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Art History (5th Edition), by Marilyn Stokstad, Michael Cothren
Free Ebook Art History (5th Edition), by Marilyn Stokstad, Michael Cothren
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The most student-friendly, contextual, and inclusive survey is now personalized, digital, and mobile for today’s students.
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Art History, 5/e continues to balance formal analysis with contextual art history in order to engage a diverse student audience. Authors Marilyn Stokstad and Michael Cothren, both scholars as well as teachers, share a common vision that survey courses should be filled with as much enjoyment as learning, and that they should foster an enthusiastic, as well as an educated, public for the visual arts. ��
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This revision is the strongest and most comprehensive learning program for measuring student progress and improving student success in attaining the outcomes and goals of the art history survey course. Not only does the text address four overarching goals of the survey course, the new MyArtsLab further develops and reinforces these outcomes and skills with market-leading learning tools such as personalized study plans for each student and multimedia assets geared towards addressing different learning styles and abilities, such as chapter audio, student videos, Closer Looks, architectural panoramas and much more. The end result is a complete learning program designed to increase students’ success with a personalized, digital and a highly mobile learning experience.
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Teaching and Learning Experience
This program will provide a better teaching and learning experience—for you and your students. It:
- Personalizes Learning with MyArtsLab: MyArtsLab is an online homework, tutorial, and assessment program. It helps students prepare for class and instructors gauge individual and class performance.
- Creates a Modern Mobile Digital Experience: Make learning easy and convenient with our on-the-go eTexts and key learning applications. Pearson Custom eText provides instructors and students with a whole new online customizable learning experience.
- Includes Tools to Improve Critical Thinking: Key Learning Outcomes encourage students to think critically about visual arts as part of the larger world.
- Engages Students: Updated scholarship, MyArtsLab, and the readability of the text provide a wonderful engaging student experience.
- Provides Outstanding Instructor Support: With a wealth of online resources, instructors have videos, images, and teaching support materials to create a dynamic, engaging course.
Note: You are purchasing a standalone product; MyArtsLab does not come packaged with this content. If you would like to purchase both the physical text and MyArtsLab search for ISBN-10: 0205949487 / ISBN-13: 9780205949489. This package includes: 0205206565 / 9780205206568 NEW MyArtsLab with Pearson eText -- Valuepack Access Card �and 0205873472 / 9780205873470 Art History
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ALERT:�Before you purchase, check with your instructor or review your course syllabus to ensure that you�select the correct ISBN. Several versions of Pearson's MyLab & Mastering products exist for each title, including customized versions for individual schools, and registrations are not transferable. In addition,�you may need a CourseID, provided by your instructor, to register for and use Pearson's MyLab & Mastering products.
�
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Access codes for Pearson's MyLab & Mastering products may not be included when purchasing or renting from companies other than Pearson; check with the seller before completing your purchase.
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- Sales Rank: #4561 in Books
- Brand: Brand: Pearson
- Published on: 2014
- Original language: English
- Number of items: 1
- Dimensions: 11.20" h x 2.30" w x 8.80" l, 8.65 pounds
- Binding: Hardcover
- 1240 pages
- Used Book in Good Condition
Review
“An excellent resource accessible to first-year and other students, but full of information to keep all readers interested through excellent writing and examples. It is beautifully illustrated and the electronic support is superb.”
����-�William Ganis, Wells College
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“Thorough, thought-provoking...Excellent imagery and great plans and photos of architecture.”
����-�Elizabeth Olton, The University of Texas at San Antonio
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“Stokstad/Cothren offers students access to knowledge about global art and its historical contexts while presenting information in a manner that will entice students to actually want to learn more.”
����-�Eleanor Moseman, Colorado State University
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“Comprehensive. Intelligent, yet accessible for students. Provides strong historical and geographical context and framework for the students, as well as detailed analyses of works of art from cultures around the globe.”
����-�Deborah Haynes, University of Colorado, Boulder
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“Good historical overview, good quality images (including those available for us digitally – thank you), excellent digital resources.”
����-�Denise Budd, Bergen Community College
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From the Back Cover
In a very short time, Marilyn Stokstad's "Art History" has become the gold standard of introductions to the history of art. It has transformed the way the field of art history is perceived and experienced. Engaging, accessible, and, just as important, fun, "Art History" gives today's readers cultural and social context for art along with eloquent visual explanations of art's special qualities and particular vocabularies. Its animated and clear narrative tells the many-sided story of art, starting with the earliest prehistoric paintings and sculpture through today's wildly varying works in new mediums.
In addition to offering an outstanding collection of color illustrations, "Art History" features glorious maps, chronologies, and scores of labeled line drawings and architectural plans. Special essays called "The Object Speaks" offer tantalizing insights on topics such as authenticity, patronage, and artistic intention.
