By ANTHONY F. JANSON' 'H.W. JANSON
The main thorough, cogent, and lavishly illustrated survey of artwork within the Western culture, Janson's historical past of artwork has now been thoroughly redesigned and up-to-date to make it the final word visually and intellectually fascinating source for at the present time. Timelines; thesaurus; bibliography; index. 1,266 illustrations, greater than 775 in complete colour.
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This article examines the contexts during which classical statuary used to be made and displayed, and restores its former cultural value. It explains the options of the manufacture of Greek sculpture, and lines its creation from the eighth century BC to the Hellenistic interval. the writer explores the results the tradition of heroes had on sculpture and the religion in deities in human shape.
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Navajo. Painting Compared to sculpture, each occasion that demands them, the designs painting subordinate role in ethnographic Though plays a societies. the technique was widely known, its use was restricted in most areas to the color- ing of wood carvings or of the human bodv, sometimes with intricate ornamental designs. As an independent art, however, painting could establish itself only when exceptional conditions provided suitable surfaces. Thus, the Indian tribes inhabiting the arid South- of the United States developed the unique art of sand painting (fig.
The Upper Egypt. The parallel and Narmer are the same; over human and the slaving cal effort. We god of Horus as representing a real fight. from the very helpless is 43 a god triumphs Hence. Narmer's gesture foes. must not be taken The enemv local plain. is • start, a ritual rather than a physi- is gather from the this fact that Narmer has taken off his sandals (the court official behind him carries them in his right hand), an indication that he standing on is holy ground. ) The inner logic of the Narmer palettes stvle is readily apparent.
C. 6 m). Salisbury Plain (Wiltshire), England technical refinement and and beauty of shape, a seemingly infinite variety of clay vessels covered with abstract ornamental patterns, but hardlv anything comparable to the painting and sculpture of the Paleolithic. Yet the changeover from hunting to husbandry must have been accompanied by profound changes in the people's view of themselves and the world, and it seems impossible to believe that There development of us simply because Neo- these did not find expression in art.
A Basic History of Art by ANTHONY F. JANSON' 'H.W. JANSON