musée d'Orsay, display in the Van Gogh room Musée d’Orsay, Paris

But as well as time difference, there are also other differences—in method, medium, and approach. And when we talk about modern and contemporary art, we’re also talking about lots of different movements and forms, from Post-Impressionism, to Dada, to Pop Art, to Installation Art.

Luncheon on the Grass (1863) by Edouard Manet Musée d’Orsay, Paris

So first let’s take a look at modern art . When we see Monet printed on tea towels and Cézanne on the cover of biscuit tins, it can be hard to imagine how radical and shocking this style of painting was in its day. Modern art and ‘modernism’ was a radical departure from the kinds of art that had gone before; its rejection of traditional perspective and subject matter was especially innovative.

Many art historians say that Édouard Manet was the first ‘modern’ artist—specifically his painting from 1863, Luncheon on the Grass . This is because the piece didn’t try to portray the scene in a way that looked ‘real’ and three dimensional. Manet’s figures look like they sit on top of one another; the woman bathing in a stream almost seems to be hovering over the other characters, as though she could fall off her perch and land in their laps at any moment. Manet was also criticized for the lack of shading between the light and dark areas of the picture and for the 'lowly' subject matter of his painting.

Window Opening on Nice (1928) by DUFY, Raoul Shimane Art Museum

This movement away from attempts to accurately represent the outside world ushered in a new era of art, which encompassed Impressionism , Post-Impressionism , Japonism , Fauvism , Cubism , Futurism , and Expressionism .

So how did we get from here, to contemporary art, with its piles of bricks and $10,000 'non-visible' artworks ? A kind of mini-turning point in the transition between modern and contemporary art came with the movement known as ' abstract expressionism ’, as this ushered in a movement away from the content of the picture, and towards a focus on the process of making the artwork itself. Take Jackson Pollock; his artworks were as much about the act of dripping paint and moving around the canvas, cigarette in mouth , as it was about the finished product per se. This movement was a small stepping stone on the road towards what we now think of as contemporary art.

Jackson Pollock by Hans Namuth Sound and Music

Wirtschaftswert Speisekuchen (1977/1977) by Joseph Beuys MUSEION

The sea-change came in the 1960s and 70s, with a revolution in the way we make, and think about, art. Much modernist art, including abstract expressionism, took itself very seriously, privileging the 'genius' of the artist. Pop art , minimalism , conceptual art , and performance art, however, turned this on its head, making artwork that looked at modernism's preconceptions about art with a wry smirk. Instead of beauty and form, artists were often now more interested in the concept behind the artwork, so art now took on lots of different forms—video, performance, installation—and often lived outside of galleries or traditional art spaces altogether.

Will Britain get through this recession (1992/1993) by Gillian Wearing British Council

An important part of contemporary art isn’t held in the brushstrokes of paint, or the marble of a sculpture; it isn’t even in the artwork at all, rather, it’s the viewer's impression of the artwork. Contemporary artworks often focus on the effect on, and experience of, an artwork’s viewer. To many critics and art theorists, we make the artwork what it is. In some cases, the artwork is only made up of the people who experience it, as with many performance and social action projects.

Jeremy Deller, Valerie's Snack Bar (2008) Hayward Gallery

A question that so often gets leveled at contemporary art is usually something along the lines of, “but is it art though?’ or, “my four-year-old could do that”. But, funnily enough, this shows that contemporary artists are doing their jobs properly. How? Because a lot of contemporary art is interrogating our conception of ‘aesthetics’. Aesthetics is the philosophical enquiry into what makes something art. So when we look at a pile of bricks, or a urinal in an art gallery, the artists are actually trying to make us question whether or not their work is art, and if it is, what makes it so.

Tomorrow (2013) UCCA Center for Contemporary Art

Contemporary art is often an experiment in pushing boundaries and asking questions about what art is and can be. So when you say, ‘is it art though?’, that’s exactly the kind of question the artist wants you to ask. Learn more about: - Modern art

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The meaning of modern art.

That modern art is different from earlier art is so obvious as to be hardly worth mentioning. Yet there is little agreement as to the meaning or the importance of this difference. Indeed, contemporary aestheticians, especially, seem to feel that modern art does not depart in any essential way from the art of the past. One reason for this view is that, with the exception of Marxism, the leading philosophical schools today are ahistorical in orientation. This is as true of phenomenology and existentialism as it is of contepmorary analytic philosophy. As a result there have been few attempts by philosophers to understand the meaning of the history of art -- an understanding fundamental to any grasp of the difference between modern art and its predecessors. Art expresses an ideal image of man, and an essential part of understanding the meaning of a work of art is understanding this image. When the ideal image changes, art, too, must change. It is thus possible to look at the emergence of modern art as a function of the disintegration of the Platonic-Christian conception of man. The artist no longer has an obvious, generally accepted route to follow. One sign of this is that there is no one style today comparable to Romanesque, Gothic, Renaissance, or Baroque. This lack of direction has given the artist a new freedom. Today there is a great variety of answers to the question, "What is art?" Such variety, however, betrays an uncertainty about the meaning of art. An uneasiness about the meaning of art has led modern artists to enter into dialogue with art historians, psychologists and philosophers. Perhaps this interpretation can contribute to that dialogue. (Excerpted from the author's preface.)

These 10 Artworks Tell the Story of Contemporary Art

In “The Big Picture: Contemporary Art in 10 Works by 10 Artists,” Matthew Israel, Artsy’s Curator at Large, examines 10 artworks that trace the development of contemporary art. Below are a series of excerpts from his book, out March 28th from Prestel.

Contemporary art is notoriously difficult to understand and can be quite intimidating. For one, unlike past movements, the range of artistic styles of the present haven’t been digested by critics, curators, and art historians and don’t lend themselves to easy categorization.

The Big Picture offers an approachable and accessible overview of contemporary art since the millennium, through just 10 works by 10 artists. Drawn from the fields of photography, painting, performance, sculpture, installation, video, film, and public art, the works selected range widely—from Andreas Gursky’s large-scale color photograph of the Rhine to Ai Weiwei’s installation of children’s backpacks following the 2008 Sichuan earthquake to Kara Walker’s massive sugar sculpture in Brooklyn’s former Domino Sugar refinery.

Each artwork has its own story, but also reflects larger tendencies in the world of contemporary art. These 10 works are importantly not meant to be a “greatest hits” list, but a strategic choice of artworks in recent history that allow discussion of some of the most influential approaches in contemporary art today. The sharp focus on 10 works is also meant to emphasize the attention needed for contemporary art and show how close looking can reveal the depth and power of works of art.

Andreas Gursky, Rhine II , 1999

Andreas Gursky, Rhine II , 1999. Courtesy of Andreas Gursky and VG BILD-KUNST, Bonn. Courtesy of Prestel Publishing.

Rhine II , the work of German photographer Gursky , measures almost 12 feet long and 7 feet high. Its enormous size could have allowed for a wealth of compositional possibilities, but the photograph was formally extremely simple. While the actual view (in Germany) was busy with power lines, trees, and livestock, Gursky had removed all of these things through both analogue and digital processes.

Gursky’s use of digital manipulations prompted a lively public discussion about whether photography had now become equal to painting as an art form. His works also felt like a significant paradigm shift to an art public that was not used to seeing color photography at such scale and in such detail. From a distance, the effect was similar to experiencing large-scale canvases by Color Field abstractionists like Mark Rothko or Barnett Newman .

Enigmatic and indelible, Rhine II straddles two worlds. It is a beautiful formal capture of the potential of man in the twentieth and twenty-first centuries—his ability to reshape the world as he would like it to be, for better and for worse.

Olafur Eliasson, The weather project , 2003

Olafur Eliasson, The weather project , 2003. Tate Modern, London (2003). © Photo by Andrew Dunkley & Marcus Leith. Courtesy of the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York. © Olafur Eliasson. Courtesy of Prestel Publishing.

Upon entering the Tate ’s Turbine Hall, visitors to Eliasson ’s The weather project were greeted by a huge glowing orb that hovered near the ceiling. A fine mist filled the hall, diffusing its spellbinding glow throughout the room. Because this work by the Danish-Icelandic artist effectively used the entire volume of the space, it was called the largest indoor contemporary artwork ever produced. The installation became a phenomenon, and over two million people visited during its run.

The weather project fits into a wider trend, beginning in the late 1990s, in which museums began to regularly install monumental-scale artworks indoors as exhibitions unto themselves. Critics have compared these installations to amusement park rides and viewed their spectacle and pomp as a frivolous pandering to the masses. Yet seen in a more positive light, engaging and experiential contemporary installations are, for one, a great way to get the larger population into the museum to see other works.

Rachel Harrison, Huffy Howler , 2004

Rachel Harrison, Huffy Howler , 2004. Collection Walker Art Center, Minneapolis T. B. Walker Acquisition Fund, 2008. © David Levene 2015: 44; Courtesy of the artist and Greene Naftali, New York. Photo by Jean Vong. Courtesy of Prestel Publishing.

Huffy Howler upset one’s expectations regarding the materials that could make up a sculpture. Most of its components—including handbags, gravel, and binder clips—were either very close to being garbage, or very cheap. But the New York-based Harrison was able to bring these unusual materials together into a unique kind of cohesiveness that brilliantly teetered between coherence and absurdity. Her sculptures have been labeled “complexes,” and unlike Robert Rauschenberg ’s iconic 1950s and 1960s “combines,” which were an integration of painting and sculpture into one, Harrison puts together objects that never entirely seem to combine.

Harrison’s work, and others included in the New Museum ’s 2007 opening exhibition “Unmonumental,” offered a counterpoint or even a rejection of the sculpture that dominated the preceding years: the big, brash, Neo-Pop of artists such as Jeff Koons and Takashi Murakami . These artists continually invested substantial time, energy, and money exploring new, ever-shinier materials to fabricate ever-bigger monumental objects to dominate our public spaces. Looking around the New Museum’s show, it was hard to imagine a starker contrast.

Kehinde Wiley, Napoleon Leading the Army over the Alps , 2005

Kehinde Wiley, Napoleon Leading the Army over the Alps , 2005. Courtesy of Brooklyn Museum. © Kehinde Wiley. Courtesy of Prestel Publishing.

Critics often read Wiley ’s painting, and his production as a whole, as a powerful questioning of Western art history. As the interpretation goes, Wiley rejects and upends the subjugated or inferior roles in which black or brown men have been represented and places them front and center. Yet as Wiley himself undoubtedly also knows, his work is more complex than this. This work, for example, both lampoons the hyper-masculinity of the original piece (Neoclassical painter Jacques-Louis David ’s Napoleon Crossing the Alps from 1801) but also subtly presents male sexuality as a subtext—something rarely seen in Western art history.

Wiley’s success is just one example of how African American art has become much more visible in American galleries, museums, and academia in recent years, after centuries of either exclusion or (at best) inconsistent representation. All the same, major issues remain—the amount of solo shows devoted to African American artists is also still quite small, and while values are increasing for works by historical and contemporary African American artists, this work is still heavily undervalued by the art world compared to the work of white artists of similar accomplishments or career status.

Vik Muniz, Marat (Sebastião) , 2008

Vik Muniz, Marat (Sebastião) , from “Pictures of Garbage,” 2008. Art © Vik Muniz/Licensed by VAGA, New York, NY. Courtesy of Prestel Publishing.

Jardim Gramacho, a 321-acre plot of land on the northern edge of Rio de Janeiro, was the world’s largest garbage dump until it closed in 2012. Between 2007 and 2010, the Jardim became a kind of studio for Brazilian-born, New York- and Rio-based artist Muniz . The artworks created there became a series called Pictures of Garbage , which recreate iconic images from art history using trash collected from the dump.

Muniz’s work prompts a number of important questions regarding contemporary art. Ethics is a good place to start, especially regarding collaborations with “marginalized” or poorer segments of society, which has become a common practice for contemporary artists interested in socially engaged art. Pictures of Garbage also considers the aesthetics of contemporary political art. Muniz’s work is political, but it does so by avoiding straightforward propaganda and retaining various conceptual layers through its complex formal processes. Very broadly, this is characteristic of much politically engaged art today—for it to succeed from a critical and especially market point of view, it cannot be too straightforward or too heavy-handed with its messaging.

Ai Weiwei, Remembering , 2009

Ai Weiwei, Remembering , 2009. Installation view, Haus der Kunst, Munich (2009). Courtesy of Ai Weiwei Studio. Photo by Jens Weber. Courtesy of Prestel Publishing.

On May 12, 2008, a 7.9-magnitude earthquake devastated Sichuan Province in western China, killing thousands of young students whose schools may not have met country-wide building standards. The government refused to investigate, and Chinese artist and activist Ai was compelled to act. The son of a poet who was denounced and exiled by the Chinese government, he had made a career out of creating artworks promoting freedom of expression and human rights, and in the process, challenging Chinese cultural values and political authority.

Ai’s most celebrated works related to the earthquake were large-scale sculptures that utilized backpacks as their primary medium. Remembering consisted of nine thousand of these backpacks arranged so that they spelled out “She lived happily for seven years in this world” in Chinese characters. The highly public and prominent placement of Remembering —it covered the massive front facade of the Haus der Kunst in Munich, one of Europe’s most influential art museums—left little doubt as to the institution’s support of the work. At once minimal, monumental, historical, and very emotional, Remembering stood as a powerful and indelible example of a work of art’s ability to engage directly with ongoing political and social issues.

Ryan Trecartin, P.opular S.ky (section ish) , 2009

Ryan Trecartin, Still from P.opular S.ky (section ish) , 2009, HD Video, 43 minutes, 51 seconds. © Ryan Trecartin. Courtesy of the artist, Regen Projects, Los Angeles and Andrea Rosen Gallery, New York. Courtesy of Prestel Publishing.

P.opular S.ky (section ish) —along with many of Los Angeles-based video artist Trecartin ’s works—could be described as a tempest.

One of the first things you notice about Trecartin’s movies is there is a lot of talking, which is unusual for contemporary video art. In many ways everything revolves around dialogue, which in Trecartin’s case is a stacked and highly wrought combination of colloquialisms, pseudo-technical jargon, and philosophical musings. Compulsive audio manipulations heighten the effect of their lines—chopping, looping, and raising their pitch to frequencies recalling Alvin and the Chipmunks or unhinged demons. Visual edits further exaggerate the dialogue’s frenetic energy.

Relative to other contemporary art media, video is one of the youngest. The acclaim for Trecartin’s work and the lack of hesitancy around his chosen medium mark a particular triumph for video art, which in the past twenty years has cemented its place as a medium to be both taken seriously and widely used by artists.

Marina Abramović, The Artist is Present, 2010

Marina Abramović, The Artist is Present , 2010. Performance, The Museum of Modern Art, New York. Photo by Andrew Russeth, via Flickr.

The Artist is Present was, in some respects, a very simple work. It consisted of Belgrade-born, sixty-three-year-old performance artist Abramović sitting silent and still in a chair across from another chair in which anyone could sit silently (one at a time) for however long they wanted during business hours at the Museum of Modern Art in New York. Abramović sat for the entire run of her 2010 retrospective, which added up to 736 hours and 30 minutes.

Since the millennium, performance—a term currently embraced by some but rejected by other artists who find it too confining or inaccurate—has returned to being considered one of the most progressive art forms of today. Exhibitions such as Abramović’s are undoubtedly one reason for this. Her show drew 850,000 visitors and garnered worldwide media attention, spurring galleries and museums to capitalize on the success.

Tauba Auerbach, Untitled (Fold) , 2012

Tauba Auerbach, Tetrachromat , 2012. Installation view, Malmo Konsthall, Sweden (2012). © Tauba Auerbach. Courtesy of Paula Cooper Gallery, New York. Photo by Helene Toresdotter. Courtesy of Prestel Publishing.

Auerbach initially became interested in the fourth dimension through geometry (the artist admits in interviews that she has thought more about math than art history), but also because it seemed a “model for working towards a deeper, more complete, more intuitive experience of being in the world.” The results of her preoccupation were initially her Crease and Crumple paintings, but were best expressed in her Fold series created between 2010 and 2012.

Auerbach did not create an actual four-dimensional space in these works, but tried to suggest it by confusing the observer’s ability to distinguish between two-dimensional and three-dimensional space. The paintings include a kind of in-between space, somewhere between the flat canvas and the peaks of the creases. The Folds were subtle, immaculately produced, mysterious, and gorgeous, and simultaneously elegant abstract paintings—meaning they had no connection to observable reality—and highly realistic representations of folded canvas. They felt otherworldly, unlike any other abstract paintings being produced then or in the recent past.

Kara Walker, A Subtlety , 2014

Kara Walker, A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant , 2014. Artwork © Kara Walker, courtesy of Sikkema Jenkins & Co., New York. Photo by Jason Wyche. Courtesy of Prestel Publishing.

Visitors to Walker ’s A Subtlety , housed in a former Brooklyn Domino Sugar factory, encountered something that was far from subtle. Her enormous bright-white sculpture of a nude woman was 35 feet tall and 75 feet long and covered with approximately 80,000 pounds of refined white sugar. The effect was blindingly white. Yet the woman in the sculpture presented as “black,” her pose and exaggerated features drawing on two racial stereotypes of African American women—as mammies and as hypersexualized—as well as historical sphinx statuary. With this work, the New York artist also reminded us of the innumerable horrors suffered by African slaves in the international sugar trade.

While A Subtlety looked markedly different from Walker’s best-known paper installations, it employed a similar methodology. It drew you in with something pretty, charming, and crowd-pleasing, but a closer examination—of the artwork itself and your thoughts about it—revealed deeply disturbing and unsettling underlying historical references.

Cover image of Kara Walker, A Subtlety , 2014, by Matt, Marie, Luke and Finn, via Flickr .

• Vertical The Example Article Title Longer Than The Line By Example Name Jan 1, 1970

Selected Essays

Leo Steinberg

Edited by  Sheila Schwartz With an Introduction by  James Meyer

352 pages | 153 color plates, 87 halftones | 8 1/2 x 11 | © 2023

Essays by Leo Steinberg

Art: American Art , Art Criticism , Art--General Studies , European Art

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Not-Forgetting

Rosalyn Deutsche

A Mythology of Forms

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Perfect Wave

Dave Hickey

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Walter Benn Michaels

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• Journal of the History of Philosophy

The Meaning of Modern Art; A Philosophical Interpretation (review)

• Rudolf A. Makkreel
• Johns Hopkins University Press
• Volume 7, Number 4, October 1969
• pp. 477-480
• 10.1353/hph.2008.1007
• View Citation

Additional Information

BOOK REVIEWS 477 the hearts of Western liberals anxious to promote cultural exchanges and other forms of East-West co-existence, the reviewer feels duty bound to observe that there is nothing specifically Marxist about it. tt is splendid news that the humanist credo has penetrated to the lands behind the Iron Curtain, but do we really need to be confronted once more with an irrational option of this kind? The failure of contemporary philosophy to bridge the seemingly impassable gulf between a positivist methodology and an existentialist decisionism is just what renders our intellectual situation so precarious. One may "opt" for a humane and rational attitude ff one so chooses, but this does not preclude other options, most of them disastrous. What one asks of a radical philosopher is not an existential act of decision-making in the Sartrean manner, but an analysis that enables one to ground practice in theory; instead of which the reader is presented in this volume with an irrational choice in favor of rationality. Leopold Labedz, in his editorial preface, places Kolakowski "in the line of Stoic philosophers" such as Seneca. He fails to mention the circumstances of Seneca's death. In a later essay not included in this volume t Kolakowski does confront the real issue. After dealing critically with Dilthey's historicism on the one hand, positivist scientism and pragmatism on the other, he undertakes a defense of materialism which substantially amounts to identifying it with a humanist standpoint freed from the precritical dogmatism of "Democrit or Holbach," and capable of absorbing the legacy of "Kant, Hegel, Marx, Hume or Hussefl" (op. cit., p. 282). The general conclusion amounts to reinstating the reasoning faculty as specifically human, and at the same time "not simply an additional instrument for the satisfaction of animal needs, in the pragmatist and generally biologizing interpretation." So far from being merely instrumental , Reason constitutes "a denial of animality; the conflict between the two fundamental aspects of human existence expressed in the opposition of science and metaphysics cannot be eliminated without abolishing man's being as such." Written and published before the author's expulsion from the party, and from his native country, this statement represents what may fairly be described as a return to the central tradition of western philosophy. GEORGELICHTHE~ London The Meaning of Modern Art; A Philosophical Interpretation. By Karsten Harries. (Evanston: Northwestern University, 1968. Pp. 166) This book is an attempt to define how modern art differs from earlier art and is directed at contemporary aestheticians, who "especially, seem to feel that modern art does not depart in any essential way from the art of the past" (p. xi). It is thus meant to provide aestheticians a philosophical understanding of modern art--supposedly to help update the principles of aesthetics. However, as one reads this work it becomes increasingly clear that this is not so much an attempt to establish the meaning ot modern art as it is a plea to move beyond it. Modern art is attacked for its subjectivity and judged harshly for not being able to clearly demarcate itself from sentimentalism. Although somewhat one-sided in his concern with subjectivity, Harries does thereby raise some important issues for aesthetics. The book begins with almost fifty pages of historical introduction, in which the meaning of traditional art (primarily painting) is reinterpreted in light of a modern "Ist der verstehende Materialismus m6glich?" in Georg Lukdcs: Festschrifl zum 80. Geburtstag (Luchterhand, Neuwied and Berlin, 1965). 478 HISTORY OF PHILOSOPHY existential interpretation of life. For instance, according to Hurries, the pol~trity of beauty and sublimity in eighteenth-century aesthetics can a[reac~y be formulated in terms of the problem of man's sense of alienation. Whereas bea~tty provides a feeling of beil2g at home in reality (~ it~ a Hobberaa landscape), the sublime reveals to us that this comfortable feeling comes at the price of forgetting what lies beyond the dikes of civilization. The sublime experience of the oceanic aspect ot nature can have a dual character: It can be both terrifying and liberating. Man's sense of alienation amidst the infinity of nature forces him to turn within himself and affll-~ his freedom...

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Introduction to Art: Design, Context, and Meaning

(58 reviews)

Pamela Sachant, University of North Georgia

Peggy Blood, Savannah State University

Jeffery A LeMieux, Brunswick, GA

Copyright Year: 2016

Publisher: University of North Georgia Press

Language: English

Formats Available

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Reviewed by Eddy Mora, Faculty, Johnson County Community College on 5/8/22

Very comprehensive touching on subjects required not only to understand art but design as well. Topics were related to visual communication, visual literacy, and meaning. I love that the author does not stop at aesthetics but follows with cultural... read more

Comprehensiveness rating: 5 see less

Very comprehensive touching on subjects required not only to understand art but design as well. Topics were related to visual communication, visual literacy, and meaning. I love that the author does not stop at aesthetics but follows with cultural and societal values.

Content Accuracy rating: 5

Having studied art for the last 30 years I can recognize the subject in reference and it appears to be accurate.

Relevance/Longevity rating: 5

Very relevant. I loved the introduction to the text because it makes it relevant to current and future generations of students, linking image use to cultural context and meaning.

Clarity rating: 5

Very clear and easy to follow and understand.

Consistency rating: 5

I like the sequential consistency of the text.

Modularity rating: 5

Very easy to pick up were left off.

Organization/Structure/Flow rating: 5

The book is very relevant in the progression of topics. I love how is organized. The organization logic could help teachers focused on specific topics.

Interface rating: 5

Beautiful interface put together and easy to follow. Very well documented with images and captions.

Grammatical Errors rating: 5

No grammatical errors that I found.

Cultural Relevance rating: 5

The text is very inclusive culturally. I liked how it helps the reader travel through continents with different styles, modes, histories, and artists.

I would recommend this book not only for its relevance to art history or fine art students but also to use with graphic design students. The many topics touched such as art structure, materials relevancy, communication, art analysis, and design formalities are more needed in design now more than ever, especially in face of the open cultural globalization our youth is experiencing.

Reviewed by Monika Meler, Assistant Professor of Art and Foundations Coordinator, University of Saint Francis on 12/30/21

This book is a good and comprehensive text outlining themes and ideas. I see the audience for this text being complete beginners. It focuses less on formal principles and elements and tackles larger, more comprehensive themes like defining art,... read more

Comprehensiveness rating: 4 see less

This book is a good and comprehensive text outlining themes and ideas. I see the audience for this text being complete beginners. It focuses less on formal principles and elements and tackles larger, more comprehensive themes like defining art, audience, and really large and complex ideas like identity, and power. Because it is a large survey textbook, these topics are not discussed in depth but do offer a brief introduction. The text does have a lot of questions at the end of chapters that would spark great conversation about these topics from beginning students. I don't mean to suggest that the book doesn't discuss elements and principles, but not nearly in as much depth as the textbook we use for foundations courses currently. I would use portions of this book for a 2D, 3D, or beginning drawing class, but it would not be an accurate replacement text for an intro/foundations course. For instance, the chapter on "describing art" would be very applicable to introduce students to critique. There are great examples of formal analysis that would be excellent to start the process of critique with.

The content of the book is very accurate.

Relevance/Longevity rating: 3

This is tricky to evaluate because this book is extremely relevant to beginning students. I could see this book being used in an art appreciation class or a class for non-majors not looking to go very deep. In our program, we teach a series of 1 credit beginning seminars for art majors that introduce them to different areas of study in studio art, audience, content, materials, and meaning. If I have the opportunity to teach one of these classes, I will definitely be pulling parts of this book. As you know, I am a fan of the "Describing Art" chapter and foresee using the "Connecting Art to Our Lives" chapter in the class as well as "Meaning on Art" in the courses.

My vote of "3" here is because of the lack of cultural diversity in the art that is represented and the fact that there are very few examples of more contemporary art. The examples are very European and this is why I would not use this as the sole text for any class. I would need to supplement with more contemporary/culturally diverse perspectives. Contemporary artists are mentioned, but few visual examples are used.

I think the book is very clear and consistent and believe that it communicates well to a beginning audience.

The book is very consistent. I like that each chapter begins with a section on "learning outcomes" and concludes with a review of key concepts. If your course includes tests or quizzes, this consistent structure would make it easier to construct the texts/quizzes and would serve as a nice study guide for students.

I addressed some of this in the "consistency" review above but this is one of the books biggest strengths. It is very easy to pull just one part of the book and teach from sections. The sections do no depend on the student having knowledge of previous chapters/sections.

As I have mentioned in previous points, this is a strength of the book.

There are no interface/navigation problems. I am impressed with the quality of images used.

I do not see any grammar issues.

Cultural Relevance rating: 1

This is one of the major issues I see with the book and I mentioned that in the points above. Other reviewers have also mentioned the lack of focus on cultural inclusion/diversity. If this book is to be used as a sole text for any course, it would have to be much more inclusive.

Reviewed by Christine Shearer, Adjunct Professor, Cleveland State University on 7/11/21

The book is a good resource for a basic art appreciation course that plans to focus more on topics and themes and less on formal qualities. Most of the examples are of a Western focus and provide a very Eurocentric viewpoint. There is a lack of... read more

The book is a good resource for a basic art appreciation course that plans to focus more on topics and themes and less on formal qualities. Most of the examples are of a Western focus and provide a very Eurocentric viewpoint. There is a lack of female representation, both as maker and patron, providing a male-centric focus—a common occurrence in art historical textbooks.

