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Read online or download Art eBooks for free. However over time that will change as the original artist dies and time has passed from the date of its creation. Text is very inclusive and comprehensive in this matter. 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. The framework of the book that remained consistent from chapter one to the final chapter. Also, the justified text is generally not a problem, but the inconsistency in spacing between characters is sometimes problematic. Chapters include examples of Western and non-Western art and architecture. 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 text covers information listed in the table of contents adequately. Excellent -- these are short, include many genres, mediums, and cultural styles in a sensible way. 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. A strength of the book is its thematic approach instead of the standard chronological approach. If anything, it errs on the side of over-simplification. It does not include an... Between Chapter 1 & 2, for example, there is only one image of Aboriginal origin. This text is written for students who are new to art. This is a large omission, especially for students studying for midterms and finals, or working on papers or larger group projects. The text is written in clear and accessible prose. Learning outcomes and an introduction are found at the beginning of each chapter. This text presents more than the usual suspects found in introductory art appreciation and visual literacy books. The examples provided are relevant and serve well to illustrate the concept. 1.14) would have benefited from a larger reproduction, especially since the text references technical nuances of the work in its analysis. 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. Each chapter is approximately 30 pages long, and sections within the chapters are subdivided into smaller sections (e.g. The historical context and timeline of the works covered by the text are subsumed within the thematic organization. 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. This book is a perfect companion to any college-level art appreciation course - and for today's student. Overall an impressive project and a good foundation to build upon. Well done on a very user-friendly text. Links were placed within text immediately following the artist or artwork under discussion, making them easy to find. It presents information in an accessible manner and clearly defines most terms. Small suggestion, though. Text is written clearly using accessible language for students. 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. It can help students understand the kinds of questions and testing done in art survey classes. My biggest concern is with the layout of the content as it is. However, many of the images also depict the same imagery found in other books. It did make me a bit concerned that other material may also be inaccurate—but I did not catch any other inaccurate statements. The inclusion of "fourth dimensional" art is particularly helpful in discussing contemporary art. 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. read more. Considering how entry level and accessible the text is, it is also fairly comprehensive. 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. Missing are important notes about media, method, size, and date alongside the illustration. If anything, I think the effort to be inclusive of cultures is overdone. Discover and read free books by indie authors as well as tons of classic books. The language is clear and accessible. In the area of visual elements and principles of design, I do wish they went more into depth. These lists are barely adequate and probably confusing to neophyte students with no art background. For instance, Chapter 3 on cultural value of materials is very out of place in this text. 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. The images chosen generally follow the typical works of art found within the canon of Western Art History. The book is full of terms and its consistency to the concept or subject. Visit us today! 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. 15 Must-Have Art Books for the Creative Mind. The text is organized in a logical, but not historical manner. I encountered some inconsistency in the spelling of artist names. Art historical (or disciplinary) outcomes aren’t the main focus here—and that should please those looking for an introductory or non-major textbook. The bulk of the content in this text will remain relevant for an extended period of time. 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. I also appreciated how Chapter 10 highlighted global engagement with sacred structures, sites, rituals, and performances, as well as their significance. At least one of the links within the text to external images was broken. Content is arranged thematically as is common in art appreciation courses. I feel it would be a good accompaniment to a chronological art history text. 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. 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. This part could be revisited for better interfacing. Chapter One in particular, is heavy on theory and would lose many of my students at the outset. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. 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. The chapters are consistently structured. Overall, the textbook contains no major grammatical errors beyond a few typographical errors. No evidence of overtly distorted images (Perhaps Figure 10.37?). read more. A publisher of art books, Taschen was created by Benedikt Taschen in 1980 in Cologne, Germany. There are also some terms I've never seen used before (e.g. However, they are not expandable or zoomable as is common in other electronic or digital textbook platforms currently available. Overall, the interface is easy to follow and basic in design. Many of the ‘Test Yourself’ questions included at the end of each chapter could also double as in-class discussion prompts. This is a big plus for those of us that teach at community colleges. I think it would be better suited for an aesthetics course than my introductory one. It can also be used to support other texts where more specific art movements are discussed. 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. However, an instructor could easily provide more depth by providing supplementary material for specific areas. As there is no index of Artists, it can be tricky to locate movements using the 'find text' function. I usually remix the chapter order, based on what type/periods I am addressing in a course. 