Thoroughly updated to reflect the latest in scholarship, this Revised Second Edition features even more works in color and more newly cleaned or restored works. Many works of art are completely new to the book, including a wall painting from Chauvet cave, a page from the Morgan Library Picture Bible, Bronzino's "Allegory with Venus and Cupid," Claude Lorrain's "Embarkation of the Queen of Sheba," Rembrandt's "Anatomy Lesson of Dr. Tulp," and Courbet's "The Stone Breakers," among many others. The addition of cutting edge contemporary artists Jeff Wall and Jennifer Steinkampt, and architect Daniel Libeskind bring present-day currency to the book's scope. More attention has been paid to the art and culture of the Islamic world and specifically the OttomanEmpire.
About the Author
Marilyn Stokstad, teacher, art historian, and museum curator, has been a leader in her field for decades and has served as president of the College Art Association and the International Center of Medieval Art. In 2002, she was awarded the lifetime achievement award from the National Women’s Caucus for Art. In 1997, she was awarded the Governor’s Arts Award as Kansas Art Educator of the Year and an honorary degree of doctor of humane letters by Carleton College. She is Judith Harris Murphy Distinguished Professor Emerita at the University of Kansas, Lawrence. She has also served in various leadership capacities at the University’s Spencer Museum of Art and is Consultative Curator of Medieval Art at the Nelson-Atkins Museum of Art in Kansas City, Missouri
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Michael W. Cothren is Scheuer Family Professor of Humanities and Chair of the Department of Art at Swarthmore College, where he has also served as Coordinator of Medieval Studies and Chair of the Humanities Division.� Since arriving at Swarthmore in 1978, he has taught specialized courses on Medieval, Roman, and Islamic art and architecture, as well as seminars on visual narrative and on theory and method, but he particularly enjoys teaching the survey to Swarthmore beginners.� His research and publications focus on French Gothic art and architecture, most recently in a book on the stained glass of Beauvais Cathedral entitled Picturing the Celestial City.� Michael is a consultative curator at the Glencairn Museum in Bryn Athyn, Pennsylvania. He has served on the board of the International Center of Medieval Art and as President both of the American Committee of the International Corpus Vitrearum and of his local school board. When not teaching, writing, or pursuing art historical research, you can find him hiking in the red rocks around Sedona, Arizona.
Most helpful customer reviews
54 of 55 people found the following review helpful.
A Masterpiece...
By FrKurt Messick
Marilyn Stokstad has put together a real masterpiece of art history with her book, Art History. In collaboration with Bradford Collins, and with contributed chapters from Stephen Addiss, Chu-tsing Li, Marylin Rhie and Christopher Roy, this large volume published by noted art publishers Henry N. Abrams, Inc. is deserving of pride of place on any art bookshelf.
The scope of this work is as broad as is the expanse of human history. Indeed, the first chapter begins with a survey of prehistoric art and prehistory. Spanning all the ancient cultures, there are chapters devoted to the art of the ancient Near East, Egypt, the Aegean, Etruscan and Roman art, Christian, Jewish and Byzantine art, Islamic art, the art of India, China, Japan, the Americas and Africa. And from there, it gets complicated!
This book tackles all the issues of art: philosophical considerations (the relationship between art and reality, and the meaning and importance of beauty in art), focus on artists in general and in particular, society's relationship to art, including the role of the patron, the importance of museums, and an investigation that goes behind the phrase, 'I know what I like.'
'Art history, in contrast to art criticism, combines the formal analysis of works of art--concentrating mainly on the visual elements in the work of art--with the study of the works' broad historical context. Art historians draw on biography to learn about artists' lives, social history to understand the economic and political forces shaping artists, their patrons, and their public, and the history of ideas to gain an understanding of the intellectual currents influencing artists' work.'
In addition to presenting a history of art, Stokstad and her contributors also present an introduction to various aspects of art appreciation, without with art history loses much meaning. Each chapter has an explanation of the techniques that were developed and important during the time under examination (for instance, lost wax casting, glassamking and Egyptian faience, Japanese woodblock technique, and Islamic carpet making, among many others, are illustrated in detail to enhance the knowledge and appreciation of the finished art works). Each chapter and time period also has a section entitled Elements of Architecture, which include discussion on elements from pyramids to skyscrapers and much in between.
The text is clear and concise, carefully explaining technical terms when they are used, and then using them sparingly. Every page is a visual feast, with full colour plates of photographs of paintings, sculpture, artists, locations, or architectural examples in great form, as Henry N. Abrams, Inc. publishers are famous for doing. There are literally thousands of illustrations, as there are often many per page; almost no page is without one, and the book is nearly 1200 pages long.
As an aid for those who will use this book for more scholarly purposes, there is an extensive bibliography in the back, in three classifications of listings -- general surveys and art history references, a selected list of art history journals, and then a chapter-specific directory of further reading for each art topic/period. Additionally, it has after the bibliography as Website Directory of Museums, which includes museums in every state in the United States and most major museums around the world. The index includes listings by artist, period, topic, and particular works of art.
This book has been intended to be useful as a text for a course in art appreciation, but also designed to be a joy to read for the casual reader who might not want an academically rigourous presentation. As Stokstad says in her preface, the intention was make this book itself a work of art, and in that task she has succeeded admirably.