Content Accuracy rating: 4

The images are great examples; however, they do not include any information that most professors would include in their lectures and PowerPoints—artist, title, date, medium, location.

Relevance/Longevity rating: 4

For a survey it has relevance, but it is not relevant for an upper division art history course. The book does not include much material post-1960, lacks representation beyond Europe and Western civilization, and is light on female contributions.

The template of the book is clear, nicely designed, and consistent. The writers have expressed their ideas in easy-to-understand language and have provided images and/or links to images to expand the learning experience visually. At the beginning of each chapter there is a list of learning objectives, and at the end of each chapter there is a review of key concepts, a test yourself section, and key terms.

The book is arranged thematically throughout, and the format is the same for each chapter.

Each chapter is broken down into subsections that are easy to pull out and assign in a different order than they are presented or as part of another course.

Organization/Structure/Flow rating: 4

The organization of the book is by theme. It is structured to cover what is art and how to make art in the beginning chapters and then progresses through different forms before landing on specific themes. It can be used as presented or re-arranged to fit another format.

There are hyperlinks that are a little long. These could perhaps by converted to bitly links to make it less distracting when you come across them in the text.

Grammatical Errors rating: 4

There are a few grammatical errors.

Cultural Relevance rating: 4

As stated above, the book is heavily Eurocentric and focused on Western art. Very little material on women and post-1960 is included within that focus as well. It does not include non-Western art and culture which is often lacking from many art historical texts. Sections could be used for supplementing material in other courses, but overall, it is a good source for an introductory art appreciation course.

Reviewed by David Chatfield, Adjunct Instructor, Community College of Aurora on 5/24/21

This text is not especially comprehensive. The first, and the most egregious example is the lack of historical and cultural contexts, normally found in the form of sections on art history. The authors attempt to embed art history into... read more

Comprehensiveness rating: 2 see less

This text is not especially comprehensive.

The first, and the most egregious example is the lack of historical and cultural contexts, normally found in the form of sections on art history. The authors attempt to embed art history into sections on material, Formal Elements, and Themes in Art, but it lacks a lot of context.  This is especially the case when it comes to representation in non-western cultures. While I understand it is difficult to represent all cultures in dedicated chapters in this kind of text, and while I like the idea of embedding art history into other sections, they do not provide enough historical context and non-western cultures. One can choose a select group of representative cultures that demonstrate the relevant ideas that can give the students the structure and critical thinking skills needed to analyze the omitted cultures.  Exposure to other cultures and other contexts is essential to developing empathy, essential in developing critical thinking skills when considering new and unfamiliar contexts.

Finally, while it is fairly comprehensive in describing other ideas, like materials, Formal vocabulary, and themes it's not very comprehensive on the application of those ideas. 

Content Accuracy rating: 3

While the content seems accurate, it is not unbiased. As stated above this text is pretty typical in so far as the overrepresentation of Western cultures (and cultures generally accepted by the Western Canon like Egypt or China) in textbooks. This shows a bias toward an outdated Eurocentric viewpoint.

The content is not up-to-date. As an example, in the chapter on Protest and Shock, the most recent example is from 2001. There is a plethora of protest art from recent years, for example, BLM to the continued LGBTQ+ rights movements.

Though the text does include some contemporary artists, like Mel Chin, the examples are outdated.

The text also has at least 2 outdated links to image examples. Relying on links to other sources does not ensure longevity as the web is ever-changing. One could PDF the source and include that, or just include the images directly.

Clarity rating: 2

This text is pretty academic/inaccessible in its prose and doesn't provide much context for the terminology. For example, in the description of the often confusing Complimentary Colors, the authors state: "There is a slight delay between the depletion and restoration of this chemical supply within the neuron. In the interim, an afterimage occurs. Look at the green, orange, and black flag for 10 seconds, then look at a blank wall or empty white space. (Figure 2.52) For a few moments, you will see the complement, or opposite, of green (red), the complement of orange (blue), and the complement of black (white)..."

This idea is deceptively hard to teach, and even experienced art students are confused by Complimentary Colors. Describing chemical reactions and neurons might require one to explain what neurons are as well as what color wavelengths are on top of the cultural specificity of color and so-on and so-on only to additionally complicate a complicated idea, when what the student's need to know is how Complimentary Colors behave visually in contrast to Harmonious Colors, and why that is important to an artist. Compliments clash, while Harmonies don't.

Consistency rating: 4

The text is fairly consistent in its terminology and seems to be organized by an overall framework, starting with the vocabulary, then materials, then finally themes of Art. I would like to see more ties between the different sections using the vocabulary. For example, in the earlier section on the Formal Elements and the later section on visual analysis, the vocabulary used in the early section isn't brought forward in a clear and consistent way. 

Modularity rating: 4

The text is modular, with sections delineated out into broader ideas that are then explored specifically, that can be viewed independently if needed.

Organization/Structure/Flow rating: 3

As stated above the text is well organized. Looking at the table of contents one can easily find specific ideas and jump to them using the page number feature. That being said, it would be far more intuitive and accessible if the sections in the table of contents linked directly to their corresponding sections.

Interface rating: 2

Though this text has some accessibility problems.

As to the interface, I have been able to copy and paste text easily, making me think the text accessible to an eReader. I'd like to see how this text works with an eReader for visually impaired or neuro-divergent students. As of now, I do not see an option for the text to be read within this interface requiring a third-party eReader.

The images are small and cannot be enlarged or opened in another tab. Being able to zoom in helps students interact with the work in a more intimate way. This is also a huge problem for visually impaired students.

There are several broken links, and I've found that the PDF takes a lot of time to load, even on a stable internet connection. This could be problematic if a user's computer or internet connection is slow. Could the sections be broken into smaller, linkable sectons?

Beyond a few links, the user experience is limited.

As best as I can tell there are or no grammatical or spelling errors. Though I'm no editor.

I did a keyword search and found a striking lack of non-Western Art. Renaissance is mentioned 30 times, while Africa/African: 8, Mesoamerica: 0, Aztec: 3, Mayan: 1. Aboriginal: 2, Pacific Island: 1, and so on. A cursory glance at the imagery is equally unrepresentative. I mostly see artwork from movements typically seen in Eurocentric Textbooks that dominate Academia (or cultures like Egypt or China, generally accepted into the Western Canon). The purpose of seeking out an OER is to move away from these types of texts. This lack of representation is highly problematic.

As to Higher Order Learning skills, specifically analysis/evaluation, I don't see enough in the text on how to analyze a work of art. They simply include a brief section with only two images and all too brief corresponding paragraphs of academic visual analysis. I don't see many connections to previous sections on the vocabulary used in visual analysis. The authors academically explain an idea, or a theme, but give the students much opportunity to apply those ideas.

A good book should lay the groundwork first on the necessary ideas, concepts, and vocabulary. When a student gets to the analysis in this book I don't think they would be prepared to understand the analysis the authors provide.

Then they need to have an immediate opportunity to apply those ideas. I realize this is part of my job, however, a good text does add exercises the authors find relevant to their text. My assignments may not be enough. At any rate, it's nice for the students to have additional options for the application of ideas.

This text also does not contain enough modalities in presenting the information. There are no supplemental videos, hands-on projects, or audio components. Just providing text and pictures is not enough. This particular text would require me to heavily supplement information, in which case I might as well toss the text and curate content that comes from multiple modalities myself.

Finally, quizzes at the end of each section may provide decent quantitative assessments, there is little here to help me provide qualitative assessments. Again, I understand that is my job to provide those opportunities, but I've found good text does as well.

Reviewed by Ines Corujo-Martin, Adjunct Assistant Professor, New York City College of Technology on 5/4/21

This textbook seeks to offer a deep and comprehensive insight into the world of art, including a broad variety of perspectives, such as art and meaning; art and power; art and ethics, among many other subjects. It contains over 400 high-quality... read more

This textbook seeks to offer a deep and comprehensive insight into the world of art, including a broad variety of perspectives, such as art and meaning; art and power; art and ethics, among many other subjects. It contains over 400 high-quality images that illustrate the various forms of art, its technical applications, and its many uses. The table of contents seems detailed at first, but a closer look reveals the lack of logical and coherent progression. While Chapters 1 and 2 analyze the meaning of visual art, what is an artist, and the structure of art, Chapter 3 jumps into the study of materials, introducing jargon and technical terms that belong to an art history or more specialized course. Chapters 4 and 5, which respectively explore “Describing Art” and “Meaning in Art,” should have been placed right after Chapter 1, as they cover basic topics and terms. On the other hand, Chapter 7 delves into art in architecture, while other forms of art like painting, sculpture, or photography are neglected and find no space of deep analysis in the textbook. Overall, the content is imbalanced and needs more work, as well as the inclusion of updated materials and examples. Relevant chapters that could introduce thought-provoking and add new perspectives into the classroom (e.g., Chapter 8: Art and Identity; Chapter 9: Art and Power) are brief in comparison to other sections and offer a superficial and simplistic overview on very complex topics. For example, the authors do not illustrate the relationship between art and the construction of intersectional identities of race, gender, nationality, and ethnicity, mainly centering on religious and spiritual values (Chapter 6 and Chapter 10). Although each chapter ends with a section of "Key Terms," there is no glossary or list of illustrations at the end of the textbook. It includes footnotes citing the references employed, but there is no final bibliography, which is detrimental for an introductory college textbook that should provide a condensed view of documentation in the field. This textbook is inaccurately described online as “digital in nature,” when it takes on a conventional approach to teaching and learning. The only digital component is the inclusion of links embedded throughout the text, most of which are not contextualized. Some of these links do not work, and others send students to artworks with poor image quality. The textbook as a whole fails to provide digital activities and/or projects to expand students’ educational experiences beyond the textbook, helping them master concepts (i.e., quizlets, flashcards, videos, interactive images, etc.). It does not contain learning features like annotate and bookmark, which increase engagement with course content. Besides, there is no way to monitor students’ progress. It would have been useful to incorporate review, summary, and expansion activities at the end of the chapters, in addition to self-quizzes, to enhance student performance and facilitate the grasp of content.

The images do not include information on the artist, title, size, medium, date, and museum/collection of the works of art, and the emphasis is solely placed on the open source. Names of artists are sometimes misspelled and show no consistency like Vassily Kandinsky instead of Wassily Kandinsky (p.106).

As previously noted, this textbook takes on a traditional approach both in content and format, failing to add innovative insights to the art field. It mostly focuses on the pre-1960s period, and there is a notable absence of contemporary art, non-Western cultures, and art produced by female artists and people of color. There is barely no discussion of subculture art, urban art, or popular art, and the importance given to museums for the dissemination of art is minimal. There are stances in which the authors delve into topics that seem irrelevant to an introductory art course. For instance, the emphasis on the cultural value of materials (Chapter 3) seems very off-topic and, as already mentioned, should belong to an art history or material culture course. In contrast, relevant ongoing topics like digital art and the relationship between art and technology, often students’ favorite section, should be organized as a separate chapter instead of inserting disconnected and vague references throughout the text. The textbook does not provide enough opportunities for students to develop their critical thinking. This aspect could have been polished by designing exercises to analyze the works of art presented or by adding case studies on current and relevant artistic activities to interpret practical scenarios. To give an example, the eleventh chapter--"Art and Ethics"--could be greatly improved by introducing recent articles and real-world examples to explore ethical dilemmas related to the concepts of intellectual property, collecting, and censorship.

Clarity rating: 4

Overall, the language is clear and accessible, except for instances in which the authors use jargon and obscure terminology not appropriate for an introductory art course. Some of these technical words are not even included in the "Key Terms" sections at the end of each chapter, forcing the readers to figure it out by themselves and confusing students who might have little or no background in art.

The template used is consistent through the chapters. There is consistency regarding structure, framework, and terminology.

Each of the eleven chapters that comprise the textbook are organized into topics followed by subsections that are meant to connect back to the main theme. All chapters start off with a section of "Learning Outcomes," summarizing the learning objectives that should be attained at the end. After this, an introductory part provides background and presents the main themes and ideas that will be covered. The constant inclusion of rhetorical questions throughout the text allows students to reflect on their own learning process and to recognize the impact of art in their daily lives. Moreover, each chapter ends with two conclusive sections: "Before You Move On" and "Key Terms." The first one gives a list of discussion prompts to test the knowledge gained so far and to connect the content to students’ personal experiences. These self-reflection questions are particularly useful to engage students in their knowledge-building process and can be easily assigned to discuss in small groups during class or adapted for online forums to extend the exchange of views beyond the classroom.

There is no introduction/preface in which the authors explain the structure they follow, their educational goals or the relevance and application of the content in this textbook. Having a preface at the beginning of the textbook is useful to specify and give more information on the intended audience, as well as the educational level for which it is recommended (although we assume it is addressed to introductory college/university courses on visual art, art history, and art appreciation). There are no suggestions for planning the course and using the textbook in the classroom. This lack of pedagogical guidance could be greatly improved in the future.

Interface rating: 4

This is an aspect that needs improvement, as many of the links do not work or the linked images and pages are missing. In other cases, when referring to previously discussed images, the labeling tends to be incorrect. It is frustrating that the links within the body of the text are so long and that they are not enclosed with a period, which distracts the reader. Other than that, navigation through the text is straightforward and the text is clearly displayed.

The text does not include grammatical errors.

Cultural Relevance rating: 2

The approach of this textbook is clearly Eurocentric and Westernized, leaving out examples of art from Africa, Latin America, indigenous tribes, or any other non-Western culture. The only part in which the authors make some explicit references to other cultures (in this case Asian) takes place is Chapter 10 on "Art and Ritual Life"; however, this discussion occurs within the framework of Western themes. The vast majority of artworks in the textbook display white men and, as mentioned elsewhere in this review, there is no representation of female artists or people of color. This omission of diversity is problematic and one of its main downfalls. Art is one of the most powerful mediums to educate others on issues of inclusivity, social justice, and cultural sensitivity, which is key to forming well-rounded, global citizens. This textbook perpetuates a white-male-dominant perspective, following the typical works of art found within the canon of Western Art History. It is highly recommended that the authors revise the selection of pictures, citations, and examples to represent diverse cultures, races, ethnicities, genders, and backgrounds. In this respect, it is noteworthy to mention that the eighth chapter on the subject "Art and Identity" is one of the shortest and most superficial ones (in comparison, for example, to the previous chapter devoted to architecture that occupies more than 30 pages). The chapter "Art and Identity" provides over simplified conceptions of what cultural identity means (and constantly from a Westernized perspective) and misses out the fertile intersection of art with gendered and racialized identities over the course of history.

This textbook is not recommended as the main reference material or as a tool for organizing the course structure due to all the weaknesses in regard to content, structure, and cultural relevance detailed in this review. However, some of its sections can be incorporated into already prepared lessons, in particular Chapter 1, 4, 5, and 11, which from my perspective are the strongest. The textbook is not overly self-referential and some parts can be easily used as a supplemental material in combination with other educational resources.

Reviewed by Meidor Hu, Professor, Hawaii Community College on 4/23/21

This text is a comprehensive survey of ideas and subjects— theoretically and historically, similar to other text for an introduction to visual arts course. A wide variety of artistic media styles, time periods, and regions are covered, mostly with... read more

This text is a comprehensive survey of ideas and subjects— theoretically and historically, similar to other text for an introduction to visual arts course. A wide variety of artistic media styles, time periods, and regions are covered, mostly with examples from Western art. Love the "Test Yourself" and "Key Terms" section at the end. It is lacking an index and glossary at the end of the text. I can see how this text can be easily incorporated with my previously prepared lessons. 

The text reads unbiased and highly accurate. Although the image examples left out info on size, media, date and location of the art work.

The text is current but could give more focus on art since the 1960s and inclusion of more women artists.

The writing is clear and easy to read. The "Test Yourself" section at the end of each chapter is a great addition to check for understanding.

There is consistency in the logical structure and presentation.

The chapters and subheadings are logical. Each chapter opens with Learning Outcomes and ends Key Concepts, Test Yourself, and Key Terms sections to check for understanding. The subheadings are in easily digestible sections.

The text's organization is clear in format and structure.

The basic design is clear and non-distracting. The image quality were also good.

No issues with grammatical errors.

Cultural Relevance rating: 3

Although the text incorporated examples from different cultural and geological region, the majority of the discussions are Eurocentric in perspective. More attention to Asian, African, Pacific and the Americas would give the content more diversity.

Reviewed by Daniel Vedamuthu, Instructor of Art and Design, Rochester Community & Technical College on 4/1/21, updated 6/1/21

Books for Introduction to Art / Art Appreciation courses usually cover some standard topics: the definition of art, materials used to make, the elements of art and the principles of design, reasons for creating art, and methods of formal analysis... read more

Books for Introduction to Art / Art Appreciation courses usually cover some standard topics: the definition of art, materials used to make, the elements of art and the principles of design, reasons for creating art, and methods of formal analysis of art. Introduction to Art: Design, Context, and Meaning covers these topics in the appropriate amount of depth. Texts usually then present a thematic, chronological, or cultural history of art. Introduction to Art: Design, Context, and Meaning focuses on a thematic approach. Figures often appear without dates. Courses that focus on a chronological approach will find this text lacking. The text lacks a “whole book” glossary of key terms. The Key Terms are found at the end of each chapter. The text includes a Table of Contents but does not have a formal index. This would have a negative impact on a printed version of the text. In the PDF version, searching the text is only a click away.

The text is accurate. One of the most important aspects of accuracy in a text in this subject is ensuring that the Artist, Artwork Name, and Date of Creation are correct. Doing a few random spot checks, when this information is present, the information is correct. Figures are labelled with the source author, source location, and the license. One area the text could improve is the lack of pronunciation guides in the text and in the Key Terms areas.

Being a text covering the thematic history of visual art, the content itself will not go out of date. The lack of contemporary imagery is the biggest drawback to the text, due to licensing of the figures. To include contemporary artwork in the text, links to outside images are provided in the text. Outdated links or redirects could cause the text to become obsolete. I believe it would be helpful to have a section after the copyright page or at the end of the text describing when links have last been updated or revised. However, the text is organizing in such a way that adding new images requires revising the thematic examples throughout the text instead of having to add and reorganize chapters. This is a benefit for adding new contemporary or cultural examples through the text.

The text is very clear. Art terms are clearly explained. Written examples are used to explain difficult terms. Even more importantly, Figures are used to demonstrate the meaning of art terms. When there are contrasting ideas, the text provides multiple Figures to demonstrate those competing ideas and provide instant opportunities for students to discussion about compare-and-contrast between the two figures.

The text is consistent on how it approaches topics. Art terms are using consistently throughout the text.

The text is built to be modular. Each chapter could be assigned in any order, though it’s obvious that the editor has an intended order for reading at the beginning of the text in order to logically introduce readers to the topics. Toward the end of the text, the topics become more thematic, and these chapters could be easily reorganized and adapted. Each Chapter’s main Chapter Content has clear headings and well-defined sub-headings. Each level of heading seem to be good breaking points to create smaller readings or to remix and rearrange the text.

Chapters in the text follow a logical and consistent structure. Each chapter establishes Learning Outcomes (which are meaningfully written), and Introduction, Chapter Content with well-defined subheadings, a conclusion named “Before You Move On” that includes Key Concepts and Chapter Questions, and finally, a list of Key Terms from the Chapter. Chapters build in a logical progression a the beginning of the text.

The real point of concern with any art appreciation text is the quality of the images. The resolution of most images appears to be sufficient for screen and print. Images are no distorted. Navigating the text is easy through PDF Bookmarks.

I observed no grammatical errors in the text.

This book features many examples that vary from the traditional art appreciation “textbook examples.” Images still tend to represent a “western art” perspective. There are examples from a range of different cultures but compared to some of the best commercial textbooks for cultural relevance, this text does compare to those standards. Are there any other comments you would like to make about this book? I am not fond of the typographic and typesetting choices made for the text. Multiple columns of text would reduce some of the very long line lengths found in the text. With a long line length and narrow leading, the lines seem to blend together. Figures do not seem to follow a strict layout grid that enhances the layout of the information. The drop-shadows on Figures are unnecessary. Fake small cap on Chapter names in the Table of Contents isn’t high quality.

Reviewed by Andrea Lepage, Professor of Art History, Washington & Lee University on 12/13/20

The text integrates all of the key areas traditionally covered in an art appreciation course with an emphasis on cultivating an art specific vocabulary and understanding the materials of art. The authors incorporate a wide variety of artistic... read more

The text integrates all of the key areas traditionally covered in an art appreciation course with an emphasis on cultivating an art specific vocabulary and understanding the materials of art. The authors incorporate a wide variety of artistic media, traditions, styles, time periods, and regions into their discussions. The majority of the examples provided are drawn from Western art historical traditions, but the authors also include examples from regions beyond the West—especially China, Japan, and India. The text features some examples from Nigeria, Ghana, and North American indigenous traditions, but greater attention to African, Latin American, Central and South Asian, Oceanic, and indigenous traditions would be welcome. The work of male artists, mostly drawn from the Western art historical canon, dominate the discussions; greater coverage of women artists would also be welcome. The Table of Contents is hyperlinked and clearly organized, and each chapter concludes with an excellent glossary of terms. Including an index would assist students in navigating the book.

The content is mainly accurate throughout the text, with some typographical, spelling, and technical errors (broken links), especially in the second half of the book. As noted below, the text includes some inaccuracies or inconsistencies pertaining to indigenous cultures and artists. On occasion, the authors present controversial viewpoints in a straightforward manner. The 2003 toppling of the Saddam Hussein monument in Baghdad (p. 249) is one example. In a section dedicated to propaganda, the authors make no reference to the controversial nature of this incident, which may have been initiated or manipulated by U.S. military forces for propagandistic purposes.

The text is arranged in such a way that extended discussions and additional examples would be relatively easy to introduce. Updates might include extended discussions about artwork produced by women, indigenous, black, and other artists of color. In some cases, updates might simply expand the discussion around examples already introduced into the text (for example Gee’s Bend quilt maker Lucy Mingo, page 7; Judith Baca’s Great Wall of Los Angeles, pages 23-24; Jaune Quick-to-See Smith’s multi-media work, page 168). Such updates would help to further decenter traditional canonical Western art historical narratives. In addition, references to LGBTQ artists would be a welcome addition, as would including supplementary sections dedicated to contemporary artistic production. The authors have been careful to include discussions of more contemporary art forms like new media and graphic novels, and additional examples would be relatively easy to insert into the text. Discussions of early modern and modern art are already strong.

The text is written in clear and accessible prose. The learning outcomes at the beginning of each chapter give readers the necessary information to navigate each chapter. The concluding section in each chapter (“Before You Move On: Key Concepts”) does an excellent job of synthesizing the key points included in each chapter.

The text is arranged thematically rather than chronologically and is internally consistent throughout. Each chapter is well organized and easy to follow with a consistent arrangement that will be especially helpful for students as they study key points presented in the text.

The authors organize the text thematically, rather than chronologically as is the case with many introductory art history textbooks. Each chapter is organized consistently with learning outcomes, an introduction, a series of content sections that could be assigned at different points in the course, followed by a recap section entitled ‘Before You Move On,” and a list of key terms. The key term/glossary sections are extremely useful. In particular, the key terms included in chapter three, “Significance of Materials Used in Art”, provide an excellent and comprehensive glossary of artistic materials. It is easy to imagine students consulting this resource routinely throughout the course. Many of the ‘Test Yourself’ questions included at the end of each chapter could also double as in-class discussion prompts.

The book contains eleven chapters, organized thematically. The chapters cover conceptual questions, including: What is art, who is considered an artist, and why is art powerful (chapters one and nine)? How does art connect to our lives (chapter six), our identity (chapter eight), ritual life (chapter ten), and ethical world views (chapter eleven)? These conceptual discussions bookend chapters focused of the materials of art, and later chapters effectively circle back to themes briefly presented in the introductory chapter.

The remaining chapters provide students with art specific vocabulary and the descriptive and analytical tools to view, discuss, and interpret art and architecture. Chapters two (“The Structure of Art”) and three (“The Significance of Materials Used in Art”) provide students with an excellent and thorough description of the materials of art, which will be especially useful to students without a background in studio art. The authors are careful to include discussions of a wide variety of media including architecture (chapter seven), painting, printmaking, sculpture, video, performance, and new media. Chapters four (“Describing Art”) and five (“Meaning in Art”) provide students with an overview of strategies for formal and contextual analysis.

The Table of Contents provides links to each subsection, which is an effective navigational feature. The artworks and charts embedded in the text are high quality, well placed, and increase reader understanding of the concepts presented. The consistent design layout makes it easy for the reader to shift between image and text. Due to copyright restrictions, however, the authors are unable to include reproductions of all of the artworks discussed in the text. In those instances, the text includes links to the images. Some of the links to artworks are broken or point to sites that will require students to sift through extensive texts or image sets to find the artwork mentioned in the textbook. Along with the artist and title, it would be helpful to include the date, medium, size, and location in the label accompanying each artwork. This is a highly accessible textbook—the authors offer a variety of ways to download the PDF as both low- and high-resolution files, chapter sets (1-3; 4-7; 8-11), and in Japanese translation. The work is licensed under a Creative Commons Attribution-Share Alike 4.0 License.

The text does not contain obvious grammatical errors. However, it does contain typographical and spelling errors; accents are omitted at times.

Overall, the text makes use of examples that are inclusive of a variety of races, ethnicities, and backgrounds. At times, the text misses opportunities to bring the discussion into communication with cultures that flourish beyond the Western world. Greater attention to indigenous cultural specificity is warranted. For example, the authors reference the Aztec Plumed Serpent deity Quetzalcóatl (p. 256) in the context of Chichén Itzá, which is a Maya site located in the Mexican state of Yucatán. However, Kukulcán is the name of the Yucatec Maya deity to which the main temple at Chichén Itzá is dedicated. The authors should reconsider using the word ‘Eskimo’ (p. 270) or explain that ‘Eskimo’ is a designation imposed upon Inuit and Yupik people that has been rejected by Inuit communities for decades. This is one of several instances in which the authors could engage more significantly and critically with histories of settler colonialism. Other opportunities to confront biased Western narratives could occur in the sections focused on mahogany harvesting in the Caribbean (p. 88), Manifest Destiny (p. 161-162), and discussions of transatlantic trade in general. The discussion of Jaune Quick–to–See Smith's (an enrolled Salish member of the Confederated Salish and Kootenai Nation) "Montana’s Trade (Gifts for Trading Land with White People)" presents one such opportunity (p. 168), but both links to her work are broken. Because the artist’s name is misspelled twice in this section, students may encounter difficulties finding a reproduction of the work independently. Similarly, the authors could confront histories of enslavement more frequently, modeling their discussions on the section dedicated to Fred Wilson’s "Mining the Museum" exhibition (p. 289-290).

This text represents an important contribution in the effort to make art and the study of art accessible to students. Undergraduates studying art appreciation will benefit from the accessible prose, clear design layout, and high-quality in-text illustrations.