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. "this text," etc.) Overall, the text is approachable and clear in tone, and effectively guides the reader on how to best use this resource (i.e. read more. The style of writing is quite clear and straightforward. I couldn't figure out how to put my pictures right side up. I found it sufficient as an outline, and did a lot to fill in the gaps. While the authors do include some non-western examples as they proceed, they still rely too much on European art. The text file is easy to access and navigate. This chapter could perhaps be broadened by engaging with diverse belief systems. The artworks and charts embedded in the text are high quality, well placed, and increase reader understanding of the concepts presented. The Key Terms, however, are less developed and seem more like an after thought. 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. For instance, in 1.9 KEY TERMS, p.30, Icon is described primarily as often religious. Students would be advised to read the chapter in advance of lectures / tutorials and to use this as a starting point for their research. This made the text very easy to navigate. The content is accurate for the vast majority of the book with few technical and grammatical errors. Similarly, there are some inconsistencies in the “Test Yourself” questions, in which the corresponding information is missing. Likewise, the internet hyperlinks could be replaced with embedded content to better increase the longevity of the text. This text is more inviting than other digital resources because of the visual design system in place. I applaud the discussion of the Nazi art theft. There is no index which I do find useful. 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. I will be teaching a short-term course about Architecture this semester, and am excited to use Chapter Seven: Form in Architecture. This textbook is a fairly comprehensive primer on art from the approach of purpose, materials, structure and meaning. My other issue with chapter 2 is directed at the sections on the elements of art and principles of design. The text is arranged thematically rather than chronologically and is internally consistent throughout. Even though several chapters are above and beyond what I need for my gen. ed. I found this textbook to be very comprehensive. Rather it is divided thematically into broad sections. The authors do not seem completely up to date on recent scholarship in some areas. 8.17) and Kehinde Wiley (pp. The text is well researched and unbiased. Chapter 10 discusses masks, but only examples one. 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. I did not find any examples where key terms were overlapping, confusing or contradictory. This is very user-friendly. The textbook is comprehensive, offering topics on elements and principles covered in my course. And, of course, you … 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. 250+ Free Art Books You Can Get on Getty Museum’s Virtual Library. I found the beginning of the text to be much more clearly written and compelling than the second half of the book. It is culturally sensitive without bias. The “find” feature works well, and overall it was easy to use the extext. 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. Applause to the editors. 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. read more. Eine deutsche Version ist in Arbeit..... Keywords: Arts, Esoterik, Pastels, Inspirationen, poetry. This book is easy to break up into small sections of readings for students. Some web links within the text of the subheadings are sometimes often just images with no actual source listed and lack further information. When teaching, I find it useful to have just 1-2 examples of art for each idea/concept I am discussing. The setup is different from most textbooks I've used, and some of the terminology is different (e.g. 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. This text represents an important contribution in the effort to make art and the study of art accessible to students. The series takes place in the near-future and focuses on various virtual reality MMORPG worlds. The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate. Once again, the editing here has been thorough and painstaking. The writing is clear and concise, it is easy to follow and understand. It is very similar to other art appreciation textbooks I have used in the past. 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. Topics and subtopics are broken up into manageable blocks of text that should retain student interest. Some general examples given to explain concepts lack universality, such as yoga as an example of art and science. Color images with good labels and attribution make it easy to discuss and research further for students. Understandably, some sections are significantly longer, but multiple images can be a contributing factor to the increased length. 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. 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. 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). In the chapter on describing art some major stylistic movements were omitted. The wrong title is listed in a few image captions. The text does not show any outright bias against any specific cultural, racial or ethnic groups. This book is setup in a conventional way, such as chapters with subheadings. The illustrations in the text are also geared towards the examination of western art than other categories including Asian and African. 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. In general, the discussions could be edited to offer a more precise and concise analysis that is less conversational and more direct. read more, As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art. 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. 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. As mentioned earlier, more examples of non-western art might be helpful. read more. The remaining chapters provide students with art specific vocabulary and the descriptive and analytical tools to view, discuss, and interpret art and architecture. read more. The format does not flow historically but topically. I also encountered numerous broken or misdirected hyperlinks. The material is also reader friendly. There is no index, which make it difficult for students to comprehend some key... read more. They discuss how important iconography is, but don't really give any analysis of specific symbols in a deep and meaningful way. Key terms are in bold type in the chapter and also included in the list of key terms at the end of the chapters. Expensive Art Books. The text flows logically by the outlined themes. 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. 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. Few grammatical errors were detected. 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. 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. The Open Textbook Library is supported by the Open Education Network. Examples of artwork are given from all over the world. Overall, I found the content to be accurate and well-researched. 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