22 of 22 people found the following review helpful.
A masterpiece
By FrKurt Messick
Marilyn Stokstad has put together a real masterpiece of art history with her book, Art History. In collaboration with Bradford Collins, and with contributed chapters from Stephen Addiss, Chu-tsing Li, Marylin Rhie and Christopher Roy, this large volume is deserving of pride of place on any art bookshelf.
The scope of this work is as broad as is the expanse of human history. Indeed, the first chapter begins with a survey of prehistoric art and prehistory. Spanning all the ancient cultures, there are chapters devoted to the art of the ancient Near East, Egypt, the Aegean, Etruscan and Roman art, Christian, Jewish and Byzantine art, Islamic art, the art of India, China, Japan, the Americas and Africa. And from there, it gets complicated!
This book tackles all the issues of art: philosophical considerations (the relationship between art and reality, and the meaning and importance of beauty in art), focus on artists in general and in particular, society's relationship to art, including the role of the patron, the importance of museums, and an investigation that goes behind the phrase, 'I know what I like.'
'Art history, in contrast to art criticism, combines the formal analysis of works of art--concentrating mainly on the visual elements in the work of art--with the study of the works' broad historical context. Art historians draw on biography to learn about artists' lives, social history to understand the economic and political forces shaping artists, their patrons, and their public, and the history of ideas to gain an understanding of the intellectual currents influencing artists' work.'
In addition to presenting a history of art, Stokstad and her contributors also present an introduction to various aspects of art appreciation, without with art history loses much meaning. Each chapter has an explanation of the techniques that were developed and important during the time under examination (for instance, lost wax casting, glassamking and Egyptian faience, Japanese woodblock technique, and Islamic carpet making, among many others, are illustrated in detail to enhance the knowledge and appreciation of the finished art works). Each chapter and time period also has a section entitled Elements of Architecture, which include discussion on elements from pyramids to skyscrapers and much in between.
The text is clear and concise, carefully explaining technical terms when they are used, and then using them sparingly. Every page is a visual feast, with full colour plates of photographs of paintings, sculpture, artists, locations, or architectural examples in great form, as Henry N. Abrams, Inc. publishers are famous for doing. There are literally thousands of illustrations, as there are often many per page; almost no page is without one, and the book is nearly 1200 pages long.
As an aid for those who will use this book for more scholarly purposes, there is an extensive bibliography in the back, in three classifications of listings -- general surveys and art history references, a selected list of art history journals, and then a chapter-specific directory of further reading for each art topic/period. Additionally, it has after the bibliography as Website Directory of Museums, which includes museums in every state in the United States and most major museums around the world. The index includes listings by artist, period, topic, and particular works of art.
This book has been intended to be useful as a text for a course in art appreciation, but also designed to be a joy to read for the casual reader who might not want an academically rigourous presentation. As Stokstad says in her preface, the intention was make this book itself a work of art, and in that task she has succeeded admirably.
27 of 28 people found the following review helpful.
As a teaching resource, it tries, if not succeeds, to perform a difficult task
By RedReplicant
I've been, along with most of the other Art History professors at my local universities, using Stokstad for many years. It's a well illustrated and understandable text with an excellent overview of Western art. However, the project seems to have run into some difficulty in the last several years, regarding our increasing need to broaden the survey field.
When I was an undergraduate, Survey simply meant learning about Western art and its influences from pre-history through the late twentieth century. Since then, it's become more important for our undergrads to understand that Western art isn't the only tradition worth studying and considering, and that our modern influences lie across the globe rather than in a direct and exclusive line of descent from Kritios Boy. Stokstad and Cothren make a valiant effort to include a balanced selection, but the format resists their attempts. What they've done is to insert non-Western art as chapters sprinkled here and there in the narrative - a narrative which otherwise reads as a relatively smooth progression from ancient to modern. It reads as incredibly disjointed, especially approaching the second half of the book. For example, there is a chapter on African art right in the early modern section that samples medieval (way before what we were studying in the last few weeks) up through postmodern (which we hadn't even approached)! My students found this jarring as they attempted to mentally construct a time line for themselves.
What makes this worse is that the authors make this mini survey of non-Western art a habit that takes place in almost every non-Western chapter. This is true for NONE of the Western chapters and the departure makes it difficult to contextualize or view the timeline in any constructive way. I give exams based on segments of time (e.g. from 1400 to 1800 or thereabouts) and when I have a chapter stuck in there that hits both 1250 and 2012, it throws a wrench into the class structure.
I realize that creating a survey of art from all around the world is a very difficult proposition. It's difficult to teach, even if I select only a few items from each period, not only because of the massively different historical contexts that need to be included, but because understanding the forms and designs of international art is a challenge for beginning students. I appreciate that Stokstad and Cothren are attempting to be more broad. However, they haven't solved the problem of creating a world Art History book. Perhaps the entire format of the basic survey text needs to be re-evaluated; aren't we due for that, since we've basically been repeating the same structure since the 1960's?
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