Reviewed by Julia May, Assistant Professor, University of Virginia on 11/30/20

I would use this text in my art appreciation/visual culture course. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. These aspects provide a solid... read more

I would use this text in my art appreciation/visual culture course. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. These aspects provide a solid foundation for students who will want to know more. It is a sufficient balance of form and meaning, which you don't often see in introductory texts. It is accessible and easy to follow. The embedded hyperlinks to supplemental information is also a unique feature that students will find helpful.

The information is accurate and consistent.

Any updates will be easy to make. I don't see anything going out of date too soon.

The language is clear and accessible. Including glossaries at the end of each chapter is a great way for students to have ready access to key definitions.

The text is consistent.

I feel that the modularity of the text is adequate. The reader should not be overwhelmed by the above elements. Being able to zoom in on the images - is a great feature - they remain very crisp and clear, at least for me.

The authors organized the text effectively, considering the amount of material covered (see above). I appreciate how the authors include a set of learning outcomes at the start of each chapter and have "tests" throughout as well as "key concepts" and glossaries. My only concern is that there is no index, nor is there a bibliography (unless I missed them).

I think the interface is sufficient. I was able to access the material embedded in the hyperlinks. Using hyperlinks to supplemental content is a terrific way for students to obtain details on particular objects. I also like that authors used them judiciously.

I did not see any grammatical errors.

The chapter on art and ritual life serves as an excellent example of presenting the traditions of a variety of cultures in a balanced and respectful manner.

This book is a perfect companion to any college-level art appreciation course - and for today's student. The balance of form and meaning, the inclusion of learning objectives for each chapter, the "tests," and hyperlinks to supplemental material makes it unique and a text I would consider using in my course.

Reviewed by Danielle Bell, Adjunct Professor of Art and Art History, Community College of Aurora on 8/14/20

In reviewing this text, there were many things that I had issues with: 1. The text condenses the discussion on artistic mediums to half a chapter. This does not give students enough time to fully engage with the mediums since there is no context... read more

In reviewing this text, there were many things that I had issues with: 1. The text condenses the discussion on artistic mediums to half a chapter. This does not give students enough time to fully engage with the mediums since there is no context given. 2. There is a whole chapter dedicated to architecture, but only smaller sections within a chapter dedicated to other art mediums, such as painting, printmaking, and drawing. The chapter on architecture could have been condensed so much more and included in the mediums section. 3. In the sections on mediums, the text does not always show examples. For instance, in the printmaking section, they do not show an art example for each process, so the students reading would have no idea what a screen print even looks like. 4. My other issue with chapter 2 is directed at the sections on the elements of art and principles of design. These sections are very rushed. Its information overload. The authors do not spend an adequate amount of time/space on each element. Again, no context is given for each element and its many facets. There needs to be more time given to the elements and principles and more art examples given so that students are better equipped to identify such things when doing a formal analysis. 5. My next issue is that there is no definition of formal analysis given before the authors, in Chapter 4, begin performing a formal analysis on two different works of art. 6. Chapter 4 also has a rather quick, but comprehensive art historical section, but it doesn't really belong in this chapter as its supposed to be about "describing art." 7. The chapter on identity in art is incredibly Eurocentric, and is also is very focused on art before 1900. There is a significant lack of contemporary art discussed in this text.

The content that is presented and discussed is done so accurately and seemingly unbiased.

For the most part, the text is very relevant, especially its chapters on themes in art. However, there are times the authors delve into topics that seem irrelevant to an intro to art text. For instance, Chapter 3 on cultural value of materials is very out of place in this text.

Clarity rating: 3

The book is at times accessible and yet also full of scholarly jargon that is confusing to those not familiar with that type of writing. Throughout the text, the authors "name drop" scholars, art schools, historical figures and events, etc. without providing context. Even the metadata for artworks is always clear as there are times where the text will omit information rather than indicating that the information is unknown.

I encountered some inconsistency in the spelling of artist names. In the text, there are conventional transliterations of artist’s names. For instance, for artist Do Ho Suh, the name is spelled Do Ho Su on page 92, and Wassily Kandinsky is spelled Vasily Kandinsky on page 106.

The text is not overly self-referential and would be easy for any professor to cherry-pick sections to assign to students. I think the strongest chapters in this book that any intro to art class could benefit from are chapters 1, 5, and 11.

The organization of topics is strange and, at times, confusing. One area that really stood out to me as disorganized is found in Chapters 2, 3, and 4. Chapter 2 is titled "Structure of Art", which is already a confusing name for this chapter as the topics range from mediums of art to the elements and principles of art and design. Chapter 3 then gets into the intrinsic value of materials, which already seems of out place in this textbook as it seems like something more relevant to an art history class than an introduction to art class. Finally, in Chapter 4, there is a discussion on formal analysis, which really should have been included in, or put after, chapter 2 since it discussed the elements and principles.

There are a number of links given in the text that do not work and others send students to works of art with low image quality.

I found no grammatical errors in this text.

This text is pretty Eurocentric. While it does have sections where the authors discuss non-Western topics, such as Chapter 10 on ritual life and art, its only in the context of Western themes. African, Mesoamerican, and Native American art are some notable cultures that are either left out or barely discussed.

This is a decent textbook for cherry-picking specific topics from, but all together it is not a great text to use as a tool for creating course structure.

Reviewed by Don Oberheu, Lecturer, Leeward Community College on 7/14/20

The text does an excellent job of covering the areas and ideas that one expects from an introduction to art textbook. The table of contents is clear and provides easy navigation within the text. While there is no glossary at the end of the text,... read more

The text does an excellent job of covering the areas and ideas that one expects from an introduction to art textbook. The table of contents is clear and provides easy navigation within the text. While there is no glossary at the end of the text, there is a chapter-specific glossary at the end of each chapter providing a convenient review of the concepts and terms covered in each chapter.

The content is accurate, error-free, and, with its many comparative references to different cultures and times, very unbiased.

The content is up-to-date and covers all of the mediums, including photography, that one would expect from an introduction to art text. It is written and arranged in such a way that any necessary updates will be relatively easy and straightforward to implement.

The text is written in organized and well-flowing prose that introduces and explains the ideas, the technical terminology, and the historical flow of the material it covers.

The text is internally consistent in terms of terminology and framework.

The text is easily and readily divisible into smaller reading sections that can be assigned at different points within a course. The text is not overly self-referential. One can cherry-pick whole chapters or sub-sections within a chapter to align with various subunits of a course without presenting much disruption to the reader.

The topics in the text are presented in a logical, clear fashion.

The interface is the only area of this text that needs some improvement. While the text is not overly self-referential, when it does refer to previously introduced and discussed images, the reference tends to be incorrect. The image referred to does exist however, the given labeling is often incorrect. Likewise, while it is great that the text is peppered with hyperlinks to images on the web, many of the links are not valid. The hyperlinks work, however, the linked images or pages are often missing.

The text contains no grammatical errors.

The text is not culturally insensitive or offensive in any way. In fact, it makes great use of examples that are inclusive of a variety of races, ethnicities, backgrounds, and time periods.

In addition to serving as a textbook for introduction to art courses, this text can also be used in more medium-specific introductory art courses, e.g., Introduction to Digital Photography, to help learners in the courses better understand both composition and the potential role of their own art as it relates to the medium they are learning.

Reviewed by Sandra Clyne, Adjunct Instructor, Bunker Hill Community College on 6/30/20

Although the text provides a detailed analysis of ancient, traditional, and modern visual art, it is notably deficient in its treatment of contemporary (post 1960s) art. This omission would lessen the appeal to college students of this otherwise... read more

Comprehensiveness rating: 3 see less

Although the text provides a detailed analysis of ancient, traditional, and modern visual art, it is notably deficient in its treatment of contemporary (post 1960s) art. This omission would lessen the appeal to college students of this otherwise encyclopedic and well reasoned introduction to the critical awareness of visual art.

The text's treatment of anthropological and art historical detail is meticulous.

Art students require a text that provides insight into the revelatory role of visual art within human consciousness. This text is far too pedantic and does not invite exploration and imagination by the students in interpreting the works of art presented.

The text would be quite accessible for undergraduate college or university students. The concepts discussed are adequately introduced and the terms are well defined. The style of writing is quite clear and straightforward.

The text is quite internally consistent, without notable contradictions in its key propositions and theses.

The text is quite clearly divided into chapters and subheadings, and there is a "Key Terms" section at the end of every chapter. However, the text lacks an omnibus glossary and subject index.

The text "flows" from basic to more complex concepts. The text approaches the critical analysis of visual art from distinct perspectives that are clearly signaled by chapter headings.

The display features employed in this text are its beautiful illustrations, which bring to life the adjacent verbal analysis.

The grammar and sentence structure utilized in this text are impeccable.

The text examines visual art from a wide variety of cultures over a range of geographical sites, but is somewhat Eurocentric. More emphasis on African, Asian, South Asian, Native American and Oceanic art would have diversified its approaches and content.

Because of its logical structure and clear writing style, this text would provide an accessible introduction to the highly complex field of visual art for undergraduate community college, college, or university students.

Reviewed by Meridyth Espindola, Adjunct Professor, Bunker Hill Community College on 6/26/20

This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples. read more

This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples.

This book presents information in an accurate way, although it includes a very limited perspective on art by BIPOC. While this is characteristic of traditional art and design history texts, it is important to be aware of and address in the classroom.

The text focuses mainly on historical art history, and will not quickly become obsolete.

The text is well-written, easy to read, and follows a natural hierarchy of information. Visually, the page formatting is digestible, easy to follow, and well organized. This text is more inviting than other digital resources because of the visual design system in place.

Consistent tone of text and organization of information.

The division of content into small, clearly labeled and organized sections makes it easy to approach, navigate, and understand.

Well organized, clear structure and easy to follow. Both the written text and the visual design facilitate a clear hierarchy of information and digestible content.

Easy to use interface.

(Did not find any grammatical errors.)

The text is not directly insensitive or offensive, but examples of artwork by BIPOC are limited and presented from colonial perspectives. This is not a problem stemming from this book alone, rather the traditional Western perspective of recorded art history, theory, and criticism. However, this text also misses the opportunity to address cultural appropriation. In a section titled and devoted to "Appropriation" (Chapter 11), the only perspective offered is that appropriation is a "legitimate way" for artists to "re-contextualize" images. The singular artist example is photographer Sherrie Levine. To devote a section to appropriation, and yet leave out cultural conflicts entirely, misses an incredibly problematic aspect of appropriation in both the historical and contemporary landscapes of art and design. This is a critical discussion that belongs in the classroom, and a disappointing absence in this text.

The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate.

Reviewed by Talicia Honkola, Art Instructor, Mesabi Range College on 6/25/20

The textbook is comprehensive, offering topics on elements and principles covered in my course. In my opinion the first half would work better to introduce students to visual art. The book is arranged well and is easy to comprehend. read more

The textbook is comprehensive, offering topics on elements and principles covered in my course. In my opinion the first half would work better to introduce students to visual art. The book is arranged well and is easy to comprehend.

Reviewed by Marla Sweeney, Adjunct Instrcutor, Middlesex Community College on 6/17/20

The text is a good introduction to art and art history . It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art. read more

The text is a good introduction to art and art history . It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art.

The text is well researched and unbiased.

Although examples of art from many periods are addressed the final chapter on Ethics includes the most contemporary art examples. The text is arranged in a format that would allow updates to be easily implemented.

The text is written in clear understandable prose. Each chapter ends with an overview of key concepts, vocabulary and good test questions on the material.

The text is consistent in framework and terminology.

The text is organized in consistent module format. The format introduces each chapter with learning outcomes and a brief introduction. Each chapter ends with key concepts, vocabulary and good test questions as a review of the material.

The text is organized logically and the chapters are based on clear topics.

There are no navigation issues with the text or the display of image examples.

The text gives examples of varied types of art from diverse cultures. There are good visual examples from historical to contemporary.

This is a good introductory text to art. I feel it would be a good accompaniment to a chronological art history text. It addresses topics that may not be covered in other art texts as fully including a definition of art, the distinction between fine art and craft, art and identity and ethics in art .

Reviewed by Julia May, Assistant Professor, University of Virginia on 5/7/20

The authors organized the text effectively, considering the amount of material covered (see above). I appreciate how the authors include a set of learning outcomes at the start of each chapter and have "tests" throughout as well as "key concepts" and glossaries.

My only concern is that there is no index, nor is there a bibliography (unless I missed them).

Reviewed by WangLing Chou, Associate Professor of Art, Louisiana College on 4/30/20

The text is comprehensive, offering a wide range of material on the subject. Several of the chapters--mostly the latter ones--are more conceptual and/or philosophical and while they would be excellent for Art majors or upper level students, they... read more

The text is comprehensive, offering a wide range of material on the subject. Several of the chapters--mostly the latter ones--are more conceptual and/or philosophical and while they would be excellent for Art majors or upper level students, they would not be as useful for a general education Art Appreciation course. Still, many of the other chapters are more than sufficient in terms of comprehensiveness. In terms of an index or glossary, neither are present at the end of the book; however, at the conclusion of each chapter, all vocabulary from that chapter are listed and defined. An index and the end of the text would be helpful.

No inaccuracies were detected in the text. The book is unbiased except that is obviously favors a greater understanding of art, such as at the end of section 1.3.2. Chapter 11 briefly deviates from the text's usual objective tone, calling on the need for both society and artists to have a particular understanding of one another.

Even with the later chapters that touch on more recent phenomena in the art world such as identity and ethics, the material in the text is written in a way that it will be relevant for an indefinite period of time. Updating content should present no problems in terms of ease of implementation.

The text is easy to read and would be accessible to college students. All specialized terminology are conveniently in boldface type and are defined both in-chapter as well as in a section at the end of the chapter. The prose is not clinical and dry but is often inviting, making use of an inclusive third person perspective and sometimes directly addressing the readers with "you."

The text is largely consistent. One area to improve might be in the learning outcomes at the beginning of each chapter. While many of verbs are measurable such as identify, name, analyze, distinguish, explain, etc., the verb "understand" is used frequently in the outcomes and is not measurable based on Bloom's Taxonomy of educational objectives.

All chapters are divided into smaller, easily identifiable sections, ranging from anywhere to 5 up to 12. Most sections within chapters are only a couple of pages. Understandably, some sections are significantly longer, but multiple images can be a contributing factor to the increased length. The text does reference itself (i.e. "this text," etc.) on occasion, but such references are minimal.

The text is well organized, both in terms of the arrangement of chapters, as well as the divisions within the chapters. The text begins generally, moves to historical, practical, and knowledge-based content, and finishes with conceptual/philosophical content.

Interface rating: 3

One issue of concern is that in Chapter 11, every other page is incorrectly labeled at the top as "CHAPTER 10: ART AND RITUAL LIFE." Such a mislabelling could confuse readers. Also, the justified text is generally not a problem, but the inconsistency in spacing between characters is sometimes problematic. For example, the first line of the last paragraph on page 19 includes no spacing between any of the characters, making the sentence almost unreadable. Finally, while the images graphics are relevant and helpful, the text as a whole feels cramped and could use some negative space--more white space around images and graphics.

Few grammatical errors were detected. It should be noted that the writers employ all three points of view--often writing in first person. Such an approach likely makes the text more accessible to college readers. However, a small issue that arises is when the writer first mentions "the viewer," singular, but subsequently uses the pronoun "we" (plural). This agreement error was only noted a couple of times on page 14 and may or may not occur in other places. A simple fix is to change "the viewer" to "viewers."

The text does an excellent job on covering a broad spectrum of cultures, ethnicities, and backgrounds. At no point could any content be misconstrued as culturally inoffensive, as the writers did a good job in remaining objective in presenting the facts. For example, the section on The Dome of the Rock in Chapter Six is a sensitive topic, but the writers treated it with historical accuracy and cultural and religious sensitivity.

Even though several chapters are above and beyond what I need for my gen. ed. Art Appreciation course, I would still find this text useful.

Reviewed by Alexis Rusch, Adjunct Instructor, Oakland City University on 3/30/20

This book is easy to comprehend. I do think the first half is better than the second. There is no index which I do find useful. In the area of visual elements and principles of design, I do wish they went more into depth. read more

This book is easy to comprehend. I do think the first half is better than the second. There is no index which I do find useful. In the area of visual elements and principles of design, I do wish they went more into depth.

I find the information presented to be accurate.

The contemporary art could easily be updated to keep this as a current and relevant text especially since links are used.

I do think the first half of the book is a bit more clear than the second half. When teaching, I find it useful to have just 1-2 examples of art for each idea/concept I am discussing. The second half almost gives too many examples of some ideas and becomes confusing for students.

The book has an overall good and consistent structure. The terms being given at the end of each chapter are good and easy for students to find and study.

The organization of the chapters and subheadings is logical and makes sense. This book is easy to break up into small sections of readings for students.

I would consider the organization the best thing about this book!

All the links worked! The quality of images and text for those links varied from website to website.

No grammatical errors observed.

Examples of artwork are given from all over the world. Although the examples and content is heavy on Western Art, there is some reference to Non-Western Art. I did not find anything culturally offensive.

Closest thing you will find that is free to use for an art appreciation course. I would not use this as my only book for the course but would use it and have some online resources to supplement areas such as visual elements and principles of design. I do feel like this book relies heavily on European art as examples.

Reviewed by Kimberly Jones, Associate Professor, Sweet Briar College on 1/29/20

While the text is relatively comprehensive, I wish that it would have cast the net wider in terms of art forms to include a more extensive coverage of film, video games, textiles, typography, etc. Nonwestern art is included, but I would have like... read more

While the text is relatively comprehensive, I wish that it would have cast the net wider in terms of art forms to include a more extensive coverage of film, video games, textiles, typography, etc. Nonwestern art is included, but I would have like to have seen more.

I do wish the authors would have expanded their discussions a bit more. In their attempt to be succinct, a choice, I imagine, made to keep the reader engaged, I'm afraid some important content is lost.

Additional information in the captions is also needed. Important facts, such as year, medium, size, etc., are not included.

I did not identify any errors. It appears to be unbiased.

I appreciate that the text stresses, right from the beginning, the importance of images in contemporary society. Asking the question -- how does Bouguereau's work relate to today -- is a good way to connect past art to the present. I do wish it would have given more examples though of new media art. I thought this was a lost opportunity to add relevancy.

I believe the text is organized in a way so as to easily implement updated material.

The style of writing is much more readable than other textbooks I've used. I believe today's students will find this style more accessible and will therefore be more likely to actually read the text. While the authors acknowledge art history's (and presumably their own) use of jargon, which they argue is "unavoidable" in any discipline, they avoid the use of unnecessary jargon. Key vocabulary words (jargon if you like) relating to art and art history are clearly and concisely defined.

I found the tone and style to be consistent throughout.

I very much like the way the text is organized. I appreciate that blocks of text are short. I think it would be easy to organize this text anyway you like when teaching, although the flow, the way one chapter leads into another, is nice, so I personally would not change it. The text is easily customizable, in my opinion.

Overall the interface is fine, but it is pretty basic. Extra features, like allowing users to zoom in on pieces, or adding arrows to specific parts of images under discussion might make this more accessible and interactive.

I did not identify any grammatical errors.

I did not find the text to be culturally insensitive.

I was surprised that the text did not take advantage of its online format to include links to videos, especially when discussing various techniques. The different printmaking methods, for instance, are much more easily understood when demonstrated. It could also have included actual videos in its discussion of video art and performance art, rather than a link to a photograph.

While I do see room for improvement, I appreciate what this text has to offer. I may even consider adopting it for my introductory course.

Reviewed by Mary Shira, Instructor, James Madison University on 1/8/20

This is not a book I feel I could adapt in its present form in my course, Art in the General Culture, a general education course designed to introduce students with little or no background in art. While it contains a wealth of information that I... read more

This is not a book I feel I could adapt in its present form in my course, Art in the General Culture, a general education course designed to introduce students with little or no background in art. While it contains a wealth of information that I can adapt within my course, it is not laid out in such a way as to communicate new concepts, such as the elements and principles of design and the history of art following a timeline that is easily followed by novice students hoping to grasp the major concepts and apply them to their lives in a meaningful way. My biggest concern is with the layout of the content as it is. In broad terms it does introduce a wide range of cultures and artforms which is wonderful but would be overwhelming to my population. Early chapters contain media spanning history and techniques (architecture, photography, craft and fine art) that need defining before the more complex concepts such as aesthetics and criticism can be attempted

I found only two minor errors while reading the text: Page 123, in the hypertext notes mid page Beckmann has an “r”, Breckmann before the link. And in the discussion of the Palette of Narmer on page 239 it states the image on the back of the palette shows Narmer with the crown of Lower Egypt, when in fact he displays both Upper and Lower Egypt’s symbols as he is “The Great Unifier”.

The inclusion of contemporary art is well placed throughout. I do feel the inclusion of so many art forms and cultures throughout most chapters is confusing however. For example, Chapter 2 attempts too many media such as painting, printmaking, sculpture plus the elements and principles of design making it hard to absorb in a meaningful way.

Most of the technical information is well presented with good visuals to back it up. I particularly appreciated the inclusion of definitions for artist made prints versus reproductions to be helpful for students to understand the difference. As an artist and college instructor myself, I can easily follow all the information but my students would be challenged to absorb much of the technical aspects of the art presented as it jumps around in application from selfies and digital art to Renaissance to ancient works. The chapter on architecture, often student’s favorite section, is too broad and yet has little nineteenth and twentieth century urban examples such as the significance of The Crystal Palace and the contribution of Le Corbusier.

Yes, the text is consistent throughout in terminology and framework. It is as I have stated however the framework that doesn’t work for me in my class setting. I believe the user would be better served by grouping less broad concepts within chapters, for example, photography. By discussing its history from the Camera Obscura to the iphone, students could see how it affected the history of artmaking while understanding also the development of criteria for judging it as an artform in the twentieth century. It is something students today will need to develop for computer generated art in their lifetime.

Modularity rating: 3

I don’t agree that the text can be easily absorbed or supplanted into an existing course as it is initially challenging in the early chapters to define art without giving students the tools to make these decisions and injects historical imagery again without a way for placing it in a useful framework. Chapter One in particular, is heavy on theory and would lose many of my students at the outset. Discussions of labyrinths and terms such as circumambulate would be off putting and unnecessarily confusing. Chapter Two is too ambitious and would serve students better if it followed a thread beginning with Gestalt and following up with two-dimensional media and only later addressing three-dimensional media such as sculpture and pottery.

Organization/Structure/Flow rating: 2

Here is the rub, I am confused by the organization here. I would like to adapt portions of the text but the way topics are presented makes it challenging. The text contains a wealth of information but the format and general layout of the chapters makes it a daunting task to absorb it into my course. I do really feel that a timeline of some sort coming later in the text is essential for students to place work in its social, political and historical context. All art can only be appreciated fully beyond its formal aspects when the viewer has access to the context in which it was created. The format of this text confuses that by jumping around culturally and historically too much.

I do feel the inclusion of maps to place the art in the world would greatly advance comprehension. I don’t think students will likely access links referenced within the text though I appreciate the concept so that can create a navigational problem if the art is essential to understanding the concept. I also found the diagram used to explain the Lost Wax method of casting to be poor.

Only the one I mentioned previously. All in all the writing is engaging and easy to follow

If anything, I think the effort to be inclusive of cultures is overdone. Women could be better represented, though again within the framework of the text it is more challenging since their contribution has historically been ignored until the modern era.

I really enjoyed the text. I made copious notes and underlined passages on many of the pages that I will absorb into my own course as the information expands topics I touch on throughout the semester. I do feel it would be a monumental task to adapt this book to my course, given the population I deal with in an introductory course on art history and culture. In addition, my course concentrates on Western culture, and so references world art only in so much as it has influenced that aspect of our culture. I am not quite sure what sort of student your text would address in so much as it is technical and expansive while not really addressing the needs of the novice in art history. I think it would be better suited for an aesthetics course than my introductory one. The class I teach is designed to help students develop a cultural understanding and appreciation of the visual arts, such as architecture, painting, sculpture and design. Lectures, videos, projects and discussions focus on issues related to the practice and techniques of creating and valuing visual imagery. Special emphasis is given to developing an understanding of the language of visual art and design, learning the basics of art criticism method, and gaining an overview of the history of the visual arts with a priority given to contemporary works of art. .

Reviewed by Billi London-Gray, Adjunct Assistant Professor, University of Texas at Arlington on 12/30/19

The text is comprehensive, providing an introduction to design concepts and terminology as well as an historical survey of (mostly Western-centric) ideas around the production and interpretation of art. Topics like ethical considerations in art,... read more

The text is comprehensive, providing an introduction to design concepts and terminology as well as an historical survey of (mostly Western-centric) ideas around the production and interpretation of art. Topics like ethical considerations in art, originality, meaning and materiality, and community purposes for art are given thoughtful treatment, encouraging multiple viewpoints for class discussions. The book lacks back matter — no comprehensive glossary, index, image list, or bibliography. As an e-book, this can be solved with a CTRL + F search. If printed, it’s a limitation for users.

I did not find any factual errors in the text, but I did find some errors in image captions (ex: Figures 7.5 and 7.36) and spellings. I encountered some variation from conventional transliterations of artist’s names (ex: Do Ho Suh is spelled Do Ho Su, page 92, and Wassily Kandinsky is spelled Vasily Kandinsky, page 106). I also encountered numerous broken or misdirected hyperlinks. These broken links were especially disappointing when they failed to show works by underrepresented artists, such as Jaune Quick-to-See Smith (page 168).

This text offers a lot of relevant material, especially given that it’s free for students to access. The content could be more up to date, with examples by new media, performance, and social-practice artists. I would also find examples by contemporary mid-career and emerging artists instructive and relevant.

The bolded key terms and glossary in each chapter are very useful. The prose is clear but drifts between accessible and academically clunky. I wish the images of artworks were captioned with the date completed and, where applicable, an indication that the artist is unknown rather than omitting artist information. For most images, the date was provided in the running text, but this requires re-reading and could confuse context for students who don’t know what to look for.

The text is internally consistent with respect to terminology used and the framework of each chapter. There is some inconsistency with including locations of architectural sites in image captions.

The text is divided into chapters that can be digested in one reading assignment or broken into shorter assignments. The divisions are clear and logical. This makes the text scalable for classes that meet multiple times per week, once per week, or on accelerated schedules. Individual chapters (for example, Chapter 2 on form and composition, or Chapter 4 on formal and critical analysis) could also be assigned as stand-alone readings, in lieu of adopting the entire textbook for a course, especially given the inclusion of a glossary within each chapter.

The organization of this text builds progressively on concepts chapter by chapter, but is not self-referential in a way that requires reading the book from cover to cover. The structure of each chapter, with learning objectives followed by content followed by a recap, comprehension questions, and key terms, provides a clear framework for students to prioritize information and test themselves. It is also conducive to reflective and indirect instructional activities in class or online.

The interface is clean but has some leading issues in the text, where letters are slightly stretched, slightly squished, or cut off below the baseline. The multi-decimal section numbering system is visually noisy and, in my opinion, no more useful than section titles and page numbers in helping students find reading assignments or refer to passages. In general, page layouts are tight, with minimal margins between images and text. This seems like a decision driven by printing concerns (minimizing page count), but additional white space would improve readability. The text worked well with the text-to-speech reader in Google Chrome.

I encountered numerous typos and grammatical errors, mostly in the form of missing punctuation, missing words, missing letters, and awkward sentence constructions. None of these obscured the author’s meaning, but it could use another round of proofreading.

This text presents more than the usual suspects found in introductory art appreciation and visual literacy books. Images by pre-modern American and European women artists are refreshing and demonstrate efforts to go outside the traditional canon. That being said, it could still be much more representative and inclusive. For example, the first chapter addresses the definition of art but approaches the debate through the ideas of notable white men without acknowledging the hegemony around this question. No examples in this chapter are truly contemporary, with Maya Lin’s Vietnam Memorial, completed a generation before today’s students were born, being the most recent image example. This trend continues throughout the book, where the vast majority of text and images are devoted to long-dead Western artists (mostly white European and American men) and static forms of art (mostly painting and traditional sculpture), with good representation for Ancient Near East art traditions, less for Eastern traditions, and little consideration for new media or performance art, artists of color, and global south art and artists. Good opportunities are missed: while there’s more than a page of text devoted to Kehinde Wiley, the image of his work is accessed via hyperlink rather than embedded (pages 221-222) for effective appreciation of his art-historical reference. In the section “11.5 Ethical Considerations in the Collecting and Display of Art,” Nazi looting is criticized but there’s no mention of the colonial plunder that still resides in American and European institutions. It would be great to see a more inclusive second edition of this book.

While I have listed specific areas that need improvement, I am thrilled that this book exists as an accessible, free, and user-friendly resource for students and instructors. Its shortcomings are far less than other texts I’ve used, and its virtues are numerous, especially given the flexibility to make immediate improvements using the Creative Commons Attribution-ShareAlike license. Many thanks to the authors, editor, and publisher who have generously shared this work.

Reviewed by Rick Lostutter, Associate Professor of Art and Design, Hanover College on 12/20/19

This textbook is a fairly comprehensive primer on art from the approach of purpose, materials, structure and meaning. It provides readers with the foundational tools of understanding how to more formally assess art and the creation of many... read more

This textbook is a fairly comprehensive primer on art from the approach of purpose, materials, structure and meaning. It provides readers with the foundational tools of understanding how to more formally assess art and the creation of many different kinds of visual representation. Having the "test yourself" and key terms sections at the end of each chapter allows the reader to develop a language and vocabulary that applies across the breadth of the nature and definition of visual art and helps solidify the elements presented within each area of art exploration. There are plenty of cultural references to the context of historical examples as well as the impact that art and design has had on society and the importance of art as a timeless reflection of the world. The structure of the book is an easy introduction into many different aspects of the study of art. I really enjoyed the inclusion and focused chapter on architecture within the greater context on art.

Having read through this text several times, I find it to be very accurate from an art perspective, technical reference and grammatical work. Statements made throughout the book are presented in a way that is supported with referenced examples and well agreed-upon art and design principles. The evaluation of art is traditionally an objective process, yet this text allows for expert opinion and fact to reside together in a way that allows for appropriate and open evaluation by the reader. So many art texts try to push specific agendas pertaining to narrow views of what art is or is supposed to be and this book avoids that in a very skillful manner.

The references and visual material presented in this book are of generally-accepted and representative examples of historic art. I would have liked to have seen some more contemporary art and artists represented as a comparison to art that has traditionally been used to illustrate the principles of art and conceptual design work. Given that this is a digital text that can easily be updated, it seems to provide a platform for having up-to-date and even current artists and their work represented. Students need to see that current work is being created that adheres to the traditional standards of the historical works referenced through the ages of art instruction. Having said that, the works used do not represent an obsolete view on art evaluation and instruction.

The reading acuity and age-appropriateness of the terminology, vocabulary and description are adequate and what I would expect for a college-level resource material. Again, the terms at the end of each chapter provide an easy reference tool for any language that a reader might not be familiar. It not only helps in the reading and retention of the material, but creates a great study guide for review after the reading of each section.

Having read many co-authored texts on specific subjects, the voice of the work is consistent and reads as though one author was the source for the entirety of the book. This is important, especially for a subject such as art, so the reader can begin to develop their own assessment of the topic without struggling through many different styles of evaluation.

The sections and chapters of this book are appropriately divided in a way that makes the subject digestible. The pacing of each chapter is segmented so that the ideas and concepts are easily incorporated into the overall topic of that chapter. This makes it a much better tool for grouping concepts from several different chapters into a lesson that requires many different elements to work together as a conceptual theme. Some chapters or sections may not be as relevant at particular times within a structured curriculum segment and the format allows for easy coordination of those individual concepts that will seamlessly integrate a cohesive lesson plan.

The organization of the topics in this book are clearly stated and work as a logical progression from one theme and area of art to another. Having said that, the topics can stand alone as needed for any given presentation within a class lesson.

The interface of this book is very clear and easy to use. Locating relevant topics from the table of contents and then quickly finding those topics within the text was thoughtfully accommodated with the section titles at the top of each page.

I have not found any grammatical errors in my assessment of each segment of this book.

Art is a discipline that has traditionally focused on the western culture and therefore has not been a very inclusive, historical representation af all cultures and races. This text does an adequate job in presenting examples that bleed outside of the traditional western historical examples of other texts. I would have liked to see more diversity which could have come from more contemporary examples of art. Given that, I did not find anything that I felt was culturally insensitive or inappropriate.

I would highly recommend this book as a great introductory supplement to any foundational art course that is meant to provide students with a base-level understanding of the complexities of art and design as a visual exploration. This should be incorporated as an essential text for students who are beginning their journey of the study of the creation of art and design. I could see this as a supplement to an introductory art history course as well.

Reviewed by Mike Morelli, Director Entertainment Management, University of Montana - Missoula on 12/19/19

This book provides a nice broad survey of styles, periods, artists' and types of art. read more

This book provides a nice broad survey of styles, periods, artists' and types of art.

The content is accurate for the vast majority of the book with few technical and grammatical errors. That being said, the errors (which appear in the second half of the book) have drawn notice from some of my students.

As an introduction, this book provides an excellent basis for discussion with students. The chapters and content are relevant, presented in a clear concise manner, and are supported by facts.

I appreciate the clarity of the material and the structure of chapters as well as the tone of the book. Color images with good labels and attribution make it easy to discuss and research further for students.

The text consistently presents concepts with supporting images and documentation in a logical and straightforward manner.

Good modularity for the most part. Given the way in which artists'/styles/concepts are presented in chapters, by necessity some ideas can only be examined contextually, and require a broader framework for understanding. The authors to a great degree provide that background and break down segments through titling with numbers to show flow while creating "bite sized pieces".

Excellent organization. Well laid out.

A logical combination of text, images, and titles delivered in a visually pleasing way.

As noted previously, few grammatical errors although enough to draw comment from students.

This text explores art as expressed by a wide variety of artist's with differing races, ethnicities, and backgrounds in inclusive and thoughtful ways. While I have had students react strongly to images or concepts in the book, (i.e. Hindu Swastika) it is not an objection to the manner in which the material is presented but often a strong initial personal reaction to a specific image, which is then discussed contextually in a manner that is both sensitive and dispassionate.

This book has worked well in several first semester Introduction to Art courses. It's clear, concise, and well written with logical and consistent organization.

Reviewed by David Riep, Associate Professor, Colorado State University on 12/10/19

I found this textbook to be very comprehensive. As one can quickly grasp from the table of contents, this book covers all of the major introductory topics for approaching and discussing art and visual culture (as well as some focused topics that... read more

I found this textbook to be very comprehensive. As one can quickly grasp from the table of contents, this book covers all of the major introductory topics for approaching and discussing art and visual culture (as well as some focused topics that are not typically found in "Intro to Art" texts). The authors organize the information in a manner that effectively builds upon previous sections, while also maintaining the ability to assign specific chapters and sections independently. Although this is not meant to be an art history text, I was impressed at how the content engages with numerous art historical methodologies (formalism, semiotics, social art history, feminist art history, iconography, connoisseurship, and even some key points coming from Hegel’s theories) without becoming cumbersome. The images of techniques and processes are also helpful (i.e. relief wood carving), as are the detailed explanations of media (i.e. what is egg tempera?). The key terms found throughout the text are also very helpful and are perhaps more useful at the end of each chapter, rather than a comprehensive glossary at the end of the book.

While it can be difficult to address global art production with an unbiased voice, I found the overall content to be thoughtful and generally balanced. I appreciated the broad questions posed to the reader, and found them to be very interesting and engaging (i.e. Why do we make art?, What defines an artist? What is the difference between Art V Craft?) as they provided the reader with the opportunity to further explore such topics. I also appreciated the authors’ openness regarding the strengths and limits of various perspectives and explanations throughout the text. While the discussion of some specific works are at times perhaps too narrow, and draw upon singular, declarative statements in order to support a point, the authors generally promote critical thinking and exploration of broad concepts. It is perhaps noteworthy to mention that some chapters were more effective in presenting a global perspective than others, although this is addressed in more detail below. Overall, I found the content to be accurate and well-researched.

One of the strengths of this text centers on the timely content, which references modern technology and concepts, as well as popular culture. I also really like the ability to pull up supplementary images throughout the text by clicking on imbedded links, although I found several of them in need of updates. I appreciated the inclusion kinetic art and new media within the comprehensive list of formal elements for 2D, 3D, 4D art, and found the overview of Aesthetics to be intentionally geared toward contemporary readers. There were many sections of the text that seemed to be specifically aimed at addressing current trends in art production and interpretation. For example, I enjoyed the dialog regarding architecture’s response to changing social development and advances, as well as the discussion in Chapter 8 which ties visual content to contemporary culture (popular media and activities such as genealogical websites, etc.). Chapter 9 equally engaged with the role of visual culture in contemporary societies by addressing Art and Power (propaganda, both symbolic and documentary), and offered an interesting dialog on building visual literacy. This chapter addresses the role and limits of media in recording or presenting images of power, and also addresses how imagery can appear “objective,” but can often contain specific messages. I found this to be extremely relevant, especially given the role of visual imagery in popular culture and social media. The chapter on Ethics is also quite relevant, and highlights the perception of visual culture and how it changes over time. Finally, the discussion on appropriation is very timely, as is the component that addresses museums. The questions posed regarding collecting and display practices are often left out of introductory texts, but are extremely relevant in contemporary times.

Overall, the text is approachable and clear in tone, and effectively guides the reader on how to best use this resource (i.e. explaining how the book will present content, and where the reader can expect to find various components). I found it to be a very useful text that presents complex concepts in a manner that non-specialists will easily understand. I also found the various case studies that are used to guide the reader in applying theories and methods to be very effective. The text presents content in a clear and concise manner, and I found the “Test Yourself” questions to be well constructed, approachable, and effectively open ended (when appropriate).

Another strength of this text is its consistency in presenting and disseminating content. The authors developed a number of components that are found in each chapter which draw the reader's attention to recognizing and applying key concepts. I found each chapter to be clearly and effectively structured, with appropriate subheadings and use of bold text to highlight important ideas and terms. This made the text very easy to navigate. I also found that the overall content maintained a consistency in tone, in spite of the fact that multiple contributors were working on any given chapter. The text is very clear and approachable, yet engages with complex theories and concepts.

It would be very easy to assign portions of this textbook throughout a teaching term, as most chapters can function as independent units, while also effectively engaging with other sections. I like the overarching themes of each chapter, which could easily be realigned as needed, and the fact that the subunits are of a manageable length. This book offers instructors a great amount of flexibility.

The book’s overall organization is clear and concise, with each chapter presenting measurable learning outcomes and ending with practical applications of concepts. I also found the subheadings to be very thoughtful in expounding upon the overall topic in each respective chapter. It is very easy to navigate through the various subunits, and the overall content is very appropriate in building an effective discussion of the various topics at hand.

While I really like the use of imbedded links to view images and expound upon concepts, some of the links did not work and need to be updated. Regardless, I like the fact that the use of links allows for the text to remain current, and to highlight contemporary content, developments, and artists.

I did not find any grammatical errors.

The text offers a sound explanation of artistic concepts, and makes an effort to present a global perspective. I appreciated the attempt to use both recognizable images from the Western canon as well as lesser known works, although some chapters were more effective in presenting a global perspective than others. For example, I was intrigued by the in-depth discussion / case study in Chapter 3 covering media in the eras of Constantine through the Ottonian Empire, although it could have been balanced by non-Western case studies (for example, the use and significance of metals in African cultures). Chapter 4 addresses formal analysis, although the overall discussion is largely focused on degrees of representation in the arts. This seemed to present a very "Western" perspective of artistic development, and could perhaps benefit by highlighting western and non-western objects, as well as naturalistic and abstract pieces. I especially liked the focus on “Interpretation” and highlighting how meaning is formed from multiple perspectives (the individual, society, and the impact of time), although I found the section on “Evaluation” to be rather narrow and perhaps unnecessary (what, for example, is the “verdict of history” that determines great art? Who / what determines this "verdict"? Why are museums placed at the center of this discussion, along with the suggestion that a work’s presence in a museum determines its artistic value? What do the authors mean by the phrase “best art”?). I appreciated the discussion of conventions in Chapter 4, and how the text traces them across cultures. However, when addressing cultural style, it might be helpful in some cases to note the role of "time" (the Western examples were presented according to how various artistic conventions developed over time, while many of the the non-Western examples, such as the Ancient Near East, are not given this same treatment). In a similar manner, the topic of individual artistic style could also benefit from exploring non-Western “anonymous” artists through a brief discussion of the history of collecting, and how one can trace the hands of unknown artists in the same way that Western artists have an identifiable style. I appreciate the inclusion of female artists such as Lilly Martin Spencer and Frances Palmer in Chapter 5, as well as the addition of a few non-Western pieces, but the chapter is still quite heavily Western, as is Chapter 6, which maintains a Judeo-Christian focus. This chapter could perhaps be broadened by engaging with diverse belief systems. This seemed to be rectified in numerous other chapters. For example, Chapter 7, which focused on architecture, was more intentional toward representing global perspectives and works of art, which I found to be very helpful in understanding global art production. Along the same lines, I found Chapter 8 to be very effective and inclusive in presenting concise notions of "the self" within expanding social spheres, and in discussing individual identity/gender, and external influences such as economics and class. I also appreciated how Chapter 10 highlighted global engagement with sacred structures, sites, rituals, and performances, as well as their significance.

The open source text "Introduction to Art: Design, Context, and Meaning" is an impressive resource that addresses the foundations of approaching, discussing, and understanding art through both historical and contemporary lenses. The authors took on an impressive amount of work to create a textbook that engages with contemporary topics, while laying the foundations for effective visual literacy.

Reviewed by Elizabeth Morton, Associate Professor, Wabash College on 11/6/19

This text covers almost all of the bases one would expect for an introductory class. Its biggest problem is the lack of inclusion of non-western examples in its presentation. The European art tradition dominates the discussion, with some... read more

This text covers almost all of the bases one would expect for an introductory class. Its biggest problem is the lack of inclusion of non-western examples in its presentation. The European art tradition dominates the discussion, with some allowance for Chinese and Japanese. You look in vain for references to African, Latin American, Oceanic, or indigenous art, even when they would be an obvious choice given the ongoing discussion.

This text has been written and edited carefully by veteran teachers. I did not see any errors or the use of suspect research

I believe the thematic approach to the material is far more relevant to today’s student than the classic approach based on historical progression. The chapters are judiciously chosen and are placed in a logical order. Again, the only thing old-fashioned here are the relentless insistence on using the western canon as the basis of discussion.

This text has been carefully written and has been painstakingly edited. I particularly thought Ch 2 was a standout in the way it presented the basic categories of art. At many points I berated myself for failing to present material so clearly in my own classes!

Once again, it is worth stating that the editing is of admirable quality. A lot of thought has gone into maintaining similar terminology and reference points as the chapters progress, even though they have different sets of authors. The use of keywords is also a strong feature, since many of them recur as the book progresses.

A definite strength of the text. Very easy to divide up the text by week, class, group, etc.

The editor is to be commended as the text flows smoothly from on section to another.

I liked the yellow bars on the right side which assist in moving between chapters. The “find” feature works well, and overall it was easy to use the extext. This is very user-friendly.

Once again, the editing here has been thorough and painstaking

Chapters 8-10 in particular are disappointing in that they offered a chance to move away from a traditional, Eurocentric approach. While the authors do include some non-western examples as they proceed, they still rely too much on European art. Chapter 11 is also disappointing—with non-western art having been plundered systematically for a long time and its placement in First World museums being increasingly problematic, it is not even mentioned.

Well done on a very user-friendly text. However, some extra work in terms of broadening the geographical base of examples is definitely in order

Reviewed by Jade Hoyer, Assistant Professor of Art, Metropolitan State University of Denver on 10/25/19

As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art. It’s a lot for a work to cover, and is generally successful, if sweeping, in doing this. I didn't note an index. The... read more

As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art. It’s a lot for a work to cover, and is generally successful, if sweeping, in doing this. I didn't note an index.

The exception to this for me is Chapter 2, which is essentially a studio class in a chapter (a rapid-fire discussion of all artistic media, design elements, design principles, and color theory for good measure. This chapter contains no less than 150 "Key Terms!"

I found the content to be generally accurate.

It was frustrating that most of the work’s contemporary examples were hyperlinked instead of embedded as images and potentially impermanent. Though likely a result of copyright issues, to present most contemporary accounts as a block of black text visually diminishes their importance. (It’s also likely that students won’t bother clicking the links.) Would like to see links changed to more persistent format.

With regard to writing, the work is generally clearly written, and approachable to beginning students. The tone of the writing is quite generous- the first chapter explains how art is ultimately about the viewer’s interpretation and adds “but we do have help if we want it. People who have made a disciplined study of art can offer ideas about what art is important and why.”

With regard to imagery, I thought that no dates, media, or sizes were listed for the works to be a big miss.

The work also had a tendency to bounce around. I felt many sections leapt centuries and continents (and often both centuries and continents) within a single page with transitions akin to “meanwhile in Russia…,” or “a few hundred years later.” I appreciate that many of these about faces were connected to efforts to be inclusive, but it presented a dizzying narrative, that was made more confusing for lack of timelines or context (like dates!) provided in the imagery.

Writing seemed consistent throughout. However, I found instances of sloppy formatting: definitions were often in bold a few letters or even a word beyond the word being defined. Beyond this, I could imagine this formatting being confusing for students as words that were in bold indicated definitions and sometimes, but not always, were designated as Key Words at the end of each chapter. For example, on p 63, four terms are defined in one paragraph (unity, variety, conceptual, interval, scale, proportion), but only two words (interval, scale) are designated as Key Words. I find using a different formatting technique in this case, such as color, would be helpful in assisting students in identifying Key Words earlier at the beginning of the chapter.

I enjoyed this aspect of the work! I would especially use the final chapters for my classes (such as Art and Power, Art and Ethics). I found these chapters to be thoughtful and relevant to students, and especially appreciated their being structured around case-studies.

I appreciated the general flow of the work beginning from simple definitions “what is art?,” “who is an artist?” to contemplating identity, power, ethics, and controversies in artmaking, though some sections seemed redundant. Good summaries and questions to accompany the readings, especially later in the text.

Worked great for me! I also appreciated how the Hyperlinks took me to new works, and that I could return to my spot on the page when I clicked the back button. Please note Relevance section regarding links.

I found limited grammatical errors.

I appreciated the interweaving of Western and Non-Western narratives, though found that, especially if one were focusing on the imagery, that the works presented felt skewed Western.

Great resource- will definitely utilize sections in my teaching.

Reviewed by Maria Guzman, Instructor - Art & Art History , Peralta Community College District on 9/26/19

I found this book to be a good "skeleton" text for a variety of courses. I liked that it had chapters dedicated to both formal analysis (Chapters Two, Four, and Five) but also managed to include global perspectives (Chapter Eleven: Art and Ethics... read more

I found this book to be a good "skeleton" text for a variety of courses. I liked that it had chapters dedicated to both formal analysis (Chapters Two, Four, and Five) but also managed to include global perspectives (Chapter Eleven: Art and Ethics was especially thought-provoking). The themed chapters (Chapter Eight: Art and Identity and Chapter Nine: Art and Power) are relevant for any Art History course, and I use them for all courses, including World Art, Art 1, 2, and 3 (these cover the prehistoric to contemporary periods, collectively). The addition of Key Terms at the end of chapters was also helpful.

When I decided to use this text, my main concern was regarding whether the content would be easy to connect to my prior courses' designs. I used Henry M. Sayre's "A World of Art" and the Marilyn Stokstad "Art History" textbooks. Thanks to the chapter that discussed the general theories about what art "is" (Chapter One), and the clear language that mirrored Sayre's creative drives (found in Chapter 6, mainly), I easily transitioned to using this book for my course. Most recently, I have adopted it for Art 101: Western Art History and ART 103: History of Modern Art.

Inclusivity is consistent in the discussion of works from different cultures and geographic areas. I was impressed by the mention of postcolonial topics, and even the addition of 4-D in relation to formal descriptions. This is a text that has incorporated recent scholarly perspectives and new genres in art. I had fun adding OER readings about identity, especially, in order to complement the chapter in this text.

I have had feedback from students regarding the easy-to-follow format and text used in this book. I also find it easy to get through in a short amount of time.

Overall, the terminology was clear and consistent.

Yes. I usually remix the chapter order, based on what type/periods I am addressing in a course. Chapters One, and Two are great for the first few weeks. I save Chapter Four for the middle of most classes, in which we are beginning to do more art descriptions as a group. I use Chapter Six towards the end of the courses, where the class begins to conduct research and observe more creative drives and themes. I apply Chapters Eight and Nine based on the time periods, and how relevant they are the subject matter or styles covered in the course. I have thought about inserting Chapters Eight and Nine right after Chapter One in order to address the modern period and the growing individualism in modern art.

Chapter Ten is especially good for any ART 1, 2, or World Art course, especially (ART 101 or 102 as well).

I will be teaching a short-term course about Architecture this semester, and am excited to use Chapter Seven: Form in Architecture.

Excellent -- these are short, include many genres, mediums, and cultural styles in a sensible way. Usually, the chapters include a variety, and this enhances the global perspectives that the authors encourage. It also makes it easier to select works of art to focus on, if you are covering particularly modern or World Art, for example.

No issues with interface. The format is easy to navigate, and my only suggestion is to create hyperlinked headings for chapters in the Table of Contents, so that you could jump to the chapters a little sooner. Small suggestion, though. It's very well formatted and designed.

As stated in the Relevance section, this book offered good topics that were easy to connect to contemporary or recent studies in non-Western art (Global Art perspectives). See pages 5, 8, and 9 for a few points made about this text's open format and my review of The Met Museum's OER text, "Art in Africa". It was a compatible text and I would recommend "Introduction to Art" for its culturally-sensitive and unbiased perspectives, especially if building a course about global approaches to art. Read my summary here: https://docs.google.com/document/d/1cSG4MWFta-nE9yTgSC__QP22D2dHpYjsg9evVysBQFg/edit?usp=sharing

No additional comments.

Reviewed by Mara Pierce, Assistant Professor of Art Education, TRAILS on 9/16/19

This text covers several, if not all, the bases needed to fully appreciate art making processes, historical perspectives, variations, time periods, methods, criticism, purposes, associations, and artists. Each chapter opens with objectives and... read more

This text covers several, if not all, the bases needed to fully appreciate art making processes, historical perspectives, variations, time periods, methods, criticism, purposes, associations, and artists. Each chapter opens with objectives and concludes with an evaluative activity. The authors present varied perspectives that are appropriate to understanding the diversities that are encompassed in the art world. The images included are also significant and comprehensively representative. However, many of the images also depict the same imagery found in other books. Students reading this material need to also see work from a more balanced sampling of artist genders. The topic is discussed in Chapter 8, but not visual samples of women’s or other-gendered artists included there. I applaud the discussion of the Nazi art theft.

The text contains mostly accurate information, but could use further clarity. For example, if using Indigenous names, use tribal identifiers, such as Piikani for those who identify as Blackfeet. A piece of dance regalia is referred to as a “costume,” which elucidates the author’s limited understanding of the role of garb in ritual. While appropriation, as covered in Chapter 11, is an integral part of the contemporary artworld, it is also presented as acceptable and normalized. It should also be included that appropriation is not universally accepted and is fought by several artists today. For example, there was recently a court case by Ai Weiwei brought against Volkswagen for copyright infringement based on appropriation of his work used in an ad.

For a General Education class, there is no doubt that this text would work toward appreciation of art making, art history, criticism, and aesthetics. There is a great deal of insightful information that would be relevant to undergraduate students’ first exposure to the art world. Additionally, some points would be relevant to students who have been practicing in the art field already, as well as those who plan on teaching art at the K-12 level.

The authors have written using clear language and vocabulary that are appropriate and relevant to the early college student. However, it would be more effective to have the vocabulary listed at the onset of the chapter, as opposed to the end. In doing so, the students can reinforce learned words and make connections throughout the reading. It also acts as an introductory feature.

The flow and voice are consistent. Level of difficulty is upheld and relevant throughout, as well.

Each chapter in this text can work independently of each other. However, in being able to comprehend and apply information in some of the latter chapters, one would have needed to cover material, specifically, in Chapter 1 and 3-5.

The text is excellently organized. The authors began with the foundation of defining art through discussions of contemporary diverse purviews held. The organization is logical and would be in a manner that I would present in my course.

The text file is easy to access and navigate. The URL links are clear, as well. However, it would be helpful in supporting the learning to provide links on the images to their sources, as well.

There are no perceivable grammatical mistakes.

I found the cultural aspects of the text to be limiting. The authors touch on the fact that art is not viewed identically throughout the world, which I applaud given that this is a tremendous part of the art perspective today. However, there is also a need for greater underrepresented Indigenous discussion/examples. Between Chapter 1 & 2, for example, there is only one image of Aboriginal origin. Ch. 7 includes three architectural pieces. Consider Anasazi examples, such as Pueblo Pintado or Mesa Verde as part of early architecture. Chapter 10 discusses masks, but only examples one. There are thousands of cultural groups across the globe that use masks for purposes from theater to holidays.

The text is a good resource for basic understandings. It may be best served for an online course given that much of the relevant information is laid out in the text.

Reviewed by Stephanie Newton, Professor, Aims Community College on 7/26/19

The book could spend more time with processes of creating--the different types of paint, printmaking, etc. It seems to be very brief in introducing the elements and principles of art as well. Although each chapter has a glossary, it does not have... read more

The book could spend more time with processes of creating--the different types of paint, printmaking, etc. It seems to be very brief in introducing the elements and principles of art as well. Although each chapter has a glossary, it does not have an index, which I usually find to be helpful in textbooks. The images also lack some key information that is standard in other art textbooks--no dates, no dimensions, no media. I truly disliked that about the text.

While I appreciate the gender-neutral language of the text (craftsperson), I do not feel that it is totally error free and accurate. For example, the authors use the dated notion of "sympathetic magic" when discussing cave paintings, which is a theory, but is not widely accepted any longer. They also refer to cherubs or putti as cupids. Cupid is a specific deity. One really glaring problem is the use of "Eskimo" on page 270. They need to reframe the use of that term to indicate it is not an acceptable way of describing the Inuit or Yupik cultures.

The text has a nice mixture of old and new art, and examples of contemporary art could easily be updated. My one issue with the relevancy is that many of the contemporary works of art (and other examples they employ) are not pictured, but given as hyperlinks. Those links could easily be broken in the future. I understand that obtaining copyrights to those works could be prohibitive, but it's a distraction from reading the text to send students to a website to look for the example provided.

On page 208, paragraph three, the authors are referring to a conceptual artist, but they omit the word artist, and don't define what a conceptual artist is. They also often refer to historical styles of art without defining what that means. How are my students supposed to know what Beaux Arts or Art Nouveau are without some sort of explanation (p. 193)? On page 203, they mention the Franks, but don't explain who the Franks are. On page 205, they mention a tympanum, but don't define what a tympanum is, nor is it in bold (to indicate that it is in the glossary), although it is defined in the glossary. There are also some areas that are not very clearly written, such as paragraph 2 on page 202. On page 256, while discussing Chichen Itza, they discuss Quetzalcoatl but don't tie it to the pyramid in anyway at all.

Consistency rating: 3

I found the beginning of the text to be much more clearly written and compelling than the second half of the book. It provides almost too many examples of art to discuss an idea.

You could fairly easily rearrange the order of chapters or omit a chapter without needing the others to support the content. This for my class would be necessary in chapter 2, where bizarrely, they discuss processes before elements and principles.

It seems to be organized fairly well, although chapter 2 does have me a bit confused. It would also be good of them to introduce abstract vs. naturalistic earlier, perhaps in chapter 2.

Again, I worry about using so many hyperlinks in a text such as this. They could easily become dated or broken, leaving the reader frustrated. Some of the images are low quality, and some of the diagrams are very hard to see, so I am concerned about students with vision issues.

Grammatical Errors rating: 1

Oh boy! Again, I didn't start seeing major problems here until around page 200. Page 178, Fig 7.5, Skara Brae is misspelled as Sjara Brae Page 218, the word artist is missing after conceptual Page 235, Persepolis is spelled Persepholis Page 246: Iconoclasm is spelled as iconoclas Page 250: Bamiyan is spelled as Bamyan

I felt that it was very culturally inclusive, using artistic examples from around the globe, but perhaps focused too much energy on Christianity. Again, framing the use of the word Eskimo would be worthwhile.

There were some things I thought were really unique and wonderful about this textbook. The first four chapters had me very excited about the possibility of a OER book for my students. I especially thought chapter 3 had some valuable and unique ideas that would be super fun to share with my students. Chapter 5 is where it started to lose me. They discuss how important iconography is, but don't really give any analysis of specific symbols in a deep and meaningful way. They could have used the Merode Altarpiece as a platform to really dive deep into Christian symbolism, but only mention a few of the icons that are present. I know these are things that can be done in the classroom, but I was a little disappointed by the vagueness of their analyses and the overabundance of examples.

Reviewed by Michael Takemoto, Associate Professor, University of Hawaii Maui College on 5/24/19

This is a review of the hard copy, purchased from Amazon. Overall, for an art appreciation / introduction to visual art text, it is fairly comprehensive. However, compared to other books of a similar nature, it lacks in some aspects: it doesn’t... read more

This is a review of the hard copy, purchased from Amazon. Overall, for an art appreciation / introduction to visual art text, it is fairly comprehensive. However, compared to other books of a similar nature, it lacks in some aspects: it doesn’t include a glossary, many significant 20th and 21st century artists and their works are not included. A more in-depth exploration of the elements of design (or visual elements), the principles of design, as well as the deeper exploration of various art mediums and techniques would be helpful.

Each chapter begins with learning outcomes and ends with review questions and key term definitions, this is definitely helpful for students to understand the basic concepts of the text.

The book has accurate historical and cultural facts, and includes the correct titles of works and artists. However, most of the printed images have no dates, mediums, and dimensions.

The text is relevant for our times, as it introduces a wide range of Western and non-Western, multicultural artforms and traditions. It also includes sections on the role of politics, economics, and ethics in the visual arts.

The writing is clear and concise, it is easy to follow and understand. The Key Terms at the end of each chapter serve as a good review of the introduced vocabulary.

There is good internal consistency in the text, as each section follows a similar format.

Each chapter is broken up into smaller sections, so readers can proceed at their own pace and know what to expect is each subsequent chapter.

The text is organized in a logical, but not historical manner. The concepts presented flow smoothly from one postulation into the next.

Iʻm somewhat neutral on this, since Iʻm reviewing the hard copy. However, when exploring the PDF version, the links throughout the text are a great asset. Some links took a while to download, I’m sure this part will need constant updating.

The text is clearly written and grammatically correct. Readers are able to comprehend and understand the concepts and ideas presented.

While the content is dominated with Western Art concepts and examples, it still includes a number of diverse cultural works and traditions from different historical eras and locations.

Iʻve used this text for one semester so far, and plan to continue its usage. As a basic introductory book, it is more than adequate. Instructors can definitely pick and choose the parts they find useful and add their own additional content when needed. Students will understand the content and like its cost, even if they decide to order a hard copy.

Reviewed by Leila Armstrong, Visiting Faculty, Metropolitan State University of Denver on 5/9/19

The text covers a broad array of art movements both geographically, and temporally, though I think the non-Western selections are a bit slim. There are a number of mentions of modern/contemporary art, but the authors often provide links to images... read more

The text covers a broad array of art movements both geographically, and temporally, though I think the non-Western selections are a bit slim. There are a number of mentions of modern/contemporary art, but the authors often provide links to images rather than embedding them. I imagine it has to do with copywright issues, but I think our student body would skip clicking on the links. The learning outcomes, key concepts, test yourself, and key terms sections provide a nice loop for students to reinforce material learned, and to give quick but accurate definitions of key terms that appear throughout the text.

The setup is different from most textbooks I've used, and some of the terminology is different (e.g. elements of design instead of visual elements). There are also some terms I've never seen used before (e.g. psychic line). I found some visual elements and some principles of design commonly found in other texts either missing or placed in categories that aren't where I'd put them (light//value, pattern, motion, isometric perspective), but overall the information is presented in an unbiased manner and the content is accurate.

The content is up to date and there's not much that will change in the historical sections of the textbook (particularly at this level), and making additions of new artworks, or updating the images used would be relatviely simple.

Again, the key terms, definitions etc will help students with new terminology, and I found the writing straight-forward, concise, and conrete. The explanation of terms are clear, and the authors have a number of good charts, diagrams and the like to help students understand the terms better and how they can be applied to different media.

The authors are consistent in their use of terminology throughout and each chapter is set up the same.

Each chapter and the text within each chapter follows a similar format, and the authors have made a number of subdivisions of the text with numbes which makes breaking the chapters up into modules very easy. The information is parsed in readable sections, but each subunit aligns with the ones before and after it.

The organization is logical, beginning with the the basic questions, moving into formal analysis and then into thematic units. Overall the text flows easily from one topic to the next.

The images, diagrams, etc. are all clear. I tested a number of the links (but not all) and they worked, but I've found links are one of the most problematic additions to course content, because the links often break. Furthermore, depending on whether the student is reading the text in Adobe or online, the link will take them out of one program and into another, which isn't a seamless reader experience, or in the case of online, if the link isn't right-clicked, you go straight to the web page and lose you spot in the text.

The text didn't contain any grammatical errors that I could see.

Although I found the non-Western selections slim, the book was inclusive of a variety of works from different cultures and time periods. I didn't come across any information that I would consider insenstitive or offensive, but since art often deals with subjects that can be considered controversial, there are there certainly sections that may offend (nude bodies, or looking at past representations of race that are unacceptable today). The book does have a nice section that covers some of the controversies of art.

Reviewed by Anthony Marchetti, Full-Time Faculty, Minnesota State on 5/4/19

This textbook is an impressive guide to the introduction of art and visual literacy. It is not an art history textbook. There is room for further examples of artwork or at least links to more visual resources. Also, more contemporary image... read more

This textbook is an impressive guide to the introduction of art and visual literacy. It is not an art history textbook. There is room for further examples of artwork or at least links to more visual resources. Also, more contemporary image examples would only strengthen this title. The Learning Outcomes provide a solid reference for the main themes presented in each chapter. The Key Terms, however, are less developed and seem more like an after thought. The text is organized thematically, but there is room for chronology to play a larger role, perhaps in individual topics/chapters or with an appendix that can trace back to image examples throughout the textbook.

The text is accurate, error-free and also unbiased. The shortcoming is one of omission - there should be more information presented with the images. Title, artist, scale/size, medium, current location, and any other pertinent information about process should be included.

Aside from the need for more contemporary examples (or links to contemporary work outside of the text), the information presented is relevant. Much of the text is historical so will remain so for as long as the text is available. The arrangement of content is easily modifiable for future editions. More contemporary work could be added, making the content even more up-to-date.

he text is written in a style that is easy to understand. Simple repeated visual devices (differences in color or size of text, bold text for important terms, etc.) organize the text. Topics and subtopics are broken up into manageable blocks of text that should retain student interest. As mentioned previously, more information is needed about the individual sample images.

The organizational template used and the writing style are consistent throughout the text.

The division of topics and subtopics is supportive of student comprehension. The organization of the text would allow for multiple class formats - one class session per week, multiple classes per week, or an online Art Appreciation/Intro to Art.

The thematic nature of this textbook would work well for an Art Appreciation or Introduction to Art seminar/survey course but would not be applicable to an Art History course that demands more chronological order. The text is successfully organized so a student would easily understand what to expect from chapters and subtopics. Text formatting unobtrusively guides the viewer to important concepts and key terms.

The PDF interface was a strength of this work - links to outside content supplement the text. Still, there is room for more of this type of content in this text. Images in the text are high quality reproductions. I found no navigational problems.

I did not detect any grammatical errors in the text.

In general, the text draws from different cultures to connect main concepts and themes throughout - this is an important distinction from some art appreciation texts that place the majority of non-Western cultural/artistic traditions into a single chapter. More contemporary examples are needed in this text.

Reviewed by Jeff Brown, Associate Professor of Art, Nicholls State University on 4/29/19

In its 11 chapters, the book covers the essentials for the overall subject. I appreciate how it is divided up, especially in the beginning where it starts with basic ideas and concepts of what is art. It can seem elementary to discuss this, but... read more

In its 11 chapters, the book covers the essentials for the overall subject. I appreciate how it is divided up, especially in the beginning where it starts with basic ideas and concepts of what is art. It can seem elementary to discuss this, but is so important to establish this with students who may not have had any or much interaction with fine art. The book includes learning outcomes for each chapter, which works well for instructors who use learning outcomes within their syllabus and for assessment purposes. I feel the selection of images are a good choice and diverse, using the traditional images found in just about all the other hardcover textbooks. A nice addition is the use of images of process and where artists are working. The inclusion of key words and meanings at the end of the end chapter is a useful tool for students utilize. One item that could use more attention would be to include dates and materials used for the chosen artworks.

Accuracy of content was error free and unbiased.

The content is current information about a historical event or current event as we know to this day. Updates can easily be made without much restructuring of the textbook.

The book was written in an easy read way with lots of imagery to match concepts. Key terms placed in bold text makes it possible for readers to easily locate if going back and forth from text to key term definitions, located at the end of each chapter.

The book is full of terms and its consistency to the concept or subject. Terms that may not seem clear to the reader are defined at the end of each chapter. This would allow the reader a more user-friendly way of referencing a term then the typical glossary at the end of the book.

The framework of the book that remained consistent from chapter one to the final chapter. An overall good structure to the textbook.

This is probably the toughest part to putting a book together in my view. Choosing what to include or how much to include of one topic or concept can truly make or break it for a textbook. This book is setup in a conventional way, such as chapters with subheadings. This way does work for the textbook, but is nice is that within each chapter the subheadings do not linger on and on when it could have been much shorter.

Organization of the chapters and subheadings work well. Easy to work through

I give the interface a low rating due to its setup of links and workings as a PDF. I like the fact that the textbook utilizes web links. This can be exciting for the reader to potentially experience other useful visuals or resources to help relate to a topic. Some web links within the text of the subheadings are sometimes often just images with no actual source listed and lack further information. This part could be revisited for better interfacing. One thing I noticed and hope it can be remedied, are the workings of the table of contents. Many dead jump links existed in the table of contents page. Some worked great, allowing you to jump to a chapter or subheading with the press of button. Frustrating when it did not.

It would be nice to be able to easily return to the table of contents from anywhere, rather than having to scroll back up to the table of contents page.

The text of book seemed to have no grammatical errors.

No cultural insensitivity stood out.

A useful online textbook. Images are of a choice and quality. However, more information is needed for each image used, such as dates, materials, and dimensions.

Reviewed by Michelle Dean, Assistant Professor, Thomas Nelson Community College on 3/27/19

Introduction to Art: Design, Context and Meaning is an appropriate title for this text. The 11 chapters explore structure, materials, meaning and context of artistic production in a somewhat comprehensive manner. It certainly provides a solid... read more

Introduction to Art: Design, Context and Meaning is an appropriate title for this text. The 11 chapters explore structure, materials, meaning and context of artistic production in a somewhat comprehensive manner. It certainly provides a solid foundation for visual literacy and aligns with content in standard art history courses. This text is also well organized. Learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter. This text, however lacks a comprehensive index or glossary.

The content of this text is accurate and essentially unbiased and error-free. Key terms are often defined in a universal manner and therefore aligns with terminology in standard art history texts. The text does not display any particular bias and appears error- free. The main criticism I have in this area is the information provided for images does not align with the standards. Title, artist, medium, size, and location for each image should be provided for the reader not just a reference to where the image was obtained.

The bulk of the content in this text will remain relevant for an extended period of time. Topics such as structure, materials, meaning and context of artistic production leading up to the modern age do not change significantly over time. The one criticism I have in this area is that there is not much contemporary art and that fact may lead to the text feeling out dated over time. Additional chapters would be perhaps the easiest way to update the content however this text in not arranged in chronological sequence and integrating contemporary example in previous chapter will be challenging.

This text is written for students who are new to art. It is an introduction to art. It presents information in an accessible manner and clearly defines most terms. Although the learning outcomes are stated in perhaps on overly cumbersome manner. The main criticism I have in this area is that the history of art and perhaps more importantly the evolution of art is difficult to ascertain when works of are referenced without regard to chronological sequencing. To talk about classical and modern examples in a section can be challenging for a new student in art to compare and comprehend.

The framework of this text is very consistent. The content of each chapter is organized in the same manner. As previously stated, learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter. Key terms are in bold type in the chapter and also included in the list of key terms at the end of the chapters. Terms are used consistently throughout the text.

The chapters of this text are divided into sub-sections. For example Chapter 3 on materials is divided into 11 sub-sections which include sections on learning outcomes and introduction at the beginning and self-tests and key terms at the end. And although there are numerous sub-divisions in this chapter it is still reads as large blocks of text. Text boxes might be a more effective manner to present the content in a more accessible manner for our current student populations.

The overall organization of the content is presented in a clear a logical fashion. The first chapter asks the appropriate question ... What Is Art? Chapters 2-4 discuss the structures of art, the materials used in art and describing art. Chapters 5 and 6 discuss meaning in art and connecting with art. Chapter 7 is specifically focuses on architecture. And chapters 8-11 address art as related to special topics such as identity, power, ritual and ethics. A concern here is that architecture is not fully integrated into broader discussions.

The images and diagrams in this text were clear and of good quality. The inclusion of various links in the body of the text were well placed and on topic. But I could not open all the links.

I did not notice any significant grammatical errors.

This text is somewhat unbiased. I did not notice any culturally insensitive or offensive content. However, the content is primarily a discussion of the western tradition. Although, Eurocentric approaches are common in art education it is perhaps more appropriate to intentionally be inclusive of non-western traditions.

Reviewed by Mandy Keathley, part time professor, Linn-Benton Community College on 1/28/19

Considering how entry level and accessible the text is, it is also fairly comprehensive. I wish there were more contemporary art examples, but I was able to fill in as needed. I found it sufficient as an outline, and did a lot to fill in the gaps. read more

Considering how entry level and accessible the text is, it is also fairly comprehensive. I wish there were more contemporary art examples, but I was able to fill in as needed. I found it sufficient as an outline, and did a lot to fill in the gaps.

No errors noticed.

The book feels a bit out of date as it is, though not in danger of becoming more so over time.

The text is great on clarity and accessibility, written in a way that most entry-level students could understand. If anything, it errs on the side of over-simplification.

Very consistent

The modularity was one of the strongest aspects of this book which made it easy to teach in a course. Each unit feels contained and leads into the next. However, I think that some modules could be expanded.

The book is organized well. It is not in chronological order like might be expected, but this can be used effectively. I found it helpful to teach chapter 5 & 6 first, to get students to think about the meaning in art as a way to get them interested.

The interface was adequate. The design could be improved, including the sub-headings and organization of images.

no errors noticed

The book does a decent job of touching on a few global art examples, but could do better.

Reviewed by Bob Casper, Adjunct Faculty, Boise State University on 1/9/19

I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students. read more

I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students.

When it really comes down to it, some issues of toughness may have come up here and there, but, all in it was acceptable for my student's level.

Seemed to work well and present ideas and concepts that were relevant to for my students.

My students were a novice level and some details were not too in-depth.

Elements of the book followed a framework that as easily followed.

The book was presented in chapters that worked well in the course and for what I needed.

Each area was well put to together and bridged nicely.

Simple read, clear text.

Did not notice any errors.

Presented historical and cultural ideas and issues without calling out marginalised students.

Seemed to meet ADA standards.

Reviewed by Lori Parks, Visiting Assistant Professor, Art History, Miami University on 8/2/18

The focus and organization of this text is similar to a number of other Art Appreciation textbooks currently available. For example, there are a number of texts that present Art Appreciation through a thematic structure. The material is... read more

The focus and organization of this text is similar to a number of other Art Appreciation textbooks currently available. For example, there are a number of texts that present Art Appreciation through a thematic structure. The material is introductory which is positive in that it is very accessible to readers and thus would not be too intimidating to students new to this subject. The text also does a good job with listing and creating Learning Outcomes for each chapter along with a wide variety of mostly good quality open sourced images. While there are lists of Key Terms included in each chapter, they are minimal at best and there does not seem to be enough cross connection with the terms and their use within the body of the text. There is also some problems with being too simplistic with terms and concepts, one example being the use of icon which is very much dependent on both the historic and cultural context. Although the text is organized somewhat thematically, it would help to have chronology play a part within each chapter/topic as well as some form of an appendix or place where an overview of the history of art might be placed. This is often the problem with Art Appreciation texts and the reason why so many of them have a very condensed overview/history of the various periods. It is difficult to provide any depth without the context.

There are a number of issues with accuracy, which could also overlap with other subsections of this review. For example, the terminology is often overly simplified and inaccurate. While readability is important, it is equally important for a student to expand their vocabulary and become familiar with the language of the discipline. Simplification also comes in the form of analysis and description of the works of art without connecting it to formal elements and historical and cultural context. There are also assumptions being made in the analysis (e.g. students knowing what Prairie Style is and how that might influence another artist/movement). Another problem area are the huge leaps in time and generalizations made in content, for example, in connecting the ancient Greeks to Jackson Pollock on page 4. Another area of concern is the labeling and citations. The labels for the images give weight to the open sourced “author” rather than the information that is important to the work of art (artist, title, date, medium, dimensions, and museum/collection), this could be better by creating a reference page at the end of the text for the open sourced images. More examples of non-western art would also be important.

Overall good, I would have liked to see more contemporary art and topics/themes including areas like performance. The images chosen generally follow the typical works of art found within the canon of Western Art History.

Generally clear and readable, although as mentioned elsewhere in this review, at times overly simplistic and rambling and repetitive. And, as mentioned earlier, the labels for the works of art are in need of correction with emphasis placed on the artwork rather than open source.

The template used is consistent through the chapters. There are issues with consistency in use of terms, and citations/websites etc. This should be strengthened more. I also wonder about the sources and context with regards to the discussion of historical development of art.

Each chapter is organized into topic/theme and subsections that are meant to connect back to the theme of the chapter. While this is a good way to allow for quick access there is room for further development both by the authors and also within the classroom setting and by the teacher.

While the thematic approach is important, the chapters read as disjointed and the text is at places overly general and at times repetitious. There should be more focus on an overarching question of “what is art” which would allow the various themes explored in each chapter to read as more cohesive. The chapter on Art and Ethics could be strengthened more.

While there is a really good attempt at organizing the text, there are a number of issues that make it difficult. For example, the placement of the imagery and discussion becomes somewhat confusing when there are also a number of images that are discussed but not shown the body of the text. The reader is instead supposed to go to the link and toggle back and forth. Such long links in the body of the text are distracting and confusing. A better way to organize this might be creating case studies which would allow for more in depth focus on the particular artist/artwork. The lack of continuity would be confusing for a student who is new to the topic of art and art history. Overall the clarity of the images are okay with only a few that could be improved upon in quality.

While there are some typos, the formatting and use of citation is more distracting. As mentioned, the inclusion of large links in the midst of the text is frustrating as well as the lack of period to enclose this before beginning a new sentence. There are also things like the indentation in the footnotes that can be easily fixed.

Overall there is an attempt to draw from different cultures to connect to the themes and concepts without being overly biased. As mentioned earlier, more examples of non-western art might be helpful. Also, more contemporary examples and connecting them to issues that are currently relevant like identity and protest etc.

Overall an impressive project and a good foundation to build upon. This text is best for Art Appreciation or potentially studio classes (supplement).

Reviewed by Peter Spooner, Instructor, Lake Superior College on 5/21/18

With eleven chapters in just under 300 pages, the text provides a comprehensive framework with which to explore the topic of art appreciation. It does not (nor does it claim to) offer a complete art historical survey, but rather uses examples of... read more

With eleven chapters in just under 300 pages, the text provides a comprehensive framework with which to explore the topic of art appreciation. It does not (nor does it claim to) offer a complete art historical survey, but rather uses examples of visual imagery from a variety of cultures, time periods and genres to make larger points about how we actually use art. Its chapter and sub headings suggest a view where art is fully relational to its users, whether they are individuals, communities or nations. Rather than a comprehensive glossary, the authors place key terms at the end of each chapter. The text is searchable, making an index unnecessary. The text successfully presents art as both an individual and collective enterprise, appropriately offering a variety of ways to explore its multiple functions, from self-identity and spirituality to commerce and communication. It makes an attempt to compare artworks from different time periods and cultures in terms of their function in life, and looks specifically at the viewer’s role in the process. To its credit, the text concludes with a chapter devoted to ethics and art.

The text seems to be free of any overt bias, and authors attempt to bring a variety of viewpoints to bear on the art and ideas they present. The text is well balanced between the authors’ assertions and well-documented quotes and information from a variety of sources.

The text is organized thematically and in terms of large ideas, thus guaranteeing a degree of longevity and future relevance. With so many web links in the text, it will be important to check regularly to make sure they are active. While this text is not based only on contemporary art, it uses many examples of current art throughout. For this reason, longevity is always a concern in art appreciation and introductory art texts. Since by definition contemporary art is a moving target, and at times local or regional in its relevance, instructors may want to supplement the text with their own references to contemporary art.

The text is clear and accessible, written to encourage understanding, not to prove points or advance opinions. It is appropriately written for students who are introducing themselves to art, and contains a minimum of jargon and hyperbole. Relevant key words and technical terms are defined at the end of each chapter, as befits any introduction to a subject.

The organization of the text and its components is consistent throughout, as is tone and flow of the text. Care is given throughout to maintain a consistent tone, level of detail, and depth in the text. Each chapter contains the same useful sequence: Learning Outcomes, Introduction, “Before You Move On” and Key Terms. Generally, students find such consistent organization reassuring and helpful.

Each chapter of 25-30 pages is sub-divided into seven or eight subtopics, and these sub-topics are themselves broken down into easily readable paragraphs, were key ideas are evident. These subtopics are well related to chapter themes, but by themselves could be used as lessons or topics for assignments. Beyond the first two chapters, the tone of which is more introductory, it seems as though instructors could and should feel free to present chapter and subtopics in whatever order serves their needs. The text is flexible and relational to the degree that some, but not all, chapters and/or subtopics would need to be used in a course. Given the modular organization of sub-topics within chapters, the text could be efficiently updated, and it is easy to see how instructors could insert their own material into chapters. The sub-topics contain plenty of specific examples, yet it is always possible to trace their connection to the chapter’s larger ideas.

Major topics are presented in a clear fashion that has a logical sense of development. The subtopics within each chapter are also clearly organized. Blocks of text are broken up by copious illustrations, photographs and live links. Each chapter begins with a list of learning outcomes, and ends with a section titled “Before You Move On,” which reviews key concepts, and provides a list of study questions. In addition, key terms are defined at the end of each chapter, as opposed to a single glossary, which makes it likely that students will review terms after reading chapters.

The PDF form with live links to websites and on-line resources was easy to use. Links were placed within text immediately following the artist or artwork under discussion, making them easy to find. The links themselves were relevant and added to the topic(s) at hand. All of the links I checked were operational, but as one might expect, the quality and size of images and text varied from website to website.

I did not detect any grammatical errors in the text. However, in Chapter Eleven: Art and Ethics, a number of the pages contain the heading Chapter Ten: Art and Ritual Life.

The text makes reference to art from a wide variety of cultures and to the experience of people from diverse backgrounds. It is true that many of the artworks and artists are familiar and part of a standard canon of Western art and its cultural touchstones. However, each chapter also contains references to non-Western art, and a cross-cultural approach is evident throughout the book, not only in isolated chapters.

The inclusion of an entire chapter devoted to “Art and Ethics” is refreshing, and somewhat overdue. The authors discuss and provide examples of art that has provoked controversy in terms of censorship, first amendment rights, copyright, appropriation, and the role of artists and institutions in examining sensitive societal and political issues.

Reviewed by Arianne Fernandez, Full - Time Lecturer, LaGuardia Community College on 5/21/18

The range of topics this book covers provides a great resource for teaching students the basics of visual art and introducing them to various media and techniques as well as the process of art making, from multiple. Since the text covers a wide... read more

The range of topics this book covers provides a great resource for teaching students the basics of visual art and introducing them to various media and techniques as well as the process of art making, from multiple. Since the text covers a wide range of time periods, styles, and works from Western and non-Western cultures - enhanced by good images-it is appropriate for both Introduction to Art and Art in Society courses. Despite the minimal attention in regards to Contemporary Art, the text is well written , with great descriptions of the pieces presented, with accurate explanations of art vocabulary. Overall, a great source for students.

The text appears accurate.

The textbook is arranged in a logical manner that introduces students to important concepts which enable them to understand how to describe a work within its cultural framework and uses a logical sequencing of information. The textbook has many high-quality images of the works discussed within the chapters. A fallacy, however, is that the bulk of art emphasized is predominately pre-1960 art. Thus, the instructor will need to go beyond this book to discuss Contemporary works within a global spectrum.

The language used is appropriate for college-level readers, with sentences easily understood. The ned of chapter glossaries provided, re-enforce the art vocabulary presented in each topic. The images support the content effectively and illustrate beautiful the in depth discussions presented within the chapters of the text.

The writing throughout the text is consistent. Each is well organized: outcomes are highlighted. The vocabulary is written in bold type and the end chapter glossary provided enforces the vocabulary. The summary and review questions provided at the end, are a great way for students to check both comprehension and progress.

The manner in which the text is organized supports teaching visual literacy in a logical sequence with each chapter’s subcategories allowing for the topics discussed to be highlighted. Thus, the reader can approach these topics from various viewpoints. Having more contemporary images / historical information can allow for students to make more meaningful connections with the art of today.

Overall, the chapters are consistently and straight forward which allows students to understand the topics presented clearly, as the book seamlessly weaves introductory concepts – i.e. what art is, its function and various use of media- and makes connections in the way that art shapes society as a whole.

The images provided in the text, are clear and high quality. The chapter sections and subsections are clear. The font is appropriate and easy to read and the inclusion of vocabulary words in bold, allows students to pay closer attention to the material covered.

The textbook contains a few typographical errors but nothing major.

This text provides a solid foundation in the visual arts. By analyzing historical artworks in depth and including works from non-Western cultures – African, Asian cultures- and women -which despite significant contributions are always glossed over In introductory texts- providing a global platform for students. An instructor would need to bring in additional examples to strengthen student understanding. Specially in regard to contemporary art. The text is not culturally insensitive or offensive. The thematic approach instead of a chronological approach makes it reader friendly and not tedious to read.

Overall, this is a great introductory text that discusses important styles, concepts and historical context. Some chapters need expanding, or the instructor can mix and match chapters in this text with other supplementary material in areas that are lacking.

Reviewed by Jonathan Johnson, Associate Professor, Otterbein University on 5/21/18

This textbook is ambitious and covers a lot of ground—both theoretically and historically. The thematic (as opposed to purely chronological or geographical) approach and interface allows the soaring comprehensiveness of this text to take a... read more

This textbook is ambitious and covers a lot of ground—both theoretically and historically. The thematic (as opposed to purely chronological or geographical) approach and interface allows the soaring comprehensiveness of this text to take a digestible and highly modular form. The position of the writing seems to be educator and student centric, with pedagogical concerns. Art historical (or disciplinary) outcomes aren’t the main focus here—and that should please those looking for an introductory or non-major textbook. I imagine this would facilitate the outline and planning of a course—where course outcomes could be developed with this text in mind as opposed to developing the course and then searching for an appropriate textbook and supplements.

The themes address in the text are sufficiently supported and explored with ideas and artwork reproductions that flesh out the major social issues contained within the artwork. The process and historical/social conditions of the work’s creation are also covered in each section. In this way, these art works are placed within the time they were made and viewed through a contemporary lens.

Table of contents, key terms and “Test Yourself” sections are comprehensive and helpful from a teaching perspective.

The textbook is accurate and without bias according to my reading.

The overarching “big questions” are up to date, however it could beneficial to have more contemporary examples representing these themes/questions embedded within the pdf version of the book. Are there more recent examples of art that tackle issues of race, history and identity as in the given example of figure8.25, for instance?

As mentioned below in “Clarity”, the writing is clear—but undergraduate students might be more immediately engaged with the material if it was more often connected to a contemporary iteration of the social issue at hand. We are introduced to Maria Luisa of Parma immediately within the Class section (8.3.4)—which I find quite interesting. However, I wonder if an undergraduate or non-major might desire a class reference that they can relate more to? At least at first, and then delve into something more “historical”? I’m thinking a bit of the Oxford University Press’ A Very Short Introduction series here.

With this being said, I did enjoy looking at more historical works and works from the 19th century through the lens of these very contemporary themes. I was also newly introduced to a few engaging works such as Sargent’s Gassed (Fig. 9.10) and Daumier’s The Third Class Carriage (Fig. 8.20). When connected to these larger questions and contextual frameworks, these two pieces (and many others included in the book) seem fresh and imbued with a renewed relevance.

The writing style is very straight-forward and clear of unnecessary jargon. Well suited for non-majors and for building student interest in Art History. Writing style seems to match the audience and outcomes.

Visual and organizational layout is consistent and becomes helpfully predictable as you move through the text.

Thoughtful and relevant groupings and subheadings. The order is logical and terraced to build upon previously presented ideas and themes. Would function well as a “pick and choose” text for a introductory art course or a course designed for non-majors.

Structure, flow, sequencing and logic are amongst the greatest strengths of this text.

Overall, the interface is easy to follow and basic in design. The off-white framing of the images and figures is reminiscent of a Polaroid border, and is a little distracting. Having the date(s) of the artwork underneath each image would be convenient for reference. Having to go between the text body and the image for the date is a little inefficient. Image reproduction is mostly sufficient, but the Nocturne in Black and Gold: The Falling Rocket I (Fig. 1.14) would have benefited from a larger reproduction, especially since the text references technical nuances of the work in its analysis.

I found no grammatical errors in the textbook.

The larger questions and themes are well chosen, sequenced and organized. How do they manifest more directly today? Showcasing the cultural relevance of more established canonical artists is a strength of this text. Pairing up Auguste Clésinger (Fig. 8.17) and Kehinde Wiley (pp. 221-2) in the early portion of the 8.3.3 Sex/Gender Identity section is a great example of answering this question I’ve posed, but I think more of it would add a depth and extend the relevance.

It goes without saying that pursuing a textbook writing project such as this truly serves the greater good and the authors should be commended.

Reviewed by Dina Pizzarello, Adjunct Assistant Professor, LaGuardia Community College on 5/21/18

This textbook would be a wonderful source for any beginner art or art appreciation class. It does not delve too deeply, but that is a plus for the beginner and/or typical non-artist using this resource. An index and glossary would be great... read more

This textbook would be a wonderful source for any beginner art or art appreciation class. It does not delve too deeply, but that is a plus for the beginner and/or typical non-artist using this resource. An index and glossary would be great additions to help students search for information and make connections more easily.

I found this textbook to be accurate and unbiased, although more examples of Non-Western art could have been added. Some of the CH 11 pages and titled CH 10 at the end of the text.

This text is current enough for the average art appreciation class. All of the links I checked worked perfectly. Since it is mostly based on works of the past, it will need little updating.

Clarity rating: 1

This text is written simply, clearly and with brevity. This can be especially helpful to international students and students with cognitive disabilities. Beginners can easily understand definitions and concepts.

The organization and writting are consistent throughout.

The chapter organization and subdivisions wold work really well for classes taught on single or multiple days. This is a big plus for those of us that teach at community colleges.

One strength is that the text is arranged thematically, not chronologically. This format has been proven to work better in art appreciation classes. Each chapter has a comprehensible and logical flow to the breadth of information covered.

I found no interface issues.

I found no grammatical errors.

I found this text to be un-biased and culturally sensitive.

I liked how the text included non-traditional images to explain some concepts. This gave the book a fresher feel that millennials could more easily connect with. Most of the images are of small or medium scale. It would be a nice to incorporate larger image examples of select artworks. This would be more visually impactful.

Reviewed by Eleanor Johnston, Academic Skills Librarian, Staffordshire University on 2/1/18

This texts provides a comprehensive introduction to the world of Art and contains 11 chapters, thematically arranged, to give an overview for beginners to the subject. The text contains enough content and examples to ensure that there in... read more

This texts provides a comprehensive introduction to the world of Art and contains 11 chapters, thematically arranged, to give an overview for beginners to the subject. The text contains enough content and examples to ensure that there in appropriate contextualisation and that the idea of Art as a concept is covered with sufficient depth and clarity. At the end of each chapter, there is a Key Terms list, which acts as a glossary for the readings just completed. There is no index at the end of the book, but this is not a problem as online PDFs can all be searched using the 'find text' function. There are areas where the text is not greatly detailed - any book of under 300 pages could not possibly cover all areas of art without omissions, so there is a greater emphasis on older works when used as examples. There is little on contemporary art, although it is covered in most detail in the final chapter. As there is no index of Artists, it can be tricky to locate movements using the 'find text' function. The outcome to 'build a broader, more comprehensive view of the nature and definition of visual art' (p.1) is impressively achieved.

The content of the book is accurate and I did not detect any particular biases or error. Of course, any Introduction to Art may inherently contain the biases of Western Culture in relation to the choice of themes and narrative, but there has genuinely been an acknowledgement of the importance of all cultures, and there has not simply been one token chapter to shoehorn in all other civilisations. There is one error in the layout - on pages 280, 282, 284, 286, 288, 290 and 292 in Chapter 11, these are titled 'Chapter 10: Art and Ritual Life" on the top right of these pages.

This text is arranged thematically, so this structure does ensure that there will not be any aspect of the contents that would quickly become obsolete or outdated. Any weblinks used within the text would have to be checked and maintained. These are contained throughout the book - I would surmise they were used if no Creative Commons image was available to illustrate a concept or technique. I did click through to a large number of the weblinks and am pleased to report that they not only were, without fail linking through, they also provided further details and areas for discussion that built upon the content of the text.

This area is a real strength of the book. The book explains complex concepts in a very clear and concise way, ensuring that any new or unfamiliar terms are included in the 'Key Terms' pages at the end of each chapter. I was particularly impressed with this in Chapter Seven: Form in Architecture. I think the authors had an intention to provide clear, accessible prose and to ensure that a reader with no knowledge of the areas of design, meaning and context would be able to understand and appreciate them.

Again, with the chapters arranged thematically with the same structure scaffolding each one (learning outcomes, introduction, before you move on and key terms) the text was consistent and the framework extremely clear. I did not find any examples where key terms were overlapping, confusing or contradictory.

As an Introduction to Art with easily digestible sections, these text deserves commendation. Each chapter is approximately 30 pages long, and sections within the chapters are subdivided into smaller sections (e.g. Chapter 8: Art and Identity contains 21 pages and has 5 subsections. The visual aspects of the text -multiple examples, images, photographs, artworks etc, ensure that there are no giant blocks of text, and the book taken as a whole is aesthetically pleasing and a pleasure to consult.

I would suggest that this area could be improved by expanding on descriptions in the contents page - there were sometimes cases of repetition when a concept was discussed across multiple chapters (e.g. the Sacred). This is a hazard of the thematic approach, but I understand that without reverting to a chronological timeline of art, it is very difficult to cover these in one or two paragraphs in one section of a text. The subjects of design, structure and materials provided better scaffolding for chapters.

The text was extremely clear and the images were reproduced at a high definition. Any links taking students through also provided clear images, although these were sometimes rather small. There was no confusion with the image labelling or creative commons attributions, and I found the single column view easy to read.

There were no grammatical errors that I was able to detect.

The text provided references to a variety of cultures throughout the pages. Once again it should be highlighted that non-Western cultural artistic traditions were not simply shoehorned into a chapter, but there was a great deal of inclusivity in the whole book. Indeed, the cultural relevance and variety mentioned is of great artistic importance and is refereed to as crucial to the ethics and raison d'etre of many prominent artists (see especially Chapter Eight: Art and Identity).

This Open Textbook is a valuable addition to the canon of texts currently recommended as an introduction to art. The thematic chapters provide a perfect platform to commence a discussion on a topic (for example, meaning in art). Students would be advised to read the chapter in advance of lectures / tutorials and to use this as a starting point for their research.

Reviewed by Victoria Hutson, Art Faculty, Lake Superior College on 2/1/18

This book covers a broad range of areas that are typically included in a college level art appreciation book. Because it covers so many different areas—it doesn’t go into a lot of depth in any one area. However, an instructor could easily provide... read more

This book covers a broad range of areas that are typically included in a college level art appreciation book. Because it covers so many different areas—it doesn’t go into a lot of depth in any one area. However, an instructor could easily provide more depth by providing supplementary material for specific areas. The book is arranged by topics or themes which is typical for most art appreciation books. It is not arranged chronological--which is usually the format for art history books.

The book appears to be accurate, error-free and unbiased--although I did catch one inaccurate statement regarding the Vietnam War Memorial. The memorial is below ground level but the book claims that this reflects “the belief that the Vietnam War was initially conducted ‘beneath the surface,’ that is, unknown to most Americans.” However, in the 1995 documentary, “A Strong Clear Vision” the designer (Maya Lin) explains a totally different reason why it is underground. This conflict between what the artist says and what the book says is worth noting. It did make me a bit concerned that other material may also be inaccurate—but I did not catch any other inaccurate statements.

This book should have relevance for a long time because the material it covers is primarily about past art—which for the most part doesn’t change. While it is possible that new information may become available that changes our understanding of the work—for the most part our educated guesses about the message, meaning, or function of the works will remain the same. In addition, the vast majority of images and information included in this book are also found in most of the standard art appreciation textbooks.

The textbook is written in a style that is clear and easy to understand and follow. Specific terms are written in bold text with their definitions listed at the end of each chapter.

There is a consistency in the way the material is presented in each chapter.

Each of the chapters are divided into smaller sections that make it easy to assign or highlight a specific portion of the text. In addition, each chapter starts with Learning Outcomes and ends with Key Concepts, Test Yourself, and Key Terms sections.

The topics in the text are presented in a fairly logical and clear fashion. It is very similar to other art appreciation textbooks I have used in the past. The book starts with fundamental concepts (what is art, art materials and techniques, describing art, finding the meaning, etc.) and then it proceeds into more advanced topics (connecting art to our lives, identity, power, ritual Life, and ethics). There is a separate chapter on architecture which seems a bit odd since no other area was given a specific chapter of its own.

The pdf interface is very functional to use and easy to navigate and download. While I understand the reasons for including links to copyright protected images I did find having to click on the link cumbersome and somewhat disruptive. In addition, often I felt a bit confused when I started reading about a work of art that did not have a printed picture to accompany it. I found myself glancing around the page trying to find the image that I was reading about only to see that later in the paragraph there was a link. Perhaps having the link at the beginning of the paragraph would have worked better. Plus, it would serve as a notice that the following text is about an image that needs to be viewed via a link. A few of the links brought me to pages that were no longer active.

I did not notice any grammatical errors.

The material in this book does includes examples from a variety of races, ethnicities, and backgrounds—although most of the material is from what is traditional considered the origins and evolution of western civilizations.

This would be a good book for an art appreciation course. Because of its modularity it would be easy for an instructor to assign specific areas to establish a basic foundation and then provide supplementary material for in-depth explorations of chosen topics.

Reviewed by Elizabeth Maynard, Adjunct Professor, Rhode Island College on 2/1/18

This books is not an historical survey, but it offers a wide range of artworks from throughout history and the world to elucidate major themes and concepts. Even while it is non-linear or chronological, the text nonetheless covers terms and ideas... read more

This books is not an historical survey, but it offers a wide range of artworks from throughout history and the world to elucidate major themes and concepts. Even while it is non-linear or chronological, the text nonetheless covers terms and ideas specific to historical moments, taking them as case studies to illustrate larger themes. The end of each chapter includes questions to consider and a list of major terms with definitions.

excellent, to my knowledge.

While the book references very contemporary technology, including 3D printing, etc., it contextualizes them in more traditional methods; the themes and of the text remain timeless.

Both the imagery and the phrasing read easily. The images are very detailed and include helpful close ups.

The progression of chapter creates a very readable narrative.

The book is well divided up, and I appreciate the integration of both historical and formal terms throughout, to offer new historical information throughout without becoming dense.

The book lays out a great foundation for material and terms of analysis to get into deeper themes and modes of interpretation.

One thing I would add/change, is for the images to include the dates in the caption, not just in the text. While the text is non-linear, I think it's important for the dates to be readily available to understand the historical breadth of the works.

none that I encountered.

I especially enjoyed the integration of works from throughout the world. Often in more conventional texts, art of the non-western world gets relegated to their own, atemporal chapters. This format allows for thematic comparisons that helps to breakdown the hierarchies of the canon.

Reviewed by Renee Couture, Assistant Professor of Art, Umpqua Community College on 2/1/18

This book covers just about everything needed for teaching students the basics of visual literacy and introducing them to art. This text has a range of images and includes various time periods, styles, and works from Western and non-Western... read more

This book covers just about everything needed for teaching students the basics of visual literacy and introducing them to art. This text has a range of images and includes various time periods, styles, and works from Western and non-Western cultures. The textbook, however, lacks significant references to contemporary art. A vast majority of the work presented is pre-1960 and most of the media covered is traditional fine art media (painting, sculpture, drawing). That being said, the authors provide glossaries at the end of each chapter of target vocabulary, a comprehensive index, and write thoughtfully and thoroughly to provide a solid context to the works/images shown within the text.

The text appears to be accurate.

The textbook profiles works from ancient through modern times. The text is arranged in a way that introduces students to important concepts for viewing and considering artwork, and uses a logical sequencing of information. The textbook introduces students to some of the major “movers and shakers” in art history, and has many high-quality images of the works discussed within the chapters. The text, however, largely emphasizes pre-1960 art. In fact, it seems only a handful of post-1960 artists are mentioned and very few supporting images are provided of post-1960 artwork. To be fair, there are links provided, which will require upkeep. An instructor will need to find examples from other sources to expose students to contemporary art (artists, media, themes, and modes of working).

The text’s language is appropriate for college-level readers. Sentences are easily understood and the use of art-specific vocabulary (along with providing a glossary at the end of each chapters) shows students appropriate use of target vocabulary. Chapter topics are presented in clearly, accessibly, and with depth. Images are used effectively in supporting content.

The chapters are uniform in their organization; the writing is consistent. Each chapter starts with outcomes and an introduction. Headings for chapter subsections are clear and specific. Target vocabulary is written in bold type and each chapter has a glossary. Each chapter ends with a summary and review questions to check for student comprehension.

The text is divided in a way that supports teaching a foundation in visual literacy. Each chapter is clearly titled with subsections supporting the chapter’s topic. In some cases, subsections from different chapters could be mixed and matched. One of the strengths is the use of imagery from various time periods within each chapters as opposed to the standard chronological approach to an art history course. This could be further exploited by the addition more contemporary art by the instructor along side more historical examples the text provides.

The chapters are consistently structured. The choice of chapter topics and their flow is appropriate and student-centered. The book starts with basic information (what art is, its structure, media used) and works toward greater complexity (various ways art connects to and shapes our lives).  

The supporting images are clear and high quality, allowing the reader to increase the size of the images without losing clarity. Some of the pages feel crowded and a few of the links were nonfunctional. The chapter sections and subsections are clear. The book's font is easy to read with line hierarchy is unmistakable and consistent, and the use of bold lettering indicates target vocabulary for students.

I found no grammatical errors within the text.

The text will provide students with a solid foundation in visual literacy using historical artworks as examples. It includes work and architecture of non-Western cultures and women. However, it (generally) ignores contemporary art (artists, media, modes of working, and thematics) which students will see in today’s world. There are missed opportunities to discuss more recent attitudes & intentions within the arts (for example, in Ch 4: Describing Art, it would seem appropriate to have subsections on Modernism and Post Modernism). It would be helpful if were either more examples of contemporary art along side the more historical examples or if there was final chapter on art post-1960. An instructor will need to find examples of contemporary art (through resources such as Art 21, museum catalogs, artist websites, articles/interviews for arts-related sources) to expose students to contemporary artists and art. Inclusion of more art post-1960 would: 1) present students with more challenging imagery, 2) expose students to themes that are more relevant to them, and 3) further introduce students to the works of more women and minorities. Nonetheless, this book would be an effective tool for an Intro to Art or Art Appreciation course. A strength of the book is its thematic approach instead of the standard chronological approach. I did not find it culturally offensive or insensitive.

This book has enough general information that certain chapters (or parts of chapters) can be used in a Basic Design or Drawing course as well as a general Art Appreciation/Intro to Visual Literacy course..

Reviewed by Nancy Pettigrew, Associate Instructor, Tidewater Community College on 8/15/17

For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective. This textbook does cover some core areas for this discipline: the definition of... read more

For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective. This textbook does cover some core areas for this discipline: the definition of art; the function of art; elements of art and principles of design; and different media used to make art. I thought that the treatment of the elements and principles and of the media was cursory. Beyond that the textbook is thematic, with the choices of themes being somewhat idiosyncratic.

The treatment of the subject was constrained by the authors' focus primarily on the traditional media associated with fine arts, such as painting, sculpture, and architecture. Other current art appreciation textbooks also include more modern media, such as film and design. The scope was also hampered, in part, by the distinction the authors' drew between art and craft.

The focus of the textbook is mostly on art made before 1960, with most of it produced long before that. There is a dearth of examples of contemporary art being made by artists in the last 20 years. An exception to this is the chapter on Art and Ethics, which addresses recent controversies in the field.

The textbook does not include an index or a comprehensive glossary. Terms are defined at the end of each chapter. The table of contents is not sufficient to function as an index.

The content of the textbook is generally error free. There are some opinions expressed that I do not agree with, but these are debates that are not settled within the art history community. The authors do not seem completely up to date on recent scholarship in some areas. For example, the "Snake Goddess" from Crete is included when modern scholarship has called into question the validity of its heavily reconstructed form.

Since much of the art covered in the textbook was made before 1960, the content is up-to date and will not become obsolete quickly. The exceptions to this are the links to external web pages that will need to be maintained on a regular basis. Without this regular maintenance, these links could become obsolete quickly. This could pose a problem since the links are embedded in the content of the text.

The textbook is written in prose that should be accessible for the average college freshman. Specialized discipline-specific terminology is defined in the text and in a list of terms at the end of each chapter. The text does lack an comprehensive glossary of these terms..

The textbook is internally consistent in organizational framework of each chapter and in the use of terminology.

The textbook is divided into small reading sections with clear headings and subheadings. These could easily be reorganized and realigned.

I found it difficult to follow the organization and structure of the text. There seemed to be no clear logic to much of the distribution of the chapters and the chapter sections. Related content can be found in different chapters of the text. For example, both the chapter on Form in Architecture and on Art and Ritual Life contain extensive sections covering sacred architecture.

Within the chapter sections, there is some organization based on chronology, although this is not consistent. This creates a problem in which chronology is repeated without a larger, cohesive historical narrative. .

The interface of the textbook was effective overall with no significant issues that would distract or confuse the reader. Of necessity, the textbook provides links to works of art that are not reproducible in the textbook due to copyright issues. These links can be clunky and I would be concerned that students will not take the time to click on them all while reading the textbook. Links need to be reviewed. At least one of the links within the text to external images was broken. For the most part the images included in the textbook are high quality, although I find their sourcing odd from random users on Wikimedia.

Overall, the textbook contains no major grammatical errors beyond a few typographical errors.

The textbook draws its examples primarily from Western (European and American) and Asian cultures. There is some inclusion of other cultures, races, and ethnicities, such as Native American or African, although this aspect of the textbook could be strengthened. An instructor would need to bring in additional examples to make a course using this textbook truly inclusive. The text is not culturally insensitive or offensive.

This textbook could be appropriate for usage in an Art Appreciation class, if the instructor of the course was comfortable with the somewhat idiosyncratic thematic choices of the authors. For example, the inclusion of the chapter on the Significance of Materials is not typically included in an art appreciation textbook. The textbook would not work for an Art History course that is taught in a chronological framework. Specific dates are not provided for most of the objects discussed, although birth and death dates of artists are. The historical context and timeline of the works covered by the text are subsumed within the thematic organization.

Reviewed by Samantha Moore, Adjunct Instructor, Art History, Northern Virginia Community College on 6/20/17

The text covers information listed in the table of contents adequately. Content is arranged thematically as is common in art appreciation courses. Each chapter includes a glossary of terms covered at the end of the chapter. It does not include an... read more

The text covers information listed in the table of contents adequately. Content is arranged thematically as is common in art appreciation courses. Each chapter includes a glossary of terms covered at the end of the chapter. It does not include an index at the end of the text. Readers must review the table of contents and guess where information may be found.

The historical information listed in the text was accurate. The text included accurate information regarding styles and movements and theory associated with art. However, the text presents basic and surface level information and lacks in depth views on any one topic.

The content of the text is up-to-date particularly in the discussion of media types. Should updates be necessary it would be easy to implement them.

The text clearly defines bolded terminology. Each chapter is divided into sections and information in each section is related to the theme of that content area. The language is clear and easy to read and follow.

The language used, content presented, and organizational themes are consistent throughout the text.

The text follows a pattern of listing objectives, sectioning off each chapter, and following up with review concepts and terminology. Sections of the text can be assigned at different points within the course.

The text includes eleven chapters divided into sections. While each chapter and subsequent section is rich with information, heading and subheadings do not give a clear sense of what content will be present in a given area. Without an index it is not clear to readers when or where readers will find certain information.

When reading the text online I encountered an issue clicking on links to images. The link would bring me to the image in the same window as the text. I would then have to go back to the text and find my place.

The text was inclusive of a variety of races, ethnicities and backgrounds.

This would be a decent text to use in an art appreciation course but not in a survey art history course. The content is not arranged chronologically or by region. Rather it is divided thematically into broad sections. I was pleasantly surprised with the information listed in several portions of the text. While it does not cover any area in depth it does a fair job of presenting a basic foundation for most of the major topics covered in an art appreciation course. Instructors will find they need to expand on most concepts and should plan on supplementing the text with readings and lectures. Without an index it is difficult to gauge when and where readers will find specific content. Chapter titles and section sub heads are very broad and do not help with pinpointing the location of information.

Reviewed by Isabelle Havet, Faculty, Linn-Benton Community College on 6/20/17

The textbook thoroughly covers the topics of each chapter, and each chapter has enough range that it could easily be supplemented and ideas expanded upon. The "Key Concepts" and "Key Terms" sections after each chapter are very useful and would... read more

The textbook thoroughly covers the topics of each chapter, and each chapter has enough range that it could easily be supplemented and ideas expanded upon. The "Key Concepts" and "Key Terms" sections after each chapter are very useful and would prove an effective study tool for students, as would the "Test Yourself" study questions. However, the textbook should have a master glossary of terms at the end for ease of reference. This is a large omission, especially for students studying for midterms and finals, or working on papers or larger group projects.

There are a small number of typos and usages of uncommon words when more simple words would suffice that are confusing and obscure meaning. (E.g., the tile for section 5.4.3: "Prohibition and Destruction of Imagery: Iconoclasm" misspells the word "iconoclasm," which is particularly problematic as "iconoclasm" could easily be reenforced as a key vocabulary word.)

The text is relevant, and one of its strengths is the breadth and depth of the visual examples anchoring the chapters.

The text is fluid, and the language accessible in a way that would be suitable for different levels of students.

While the text is generally well-organized, the organization of the chapters is somewhat confusing. The choice of chapter topics is also somewhat confusing. Certain major topics are omitted (for example, a chapter dedicated to a more in-depth survey of major artistic media), for what are some interesting but less necessary topics (e.g., Significance of materials in art). This will pose a challenge for instructors who might have to carefully weigh which chapters to teach. This might be especially problematic for instructors teaching in a 10-week term system, or who would supplement the text with additional lessons focused on the history of art (which is omitted from this volume).

The text would easily be divided, which is a strength as the organization of the chapters as it stands might not work for every instructor.

The topics are generally presented in a logical, clear fashion. The structure of chapters is easy to read and flows well.

The text cleverly utilizes open access images. The images are generally very compelling and of high-resolution, which is a big bonus in a visual arts textbook. There are only a few images that are grainy or fuzzy and would beed to be replaced (e.g., the statue of Menkaure and Queen). The interface is legible and pleasing to navigate.

The text contains no grammar errors.

An array of images from different time periods, geographical locations, and cultures. This is a huge bonus, as visual arts fields are moving to make curricula more inclusive. It would have been useful to include more contemporary art, as this is an important topic to emphasize when teaching about visual culture, and is relevant to students' lives. It is also important for instructors who might be teaching visual arts and studio students.

A unique text with a compelling choice of images and topics, and worthy entry in the expanding but still very limited field of art appreciation/visual culture textbooks. I would have liked to see a glossary of terms at the end of the text. It would also be useful to have a discussion of art history, and if not a chapter or more dedicated to art history, at least a timeline at the end of the text. The students are presented with an overwhelming number of artworks, so a general historical reference at the end of the text would be useful. Finally, there are some omissions of topics in favor of narrowing or less important topics that would necessitate some supplemental teaching materials or lessons.

Reviewed by Hilary Galián, Instructor, Portland Community College on 6/20/17

The text covers a broad survey of art including many art forms. Photography, digital media and relational aesthetics examples are lacking throughout the text. Chapters include examples of Western and non-Western art and architecture. More context... read more

The text covers a broad survey of art including many art forms. Photography, digital media and relational aesthetics examples are lacking throughout the text. Chapters include examples of Western and non-Western art and architecture. More context could be fleshed out for how works of art were relevant in their own time. The text effectively references images and graphics that are either included in the text or linked on the web. There is no index, and a list of images would benefit the reader by seeing examples listed in chronological order or by medium. Image captions in the text should include mediums, date and location information, which would help with quick reference and to classify a work illustrating an era.

The wrong title is listed in a few image captions. Otherwise, the book appears error-free.

The content of the book spans the ancient world through contemporary art and reflects current art-world values and attitudes in broad terms -- defining art and artists through a contemporary lens and recognizing the omission of women and marginalized groups throughout the canon of art. Though the recognition is valid, more modern and contemporary art examples could be used to reflect the contributions of a broader group of artists. There are many links to outside sources for imagery, and it is unknown how often those may be checked for changes and errors. A safeguard against readers following links to sources that may have changed their content would be to insert those images directly into the text, which would also help the reading flow, particularly when two works are offered for comparison, such as Wiley’s and Clésinger’s "Femme Piquée par un Serpent," in which only Clésinger’s is included in the text.

Text is written clearly using accessible language for students. Adequate context is given for technical terms with minor exception. The questions at the end of each chapter to check for understanding reflect the text, though more attention could be aimed at mirroring the language and terms used in the chapter.

The chapters are subdivided consistently. There are a few instances in which the title of a work in the text narrative does not match the title given in the caption for the image. There are also some terms listed in the glossary that do not appear in the corresponding chapter. Similarly, there are some inconsistencies in the “Test Yourself” questions, in which the corresponding information is missing.

The chapters are clearly defined as are the concise, themed subsections. It could be easily reorganized to fit subunits of a course, though the text is jumbled chronologically due to classification by theme.

The text flows logically by the outlined themes. The book’s organization would benefit from some reference to a chronology. Without this context, a novice student may struggle to follow a somewhat disjointed selection of art and artifacts.

Internal references to images are made sufficiently clear. Over time, the numerous links to other web material may need updating. There is one reference in the text that is missing a link. A few links reveal images and are too small and low-resolution. The handful of formatting mistakes and typos are somewhat distracting, as is the single column layout.

The text appears free of grammatical errors.

The text is inclusive of a variety of races, ethnicities and backgrounds. The balance of art examples still favors a white, male perspective. References to “our” perspective should be made explicit as such. Some general examples given to explain concepts lack universality, such as yoga as an example of art and science.

This book would serve well as primer for beginning art students for its far-reaching historical scope and theme-based approach, though a student would need supplemental material to address contemporary art forms and the contributions of a broader group of artists.

Reviewed by Sasa Miljevich, Adjunct Instructor (Fine Art), Portland Community College on 6/20/17

The text is organized thematically and covers some of the areas of Art. Some of the content is overly simplified , and some important artistic movements are omitted. There is no index, which make it difficult for students to comprehend some key... read more

The text is organized thematically and covers some of the areas of Art. Some of the content is overly simplified , and some important artistic movements are omitted. There is no index, which make it difficult for students to comprehend some key concepts.

Content is accurate and error free. Images shown and links to artists are mostly of Western Art/ Artist, very few examples , in comparison, of Non-Western Art/Artist.

The text is current and few sections would need updating.Necessary updates will be relatively easy and straightforward to implement.

The text is written in clear and concise manner.

The text is consistent in terms of terminology and framework.

The text is easily dividable into smaller sections to fit with various topics of discussion throughout a term.

The topics in the text are presented in a logical, clear fashion, but smoother transitions between the different chapters would help.

The text is free of significant interface issues, easy to navigate , with clear images. very easy to download and print.

The text does not have many examples of non-western artist and is not overly inclusive of a variety of races, ethnicities, backgrounds, gender.

Reviewed by James Jewitt, Manager and Instructor, Arts Minor, Virginia Tech on 6/20/17

This text successfully manages the difficult task of synthesizing a plethora of approaches when studying art and its history. It considers numerous ethical, philosophical, and thematic issues typically left out of traditional survey books. While... read more

This text successfully manages the difficult task of synthesizing a plethora of approaches when studying art and its history. It considers numerous ethical, philosophical, and thematic issues typically left out of traditional survey books. While these comprise a robust and welcome conversation about the reception, agency, epistemology, and meaning of art, it comes at the cost of a slightly anemic treatment of major historical developments along conventional lines. No index is present or list of illustrations.

Some problems with Italian language terminology are evident, such as "giornate."

The content incorporates relevant and informed perspectives on crucial art world debates, including issues of ethical circulation of cultural property and material culture. Its content offers a broad appeal across the humanities and even social sciences, with relevance to students of philosophy and history as well archaeology and communication.

The prose tends to be clear and readable, though veers towards a somewhat overly conversational and colloquial tone. In places it seems imprecise and too rambling, needing much more concise and to the point verbiage. Also, captions for images are not given information relating to date, medium, or dimensions--a crucial oversight!

The text displays consistency throughout and does a good job of integrating key terms and concepts throughout its chapters. The bolded key terms that appear as a glossary at the close of each chapter is especially helpful, as well as the "test yourself" sections and introductory concepts that start each chapter. Such stand-alone devices are a great boon to students and surely aid with comprehension.

One keen advantage of this text is the authors' clever division of the material into cogent modules that mesh well with poignant themes currently driving the discipline of art history and also the best courses at colleges and universities. In this way, the text serves as an indispensable resources in introductory design and art history courses, as well as upper-level seminars focused on interpretation, methodology, and philosophy of art.

Overall the book is logically organized, particularly chapters 1-5 and 8-11. However, chapters 6-7 are oddly placed and the section on architecture is not well integrated into the rest of the text. It is treated like a separate and outlying practice instead of being carefully woven into the rest of the chapters on form, production, materials, etc. Likewise, chapter 7, though integral and vital, seems out of place. It would perhaps best be placed before the chapter on meaning, since it offers background on socio-cultural behavior as foundation through which to better understand art.

In general, the illustrations and figures are crisp and high resolution. However, they are not expandable or zoomable as is common in other electronic or digital textbook platforms currently available. Likewise, the internet hyperlinks could be replaced with embedded content to better increase the longevity of the text. Some odd spacing around the figures and illustrations is distracting as well.

See comment 4 above. In general, the discussions could be edited to offer a more precise and concise analysis that is less conversational and more direct. Right now it reads as if the authors are pandering a bit to a student audience by invoking memes, selfies, and other ostensibly trendy cultural phenomena.

Another great advantage of this text is its admixture of canonical and popular objects, drawing upon mainstays of art history as well as more of-the-moment visual culture. It is particularly adept at addressing themes that weave together global works in many media from makers of many backgrounds, thereby questioning the entrenched and monolithic canon.

Reviewed by Joe Macca, Adjunct Faculty, Portland Community College on 6/20/17

While the text covers such a vast amount of visual art history, genres, meaning, symbolism, materials, etc., because it's so much, it can only very briefly mention these topics. That said, the glossary of terms is thorough and appropriate. The... read more

While the text covers such a vast amount of visual art history, genres, meaning, symbolism, materials, etc., because it's so much, it can only very briefly mention these topics. That said, the glossary of terms is thorough and appropriate. The 'learning outcomes' and 'test yourself' sections are also very well organized. It can help students understand the kinds of questions and testing done in art survey classes.

In terms of studio art though the book can be a supplement only. Textbooks can be excellent but still not substitutes for the instruction of the hands on manipulation of materials.

The book is unbiased (if there is any bias, it's very slightly European. But which comprehensive survey book is?!) and presents its varied historical genres accurately.

The book suffers slightly from not discussing more contemporary artists and genres, especially performance, installation and public- art based works. Mid 20th century and before, the book is quite thorough. Because of this it is perhaps mildly more prone to obsolescence.

The book is excellent in its prose. Very clear, easy to understand, many good images and illustrations.

The book feels consistent overall. As described elsewhere, it may suffer a little from its lack of discussion of contemporary genres, artists, techniques, etc.

The modularity is the book's necessary natural feature since it cover so much. The chapters are quick and concise.

The 'Personal and Communal Need to Create' sections are so important. I appreciate that this was covered at length. Some sections are not elaborated on as much. I believe the isolated discussion of different art materials (a section on oil paint, a section on print, etc.) is clear and organized- I also believe it should be discussed that these techniques and materials are also very interchangeable.

The book is very well organized. Illustrations and pictures are appropriately shown. More images of 'artists at work' could improve the text.

No grammar issues detected.

The book does a good job of being varied and unbiased, especially when describing art made in varying regions by peoples with different ethnic backgrounds.

I believe the book can function very well as an Open Art History/ Survey Textbook.

Reviewed by A.D. Rocha, Fine Arts Advisor and Instructor, Washington State University on 6/20/17

The text presents its themes in an order that is easy to follow. The examples provided are relevant and serve well to illustrate the concept. The prompts at the end of each chapter also present good starting points for class discussion. read more

The text presents its themes in an order that is easy to follow. The examples provided are relevant and serve well to illustrate the concept. The prompts at the end of each chapter also present good starting points for class discussion.

The content is accurate. The definitions provided are concise.

The content is current. The inclusion of "fourth dimensional" art is particularly helpful in discussing contemporary art.

The terminology used is easy to understand. The "key terms" section is also helpful in its definition of terms that are introduced in that chapter.

The terminology used is consistent and works to expand on the content for proceeding chapters.

The arrangement of sections allow for each to be taken separately as necessary. The chapters can be presented in different order or omitted altogether.

The order of each chapter and its individual sections are easy to follow. Presenting basic concepts on the definition of art and the formal qualities that comprise an artwork in the first four chapters provides a good starting point for the context and meaning discussed further into the text. The only issue with the "flow" would be the inclusion of the chapter on architecture.

The images were presented within the appropriate text and were displayed clearly. The size of the PDF makes searching for a specific term or section a bit difficult, but otherwise there are no problems with the interface.

There were no grammatical errors in this version of the text.

A broader cultural range of examples would be more helpful, however, this is something an instructor can easily amend within classroom lecture or discussion.

This is an excellent introductory text to basic art elements and concepts. On its own, it provides a clear overview for students with no art history background. It can also be used to support other texts where more specific art movements are discussed.

Reviewed by Aderonke Adesanya, Associate Professor, James Madison University on 6/20/17

The text is a bold work in terms of content coverage. It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of... read more

The text is a bold work in terms of content coverage. It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of a foundation class. Although it has semblances of existing studies, this is not your traditional introductory art textbook. Apart from the in-depth discussion of concepts, techniques, and terminologies, the authors have included learning outcomes at the beginning of each chapter, exercises (review questions) at the end plus key terms to help users review and affirm the content of every chapter. I also find very instructive the discussion of ways of looking at and understanding works of art in chapter 4; the distinction between formal and critical analysis, and the distinction in analysis, description, interpretation and evaluation. These comprehensive discussion make the text a great resource. The material is also reader friendly.

I find that there is minimal references to non-western art especially African and African Diaspora Art. This is palpably obvious even under the discussion 4.5.1 Cultural Style in Chapter 4. The illustrations in the text are also geared towards the examination of western art than other categories including Asian and African. In the discussion of two and three dimensional art (with highlights on materials and techniques), almost all illustrations and examples are western art, with some minimal references to Chinese and Japanese preferred materials for art, and their processes.

There are minor typos found in different pages of the text. For instance: i). Introduction: 2.4. Art Forms (cat egories should read categories)

ii). Chapter 8: p. 247 "iconoclas" should read "iconoclasm"'

Additionally, there is issue of consistency when "iconoclasm" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference. Consistency in reference to location: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is correctly referenced in previous pages.

Content is up-to-date. However, it may require updating in the next three years to expands coverage particularly the diversity of the subject matter covered, illustrations, and invariably to bring new content into the chapters.

The text is ready friendly, written in straightforward accessible prose. The definitions of terminologies accurate and simplified for readers to grasp the concepts quickly.

A consistent template runs through the chapters.

However, there is an issue with consistency when "iconoclasm" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference. Consistency issue with the way a culture's location is referenced: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is somewhat appropriately referenced in previous pages.

Consistency issue with the spelling of terracotta (pages 273-4, and 277)

Excellent compartmentalization, though I find the many sub-headings a bit problematic.

The structure of the book is very well organized. The topics are presented in logical sequence.

The interface appears many and a bit distracting. The links interspersed in the text forces the reader to go in and out of the text to check images being compared with those embedded in the text. It would have been more effective if these were readily accessible in the text for immediate comparison. No evidence of overtly distorted images (Perhaps Figure 10.37?). However, some of them could be improved for clarity (Figure 10.48 and 10.49).

No grammatical errors but there are typos.

The text could do with some examples of ideas and images about diverse cultures that the learner in the introductory class can later build upon.

Nothing beyond the outlined responses to other questions in this review.

Reviewed by Stephanie Wirt, ACA Art History Adjunct Professor, Reynolds Community College on 2/8/17

This text does cover the material its title implies at an introductory level. More depth could be used in some areas. In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to... read more

This text does cover the material its title implies at an introductory level. More depth could be used in some areas. In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to the time period and that is not addressed here by omitting some of the major Art movements like Impressionism, Cubism, Realism, photography and digital imagine.

All external Links work Information is accurate but seems to lack in depth in some areas. The artwork shown is primarily from the western world and the art of dead white men. In choosing which art to include as examples more diversity in artists’ ethnicity and gender should be included for a more balanced and realistic scope of art

The technical content of the text is up – to – date. The information as far as approaches to understanding art in general don’t change. Many of the artworks used to illustrate concepts are well known and appear in many standard art history textbooks. However, the lack of contemporary art examples makes some of the content less relevant to the life of the contemporary student. Art, how and why its made) is changing and this text does not necessarily address how to understand new practices in art

The text is clearly written in an easy to understand format.

The format, vocabulary and tone of writing is consistent throughout the text.

a. Each chapter is broken down into subsection that focus on a specific aspect of the overall chapter theme. b. Sections could be combined for instructional purposes c. Sections are brief enough to allow for quick coverage but also leave room for individual teacher adjustments to focus more time and discussion on specific concepts

a. The topics and objectives of each chapter are clear and flow in a logical format. While there could be an argument for some readjustment of chapter ordering, it progresses in a thoughtful format.

o This is a pdf text that can be downloaded to computer or tablet form the web. This allows students access to the main content without having to have internet for most of the content. o The outside links to artworks are necessary to view significant artwork that is not in the creative commons directly at this point. However over time that will change as the original artist dies and time has passed from the date of its creation.

The book's grammar is written using correct English.

The text does not show any outright bias against any specific cultural, racial or ethnic groups. However they are not many examples of non-western art or artists or women artists within the examples provided within the book. This is not unusual for many art survey books but there is a new movement in art education to expand the examples of art to include more people of color and women as well as more diversity in cultural arts within educational texts.

o This book is a good introductory text for a basic art survey class. It doesn’t go into depth in art history or studio practices but it does present a basic knowledgebase for understanding art in general and how to interpret and appreciate a variety of elements of art. o A teacher using this text would want to supplement the reading with practical studio experiences to give students a better understanding of some of the media and techniques presented in the book as well as an opportunity to practice the methods of analyzing artworks with more contemporary artworks.

Reviewed by RADFORD THOMAS, Ph.D., PROFESSOR OF ART, VIRGINIA WESTERN COMMUNITY COLLEGE on 2/8/17

Content adequately covers the subjects it purports to include. However, there is no comprehensive index. A brief list of Key Terms is included within each chapter. These lists are barely adequate and probably confusing to neophyte students with no... read more

Content adequately covers the subjects it purports to include. However, there is no comprehensive index. A brief list of Key Terms is included within each chapter. These lists are barely adequate and probably confusing to neophyte students with no art background. For instance, in 1.9 KEY TERMS, p.30, Icon is described primarily as often religious. “Icon”, in art, may have multiple meanings according to the culture that produced the artifact and its use by those members of that group. As an example, the image of “Isis” is an icon found throughout Egyptian culture with various “religious” as well as “power” and other cultural meanings. This criticism can be directed to all KEY TERMS lists in the text to some extent.

Illustrations appear to be consistent with the knowledge base of the written text. In other words, illustrations fit the need and are usually of good quality and reference the dialog effectively. Titles are included for each image along with the artist/author and sources where appropriate. Missing are important notes about media, method, size, and date alongside the illustration. Non-art students are wont to go to the trouble of looking up this important information.

Some KEY TERMS terminology is lacking in completeness or accuracy. Perhaps it is because the editors wished to make definitions simple, too simple. Bias is toward pleasing everyone while skimming over important iconographic details of the art forms examined. Dialog needs to be aimed at describing the iconographic content of art rather than ancillary historic events.

Content appears to be current in a way that will not make the text out-of-date within a normal time period. Updates, except for items that need immediate attention, should be easy to implement.

This text is actually written in a student-oriented manner that makes a connection between current student populations and information required to cover the subject matter. Applause to the editors.

This text is consistent with overall use of terms and organizational framework. Iconographic statements should be revised so they are accurate and clearly defined to explain the focus, use, and understanding of the art.

This text is divided into eleven rather arbitrary chapters. Editors chose these topics to somehow relate not only to history of art but to serious ways of making art. So this text is not aimed at teaching students about the why of art but about the construction of art. This makes it an art appreciation text, not an art history text. The format does not flow historically but topically.

It is difficult for the novice student to follow these disjointed chapters to a conclusion about what art really is. Each module or chapter is an end in itself and does not develop a cohesive theme about art itself. The Art and Ethics chapter is particularly misguided. This chapter’s content should be placed alongside relevant art objects and discussed in relation to that art.

Text is rife with various and confusing imagery placed next to each other making it difficult for the beginning art historian to make sense of it. There is a lack of cohesive structure throughout the text with a few exceptions. One example is the discussion of “porphyry” in chapter three. This dialog goes from the Sarcophagus of Constantina to the Palace Chapel of Aachen with no real discussion of how valuable materials are used for iconographic purposes. It then goes on to explain a "mausolea" for some reason.

In addition, I find reading the book difficult because it does not use two columns as a standard interface. It uses only a single column throughout the text.

I find no essential grammatical errors or problems.

Text is very inclusive and comprehensive in this matter.

In chapter five I found the Key Concepts very well written and useful to students

It is strange that there is a chapter on Architecture alone as an art form. Photography? or Painting? or Sculpture? or Ceramics? or Weaving...

Reviewed by Renee Garris, Adjunct Professor, J Sargent Reynolds Community College on 2/8/17

The text covers Art in a thematic approach. It explains concepts in an easy to understand manner. read more

The text covers Art in a thematic approach. It explains concepts in an easy to understand manner.

The content is accurate and error-free.

The text is current and few sections would need updating.

The text is written is a manner that those who are new to art and art history can easily understand. There are definitions for words that are new for the readers.

The text is consistent in its use of terms and the framework in which it is written.

The text is written with smaller rather than larger sections and is follow throughout the chapters of the book.

There is a logical progression to the text.

It is free of distortion of images and the illustrations are clear.

It is free of grammar errors.

It is culturally sensitive without bias. It could use more examples of art from the non-Western world for some sections to provide better balance.

Enjoyable read and could be used alone or with supplemental material.

Reviewed by Deborah Cibelli, Professor , Nicholls State University on 12/5/16

The text is organized thematically and does not offer a chronological survey of the history of art. Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and... read more

The text is organized thematically and does not offer a chronological survey of the history of art. Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and power, art and ritual, and art and ethics. These topics are all covered effectively. Chapters include examples of Western and non-Western art and architecture and offer many comparisons of art from different cultures. While there is no index, the reader may refer to the chapter titles and the glossaries found at the end of each chapter.

The factual information provided is accurate, does not contain errors and is sensitive to world views.

The themes that have been selected are well chosen and will remain relevant so that the text will not require constant revision. However, the URLs (Uniform Resource Locators) or web addresses for different web sites may change over time and the authors may want to update the text by adding examples of contemporary art.

The text discusses complex ideas in a clear and concise manner. Terms used in each chapter are clearly defined in the text and in the chapter glossaries.

Each chapter covers material outlined in the table of contents and the introductory chapter. Each chapter also has a summary of key concepts and reinforces the themes developed throughout the text.

The chapters and sections within the chapters are clearly delineated. There are on average, eight sections in every chapter, making it easy to divide the text into discrete units and easy to refer to specific topics.

The themes and ideas covered in the text are clearly delineated. There are clear transitions from section to section and from one idea to the next.

The illustrations are clearly numbered and referenced in the text. The images are from public domain sources on the web and are identified as such. It would be helpful to have dates for the images and references to the museums where the art objects are located either in the text or as additional information added to the labels for the images.

There are few grammatical errors. There are a few typographical errors such as misspellings of memento mori on page 98, of Edgar Allan Poe on page 214, and of iconoclasm on page 246.

The text compares works of art from different cultures and seems inclusive, objective, and balanced in terms of the items included and the content.

The text departs from standard introductory surveys by referring to objects from different cultures and historical periods that have been selected to illustrate the myriad functions of art, that is, art as map, religious work, “secular icon”, etc. Material is organized thematically rather than chronologically using a comparative model. The chapters on forms, materials, description, symbolic interpretation, aesthetics, architectural form, identity, power, ritual, and ethics, also encourage the reader to make connections to contemporary art and culture. Key concepts are reviewed in the chapter summaries and each chapter has a list of questions that can be used by the student to review the material as well as a glossary of key terms. The chapters on forms and materials support the study of art based on media. In the discussion of interpretive methods, the reader also gains insight into the role of the viewer as well as the artist in determining meaning and is asked to consider the continued relevance of artistic expression. The book could be adapted for teaching a more conventional survey of art if sections are assigned based on content. Chapter 10 on art and ritual, for example, largely follows a historical trajectory that begins with Stonehenge and examines architectural forms in Hawaii and Japan before discussing the sacred spaces and art of the medieval period that have been produced in different media. The strength of this work is that students are asked to make comparisons. They are also asked to think contextually about global art.

Table of Contents

• Chapter One: What is Art?
• Chapter Two: The Structure of Art
• Chapter Three: Significance of Materials Used in Art
• Chapter Four: Describing Art
• Chapter Five: Meaning in Art
• Chapter Six: Connecting Art to Our Lives
• Chapter Seven: Form in Architecture
• Chapter Eight: Art and Identity
• Chapter Nine: Art and Power
• Chapter Ten: Art and Ritual Life
• Chapter Eleven: Art and Ethics

Ancillary Material

• Ancillary materials are available by contacting the author or publisher .

About the Book

Introduction to Art: Design, Context, and Meaning offers a comprehensive introduction to the world of Art. Authored by four USG faculty members with advance degrees in the arts, this textbooks offers up-to-date original scholarship. It includes over 400 high-quality images illustrating the history of art, its technical applications, and its many uses. Combining the best elements of both a traditional textbook and a reader, it introduces such issues in art as its meaning and purpose; its meaning and purpose; its structure, material, and form; and its diverse effects on our lives. Its digital nature allows students to follow links to applicable sources and videos, expanding the students' educational experiences beyond the textbook. Introduction to Art: Design, Context, and Meaning provides a new and free alternative to traditional textbooks, making it an invaluable resource in our modern age of technology and advancement.

About the Contributors

Pamela Sachant is an art history professor at North Georgia College & State University located in Dahlonega, Georgia.

Peggy Blood is Director of Confucius Institute and Full Professor in the Department of Fine Arts Humanities & Wellness. Prior to SSU she Directed satellite campuses (Fairfield &Travis AFD) for Chapman Universities in California. Her area of specialization is Fine Arts, Higher Education & Administration. She is a Fulbright Specialist & Fulbright Specialist Program Peer Reviewer, and reviewer for other academic fellowships and scholarships. Blood is a visiting scholar at Jiujiang University in Jiujiang, China. 

Jeffery A. LeMieux is Professor Emeritus of Art at the College of Coastal Georgia. He is a practicing artist with works in private and public collections including the University System of Georgia Board of Regents and the College of Coastal Georgia. He holds an M.F.A in 2D Studio Art from the University of Wisconsin-Madison, and a B.S. in Philosophy from the University of Wisconsin-Oshkosh. His area of specialization is college level art foundations and art appreciation which he has been teaching for over 20 years.

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Modernisms 1900-1980

Course: modernisms 1900-1980   >   unit 1, contemporary art, an introduction.

• Representation and abstraction: Millais's Ophelia and Newman's Vir Heroicus Sublimis
• Art and context: Monet's Cliff Walk at Pourville and Malevich's White on White
• An Introduction to Photography in the Early 20th Century

"Getting" Contemporary Art

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179 Contemporary Art Essay Topic Ideas & Examples

🏆 best contemporary art topic ideas & essay examples, 👍 good essay topics on contemporary art, 📌 most interesting contemporary art topics to write about, 🎓 simple & easy contemporary art essay titles, 📃 good research topics about contemporary art, ❓ essay questions about contemporary art.

• Contemporary Art Practices Essay Speaking about contemporary art, people usually mean the objects of art and artistic techniques that began to be used in the middle of the twentieth century.
• Differences of Realism, Naturalism, and Modernism Periods in Art The realism movement in art is a product of the ideological and philosophical spirit of its time. Modernism is the movement in search of new forms of art, and it emphasizes the interior world.
• Impact of Digital Technologies on Contemporary Art On the contrary, digital art has been applauded in that it is fast and flexible in the sense that artists get to finish their jobs fast.
• The Influence of Conceptual Image on Modern Art and Design If a practical application is concerned, an image is a way of communication, and a designer often plays the role of the mediator between the public and the seller of a product the image is […]
• Modernism in Art and Painting Paintings done in the past about the state of people and past society presently help to give direction to in the world of art.
• Modernism and Arts and Crafts: Comparison Today, critics view modernism as a breakdown of the traditional styles inherent to the Western culture that used to connect the appearance of works of art to the appearance of the natural world. In particular, […]
• Contemporary Art as an Example of Social Commentary In summary, art is a vehicle for the expression of the political, religious, and social views of both the artist and the audience.
• Greek Mosaics in Later Greek Art and Modern Art For instance, all the decorated floors were usually confined to a unique principle whereby the dining room and the anteroom were considered.
• Modern Art: Condensation Cube by Hans Haacke Thus, obviously being the bright example of the modern art, Condensation Cube helps to author to introduce several questions which are interesting to him and raise the question of the relations between art and science […]
• Yue Minjun’s Self-Portraits As Modern Art This paper will try to present the aesthetic as well as commercial interpretation of artist Yue Min Jun as an artist, in the eyes of a westerner but with the consideration of personal history and […]
• Interior Architecture in Context: Subjective Well-Being in Modernist Design According to Petermans and Pohlmeyer, subjective well-being is an emerging topic of research in the field of design, although, no consensus has been reached in the scientific area as to what represents the essence of […]
• Art and Printmaking. Contemporary Art These types of printmaking have differences relative to the nature of the surface, which creates or forms the print that is to be transferred onto a fabric or paper.
• Effects of Globalization in the Contemporary Japanese Art They have in turn influenced the art of painting in Japan to develop it and push it to a global level.
• Modern Art Directions Analysis The new art of the 20th century is a variety of sections and directions. The creativity of separate representatives of the avant-garde does not fit at all in the frameworks of any art currents.
• Pablo Picasso, Jackson Pollock: The Revolutionary Modern Artists The essay addresses the contribution of these famous artists to their particular art movements and in general, the world of art.
• Postmodern and Modern Art: Essays by Claes Oldenburg and by Ad Rheinhardt Harrison and Wood observe that “The history of art is that of a long series of attacks upon social and aesthetic values held to be moribund, although the avant-garde position is frequently nostalgic and absolute”.[1] […]
• Theory of Modern Art: Theory of Realism The proper use of art, according to this declaration, was to document “a true picture of the events” and shape the mind towards the revolutionary ideal[7].
• Modern Asian Art Exhibition in Museum Overall, modern Asian art reflects the diverse cultural and artistic traditions of the region and shows the ways in which this legacy was influenced by Western art trends.”Mandala” by Kamal Boullata is an example of […]
• Contemporary Religious Education and Liberal Arts The provision of contemporary religious education becomes a necessity and guide and ensures that more people are in a position to transform their lives.
• Traditional and Contemporary Art: Paintings Rouen Cathedral The glamorous overall appearance of pop art is pleasant and engaging. I find abstract art overhyped and thought-provoking due to the lack of subject.
• Mark Bradford on Reimagine Modernist Art Instead of painting in a realistic style, abstract painters seek to capture the ethereal, unveil the unseen, and express the mysterious.
• Painting as Contemporary 21st Century Art Topic Considering different perspectives and applications in the exploration of the topic of geometric art, I intend to study the impact of geometric art in different industries.
• American Art Deco and Mid-Century Modern Designs Therefore, this style continues to be present in the decoration and design of buildings, interiors, transportation, and accessories. The Mid-century Modern design remains popular due to its sole combination of organic materials, clear lines, and […]
• National Museum of Modern and Contemporary Art, Korea Thankfully, modern technologies allow us to share museums’ exhibits and opportunities online and our National Museum of Modern and Contemporary Art located in Korea is not an exception.
• Michael Jackson’s Glove for Museum of Contemporary Art Australia It describes the cultural importance of the piece of work and how it resonates with the institution’s wider objectives and mission statement.
• Museum of Modern Art: Reflection The Cypress tree is also a significant element in the painting as van Gogh projects it as a rising flame from the ground to the night sky.
• The Difference Between Art Deco and Depression Modern Design By and whole, Art Deco and Depression differ in their characteristics and their meanings as they bring unlike messages to the viewers.
• Ai Weiwei as a Contemporary Art Artist The meaning of human rights and the destiny of the Chinese people are of primary significance for the artist, so many of his works reflect the issues that Weiwei recognizes and wants to eliminate.
• The Concept of Modern Art Development Walter Benjamin stated in the book, The Work of Art in the Age of Mechanical Reproduction. In the statement, Benjamin was responding to the effect of reproduction on the aura of an object.
• Contemporary Islamic Art Overview The influence of European art in the East grows in the 19th century and reaches its climax by the 20th century.
• The Coming of Modern Era and the Birth of “New Art” The most notable movements included Impressionism, then Cubism, Expressionism, Fauvism, Suprematism, Abstract art, proponents of which contributed immensely to the establishment of a new perspective on the role of art in society.
• Analysis of Modern Interior Design Style The factors mentioned above and the interior design style are associated because the industry of interior design is a broad discipline that combines knowledge and technologies of many fields. The first major factor that has […]
• The Formation of the Contemporary Art The painting created by Wilfredo Lam, one of the famous representatives of Modern Primitivism, represents the image of primitive way of life and depiction of early beliefs of Afro-Cubans.
• “Salt Shaker” by Stuart Davis and Modern Art The Salt Shaker is a prominent example of how most ordinary and banal items may be turned into major art pieces.
• Contemporary Moorish Interior Design As a result, the Moroccan Style interior design provides a number of possibilities to demonstrate and highlight these nuances and peculiarities that exist in different cultures.
• Modernist Art: A Feminist Perspective Clarke limited the definition of modernism even further by his restriction of it to the facets of the Paris of Manet and the Impressionists, a place of leisure, pleasure, and excesses, and it seems that […]
• Classical and Contemporary Art as Influenced by Kate Beynon In Li Ji’s drawing, Beynon creates the image of a strong, stout and bold warrior completely in control of the mountain next to her.
• Contemporary Culture and Pop Art To understand the essence of pop Art better, the connection between the This is not a Pipe by Foucault and Plato and the Simulacrum by Deleuze and the works of pop art can be of […]
• Animations and Modern Film Designs In the film industry, the audience has to be captivated by the proposition in the pictures. In order to catch the attention of the viewers the film has to be striking and enjoyable.
• The History of Modernism Era: The Modern Philosophy of Art Modernism is used for the description of the style and ideas of a work of art that was produced during this period or era of modernism.
• Studies in Contemporary Art and Artists The paper is claimed to review some of the most known contemporary artists, and define the particularities, that may be regarded as mnemonic traces of their arts.
• Modernist Typography in Graphic Design In the example above, it can be seen that these serifs take on a strong triangular shape, joined to the main stroke with a series of brackets that serves both to fill in the negative […]
• Modern Views on Aesthetics and Art Robert Solomon in his article dedicated to Kitsch, which is often viewed as a degeneration of the present-day culture, states that it also has a right to be called art.
• Humanities: Modern Culture and the Arts In light of the foregoing, the essence of the paper is to zero in on the explorations of the cultural transformations in a particular society substantiating notions that culture is dynamic and is always subject […]
• Classic & Modern Art Classifying and Appreciating The classical style of art have been those of portraits, still, life, landscape, and the genre itself were used as subjects for the different forms of artworks.
• Eco-Friendly Design in Contemporary Fashion In this case, fibers are plants that need to be treated during processing; designing and they too require the usage of herbicides, fertilizers, and other chemicals that are hazardous to the environment at large.
• Contemporary Literature. Poems and Paintings The poem and painting chosen for the analysis in this paper belong to the works of the second group, that is the picture came to existence much earlier than the poem which, in its turn, […]
• Mid-Century Modern Design However, the key focus of the style is the combination of function and a unique design that is appealing to the eye.
• Russian Avant-Garde in History of Modern Art The Russian avant-garde is a massive wave of non-traditional, experimental, and innovative art that covers the period from the end of the 19th century to the middle of the 20th century in Russia.
• Cubism in History of Modern Art Cubism has become one of the iconic art movements of the twentieth century that had a profound effect on the development of art.
• Cultural Encounter: San Francisco Museum of Modern Art As I learned from the description of the exhibition by the SFMOMA and the video called “Julie Mehretu: Politicized Landscapes,” Mehretu painted with ink on the background of the blurred 19th-century paintings of the American […]
• Modern Art in Actions, Events, Performances The relationship between the audience and a work of art was drastically transformed from observation to involvement as for the first time the viewer was placed in the art context.
• Art Exhibition in Contemporary Society One of the key roles and benefits of the art exhibition is that it helps to advance and promote the value of different aspects of art, thus enabling artists to achieve their goals in those […]
• Art-Society Nexus in the Museum of Modern Art Whether it is in the genesis of individual works, the act of reception, or the course of the history of style, the dialectical development of art does not proceed from the antagonism between social and […]
• Modernist Revolution in Art History Simultaneously, the works of Karl Marx challenged the assumption of the relative nature of the shortcomings of capitalist society and suggested its fundamental flaws and inherent contradictions as reasons for the current social issues.
• Australia’s Aboriginal and Modernist Visual Arts Indigenous Australian art is characterized by a lot of imagery that depicted the origin of the artist and the themes in the paintings.
• Modern Art: Painting, Sculpture, Architecture, Photography Duchamp and his work have a connection through the refusal to accept the views of the majority of artists and art lovers.
• Modernity in Traditional Islamic Building Design The bifurcation of scholarly opinions on the place of modernity in traditional Islamic building design is a testament to the complexity of the issue.
• Zhuang Huan’s “Poppy Fields” in Modern Chinese Art Zhang Huan disclosed the meaning of his art, and particularly, of this series in several interviews declaring that these “paintings represent the hallucination of happiness and the hallucination of fear and loneliness in this life […]
• Ideas in Neo-Expressionism and Contemporary Art The insights of identity can be seen in the artworks of many contemporary artists. The majority of them try to reveal their philosophical views and attract the public’s attention to those issues they consider to […]
• Visual Analysis of Nature in Modern Art In the age of modern arts, when both the creators and the audience is less concerned with the physical form and more with the underlying messages and feelings that art invokes, the multi-faceted topic of […]
• Montreal Museum of Contemporary Art’s Exhibitions In terms of mission, the Museum of Contemporary Art of Montreal is dedicated to revealing to the world the crucial position that the present-day art holds in the community.
• Contemporary Installation Art Changes From the 20th Century Quite the opposite, art serves as the means of rendering the alteration and the challenges that people face in the identified realms, therefore, portraying the process of the evolution of the humankind.
• The Body in Contemporary Art Finally, the art of performance includes the human body in its motion; in this role, the body is viewed from a variety of angles and perspectives and in the combination with what is happening to […]
• Contemporary Female Artists in Turkey The secrecy associated with Islam and gender roles in some parts of Asia has further compounded this mystery because few people know what to make of the place of women in traditional Islamic societies and […]
• Pregnant Female Body in Renaissance and Modern Art Thus, he considered Mona Lisa to be a symbol of the origin of life, and the female image as a symbolic source of natural powers of creation and destruction.
• Classicism, Realism and Contemporary Art Paintings In my opinion, this difference is concerned with the fact that, whereas, many artistic works of the past can be enjoyed by just about anyone, this is far from being the case with the examples […]
• Modernity Development in Art of 18-20th Centuries In turn, romanticism and realism are aimed at showing that modernity can be viewed as the search for new topics or questions that have not been examined by the representatives of the previous cultural movements.
• Contemporary Art at Saatchi Gallery of London The work states the idea that the “location of the soul was not necessarily in the body”, and the focus is not on the man trying to breathe above the water, but on the vivid […]
• Modern Art Works: Painting, Sculpture and Vintage Illustration The aim of this essay is to describe the painting Joy of Life by Henri Matisse, the sculpture The Kiss by Constantin Brancussi, and to present the vintage print illustration of 1930s.
• Artistic Modernism and Art Nouveau The opposition of mass production to the handmade artistic work can also be regarded as the opposition of the inhuman and soulless to the infinite and spiritual that is comprised of beauty.
• Modern Art: A Cultural-Aesthetic Movement The problem of defining of the term Modernism created much difficulty for artists, philosophers and writers of the 20th century. In the course of time, the aspect of realism came into consideration to change a […]
• Modern Arts Development in the USA The research explores how the social status, the cultivation of esthetics, and attendance of artistic events affect the inherent attitudes of the cultural policies in the USA.
• Zhao Zhao and the Chinese Contemporary Art It is considered to portray the repression of the artist and Ai Weiwei by the authorities in China. The marks of the brush in Sky No.
• Exploration of Artwork From Modern Art History: Fauvism This painting by Henri Matisse was his first work that portrayed impressionism and also the advent of colored painting by the Fauvists.
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Visiting Sleeping Beauties: Reawakening Fashion?

You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early.

Heilbrunn Timeline of Art History Essays

Oedipus and the Sphinx

Gustave Moreau

The Love Song

Sir Edward Burne-Jones

Island of the Dead

Arnold Böcklin

Inter artes et naturam (Between Art and Nature)

Pierre Puvis de Chavannes

The Shepherd's Song

Ia Orana Maria (Hail Mary)

Paul Gauguin

Vase with face

Pierre-Adrien Dalpayrat

The First Communion

Eugène Carrière

The Blind Man's Meal

Pablo Picasso

Odilon Redon

Nicole Myers Department of European Paintings, The Metropolitan Museum of Art

August 2007

Symbolism initially developed as a French literary movement in the 1880s, gaining popular credence with the publication in 1886 of Jean Moréas’ manifesto in Le Figaro . Reacting against the rationalism and materialism that had come to dominate Western European culture, Moréas proclaimed the validity of pure subjectivity and the expression of an idea over a realistic description of the natural world. This philosophy, which would incorporate the poet Stéphane Mallarmé’s conviction that reality was best expressed through poetry because it paralleled nature rather than replicating it, became a central tenet of the movement. In Mallarmé’s words, “To name an object is to suppress three-quarters of the enjoyment to be found in the poem… suggestion , that is the dream.”

Though it began as a literary concept, Symbolism was soon identified with the artwork of a younger generation of painters who were similarly rejecting the conventions of Naturalism. Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in the objective, quasi-scientific manner embodied by Realism and Impressionism. Returning to the personal expressivity advocated by the Romantics earlier in the nineteenth century, they felt that the symbolic value or meaning of a work of art stemmed from the re-creation of emotional experiences in the viewer through color, line, and composition. In painting, Symbolism represents a synthesis of form and feeling, of reality and the artist’s inner subjectivity.

In an article on Paul Gauguin published in 1891, Albert Aurier gave the first definition of symbolism as an aesthetic, describing it as the subjective vision of an artist expressed through a simplified and non-naturalistic style and hailing Gauguin as its leader. However, the groundwork for pictorial Symbolism was laid as early as the 1870s by an older generation of artists such as Gustave Moreau (1826–1898), Puvis de Chavannes (1824–1898), Odilon Redon (1840–1916) ( 60.19.1 ), Eugène Carrière (1849–1906) ( 63.138.5 ), Arnold Böcklin (1827–1901) ( 26.90 ), and Edward Burne-Jones (1833–1898). All would have a profound influence on Gauguin and his contemporaries in the later nineteenth century.

Wanting to imbue their works with spiritual value, these progenitors of Symbolism produced imaginary dream worlds populated with mysterious figures from biblical stories and Greek mythology as well as fantastical, often monstrous, creatures. Their suggestive imagery established what would become the most pervasive themes in Symbolist art: love, fear, anguish, death, sexual awakening, and unrequited desire. Woman became the favored symbol for the expression of these universal emotions, appearing alternately as wistful virgins ( 06.177 ; 63.138.5 ; 47.26 ) and menacing femmes fatales. In this latter category, Moreau popularized the motifs of Salome brandishing the head of John the Baptist and the man-eating sphinx through paintings such as Oedipus and the Sphinx ( 21.134.1 ) in the Salons of the mid-1860s and 1870s. These two mythical female types—the virgin and the femme fatale—would become staples of Symbolist imagery, appearing frequently in both visual and literary sources from the 1880s through the first decade of the twentieth century.

Unlike the Impressionists , the Symbolists who emerged in the 1880s were a diverse group of artists often working independently with varying aesthetic goals. Rather than sharing a single artistic style, they were unified by a shared pessimism and weariness of the decadence they perceived in modern society. The Symbolists sought escape from reality, expressing their personal dreams and visions through color, form, and composition. Their almost universal preference for broad strokes of unmodulated color and flat, often abstract forms was inspired by Puvis de Chavannes, who created greatly simplified forms in order to clearly express abstract ideas ( 58.15.2 ). His muted palette and decorative treatment of forms made a considerable impact on a new generation of artists, most notably Gauguin (1848–1903) and the young Pablo Picasso (1881–1973).

Gauguin’s Symbolism was unique in that he sought escape from civilization in less industrialized, so-called primitive cultures rather than in the imaginary dream world of his predecessors. Vision of the Sermon (1888; National Galleries of Scotland, Edinburgh) marks his first intentionally Symbolist picture painted in the Synthetic style that he developed with Émile Bernard (1868–1941) in Brittany in 1888, which aimed to synthesize abstracted form with emotional or spiritual experience. Here, Gauguin combined heavily outlined, simplified shapes with solid patches of vivid color to symbolically express the ardent piety of simple Breton women. This painting exerted a tremendous influence on the group of artists known as the Nabis , who enthusiastically adopted his aesthetic in the late 1880s and 1890s.

Gauguin’s search for a lost paradise ultimately led him to the South Seas, where he filled his canvases, prints, and sculptures with highly personal and esoteric imagery that deliberately eludes a clear or finite interpretation ( 51.112.2 ). Describing his greatest Symbolist masterpiece, the monumental Where Do We Come From? What Are We? Where Are We Going? (1897–98; Museum of Fine Arts, Boston), Gauguin echoed Mallarmé in proclaiming that “explanatory attributes—known symbols—would congeal the canvas into a melancholy reality, and the problem indicated would no longer be a poem.”

Though it began in France, Symbolism was an international avant-garde movement that spread across Europe and North America during the last two decades of the nineteenth century. The Norwegian Edvard Munch (1863–1944) was closely associated with Symbolist circles, spending time in Paris before settling in Germany in the early 1890s. Munch’s intensely personal style is often referred to as Symbolic Naturalism as his subjects are not exotic or fantastical but based on the real anxieties of modern existence. Virtually all of the canvases he produced between 1893 and 1902 belong to a series called the Frieze of Life . These paintings explore themes of illness, loneliness, despair, and mental suffering associated with love, conditions that Munch deemed emblematic of “modern psychic life.” The Scream of 1893 (Munch-Museet, Oslo) best exemplifies fin-de-siècle feelings of isolation, disillusionment, and psychological anguish conveyed through distorted forms, expressive colors, and fluid brushwork.

In 1892, the eccentric “Sâr” Péladan founded the Salon de la Rose + Croix, inviting artists with strong Symbolist tendencies to exhibit their artwork. Ferdinand Hodler (Swiss, 1853–1918), Jan Toorop (Dutch, 1858–1928), and a number of Belgians, including Fernand Khnopff (1858–1921), were among the international participants. Also working in Belgium, though rarely exhibiting his work, was James Ensor (1860–1949), who developed a unique Symbolist style based on grotesque and carnivalesque figures. Picasso, an avid admirer of Gauguin, whose works he first encountered while visiting Paris in 1901, enthusiastically embraced Symbolism during his formative years in Barcelona. His Blue Period works, such as The Blind Man’s Meal (1903; 50.188 ), depict mentally and physically downtrodden characters in the greatly simplified style characteristic of pictorial Symbolism.

In Central Europe, Symbolism witnessed a late flourishing in the works of the Vienna Secession and Gustav Klimt (1862–1918) in particular, whose canvases display a deep fascination with both the productive and destructive forces of female sexuality ( Salome , 1909; Museo Ca’ Pesaro, Venice). Klimt’s highly ornamental style reveals the close connection between Symbolism and parallel movements in the decorative arts such as Art Nouveau .

The Symbolists’ rejection of naturalism and narrative in favor of the subjective representation of an idea or emotion would have a significant effect on the artwork of the twentieth century, particularly the formulation of German Expressionism and Abstraction.

Myers, Nicole. “Symbolism.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/symb/hd_symb.htm (August 2007)

Further Reading

Christian, John. Symbolists and Decadents . London: Thames & Hudson, 1977.

Lucie-Smith, Edward. Symbolist Art . London: Thames & Hudson, 2001.

Mathieu, Pierre-Louis. The Symbolist Generation, 1870–1910 . New York: Skira, 1990.

Additional Essays by Nicole Myers

• Myers, Nicole. “ The Lure of Montmartre, 1880–1900 .” (October 2007)
• Myers, Nicole. “ Women Artists in Nineteenth-Century France .” (September 2008)
• Myers, Nicole. “ The Aesthetic of the Sketch in Nineteenth-Century France .” (March 2009)

Related Essays

• The Nabis and Decorative Painting
• Pablo Picasso (1881–1973)
• Paul Gauguin (1848–1903)
• Romanticism
• Art Nouveau
• The Graphic Art of Max Klinger
• Greek Gods and Religious Practices
• Impressionism: Art and Modernity
• Lithography in the Nineteenth Century
• Neoclassicism
• Post-Impressionism
• The Pre-Raphaelites
• The Salon and the Royal Academy in the Nineteenth Century
• Umberto Boccioni (1882–1916)
• Central Europe and Low Countries, 1800–1900 A.D.
• Eastern Europe and Scandinavia, 1800–1900 A.D.
• France, 1800–1900 A.D.
• Great Britain and Ireland, 1800–1900 A.D.
• Iberian Peninsula, 1900 A.D.–present
• 19th Century A.D.
• Abstract Art
• Aestheticism
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• Art Nouveau / Jugendstil
• Biedermeier
• British Literature / Poetry
• Central Europe
• Eastern Europe
• Eastern Mediterranean
• Expressionism
• French Literature / Poetry
• Great Britain and Ireland
• Greek and Roman Mythology
• Greek Literature / Poetry
• Iberian Peninsula
• Impressionism
• Literature / Poetry
• Modern and Contemporary Art
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• Oil on Canvas
• Pre-Raphaelite Brotherhood
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• Scandinavia
• Vienna Secession

Artist or Maker

• Baziotes, William
• Böcklin, Arnold
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• Carrière, Eugène
• Carrington, Leonora
• Dalpayrat, Pierre-Adriene
• Ensor, James
• Gauguin, Paul
• Klimt, Gustav
• Messerschmidt, Franz Xaver
• Moreau, Gustave
• Munch, Edvard
• Picasso, Pablo
• Puvis De Chavannes, Pierre
• Redon, Odilon
• Schiele, Egon
• Spilliaert, Léon
• Voisin-Delacroix, Alphonse

Crafting a Self-Portrait with Words: Adjectives to Define yourself

This essay is about the importance of choosing the right adjectives to describe oneself, emphasizing how these words shape both self-perception and others’ perceptions. It explores the significance of adjectives like adaptable, empathetic, passionate, curious, dependable, creative, optimistic, and analytical. Each adjective is explained in terms of its meaning and the positive traits it conveys, such as flexibility, emotional intelligence, enthusiasm, intellectual curiosity, reliability, originality, positivity, and critical thinking. By selecting adjectives that authentically reflect one’s strengths and qualities, individuals can create a vivid and compelling self-portrait that enhances personal and professional relationships.

How it works

Describing oneself is an art that balances self-awareness with honesty, pride with humility, and precision with creativity. Choosing the right adjectives is essential in painting an accurate and compelling self-portrait. The words you select not only reflect how you see yourself but also influence how others perceive you. Here, we delve into some of the best adjectives to describe oneself, exploring their meanings and the contexts in which they can be effectively used.

First, think of “adaptable.” This adjective emphasizes how easily you may adapt to different circumstances and obstacles.

A valuable quality in our fast-paced, constantly-evolving environment is adaptability. It implies that you are adaptable, receptive, and strong, able to deal with both anticipated and unexpected situations. In both personal and professional contexts, flexibility demonstrates your capacity to flourish in a variety of settings and favorably accept change.

“Empathetic” is another great adjective. Empathy is a sign of a deep capacity to comprehend and experience another person’s emotions. It is a fundamental component of emotional intelligence, indicating that you are perceptive to the feelings and experiences of people around you in addition to your own. Those who possess empathy are frequently excellent listeners, encouraging companions, and kind leaders who foster cultures where others are respected and understood.

The term “passionate” is a potent one that expresses a great sense of ardor or dedication to something you hold dear. Having a strong interest that motivates others is what it means to be passionate about something, be it a vocation, a pastime, or a cause. Since passion is contagious, it can inspire and energise people around you, fostering a lively and stimulating environment. Furthermore, given that passion frequently keeps up effort and attention throughout time, it implies a great degree of commitment and tenacity.

Think of “curious” as an additional useful adjective. A curious individual is keen to discover, investigate, and gain a deeper understanding of the world. Your curiosity pushes you to seek out new experiences, ask questions, and learn more, all of which foster innovation and creativity. It is a necessary quality for both professional and personal development since it keeps you interested and changing all the time. Being curious is a sign of intellectual life and a constant search for fresh viewpoints and concepts.

The fundamental adjective “dependable” says a lot about your dependability and credibility. When you characterize yourself as dependable, you let people know that they can rely on you to keep your word and be there for them when they need you. Because it promotes respect and trust, dependability is a quality that strengthens bonds in both personal and professional contexts. It shows accountability and a dedication to honesty, which makes you an invaluable and trustworthy collaborator in any project.

Do not ignore the word “creative.” This adjective characterizes a person who thinks creatively, comes up with novel ideas, and takes an original approach to challenges. Not only is creativity useful in the arts, but it is also important in science, business, and everyday problem solving. A creative individual typically sees opportunities where others see barriers, and they often bring new insights and ideas to the table. If you identify as creative, it implies that you are resourceful, imaginative, and able to come up with original solutions for problems.

The adjective “optimistic” conveys a cheerful and upbeat attitude on life. An optimistic person prefers to look for the positive aspects of things and people, emphasizing possibilities and potential above issues and disappointments. Resilience and optimism are related because optimism keeps you driven and unflinching even in the face of difficulty. It is a motivating quality that can uplift the spirits of people around you and create an atmosphere that is positive and productive.

Finally, think about “analytical.” This adjective characterizes a person who is excellent at deciphering complicated data, seeing trends, and coming to logical conclusions. An analytical person is meticulous, systematic, and has strong critical thinking abilities. This quality is extremely valuable in domains like science, finance, and technology that demand accuracy and reasoning. Analytical thinking shows that you can approach issues methodically and make decisions that are well-informed and supported by data.

In conclusion, the language you use to define yourself has a big influence on how other people see you and how you perform in social and professional contexts. You and your skills can be described using adjectives like flexible, perceptive, driven, trustworthy, optimistic, and analytical. You may give people a captivating and interesting picture of yourself by using phrases that truly capture your best features and traits. This will improve your interactions with people both personally and professionally.

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