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Books : Arts & Photography : Schools, Periods & Styles : Prehistoric & Primitive
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This second edition of Carol Strickland's The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern offers an illustrated tutorial of prehistoric to post-modern art from cave paintings to video art installations to digital and Internet media.Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern takes art history out of the realm of dreary textbooks, demystifies jargon and theory, and makes art accessible—even at a cursory reading.
From Stonehenge to the Guggenheim and from Holbein to Warhol, more than 25,000 years of art is distilled into five sections covering a little more than 200 pages.
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A journey across four continents to the heart of the conflict over who should own the great works of ancient art
Why are the Elgin Marbles in London and not on the Acropolis? Why do there seem to be as many mummies in France as there are in Egypt? Why are so many Etruscan masterworks in America? For the past two centuries, the West has been plundering the treasures of the ancient world to fill its great museums, but in recent years, the countries where ancient civilizations originated have begun to push back, taking museums to court, prosecuting curators, and threatening to force the return of these priceless objects.
Where do these treasures rightly belong? Sharon Waxman, a former culture reporter for The New York Times and a longtime foreign correspondent, brings us inside this high-stakes conflict, examining the implications for the preservation of the objects themselves and for how we understand our shared cultural heritage. Her journey takes readers from the great cities of Europe and America to Egypt, Turkey, Greece, and Italy, as these countries face down the Louvre, the Metropolitan Museum, the British Museum, and the J. Paul Getty Museum. She also introduces a cast of determined and implacable characters whose battles may strip these museums of some of their most cherished treasures.
For readers who are fascinated by antiquity, who love to frequent museums, and who believe in the value of cultural exchange, Loot opens a new window on an enduring conflict.
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The Cave Painters is a vivid introduction to the spectacular cave paintings of France and Spain—the individuals who rediscovered them, theories about their origins, their splendor and mystery.
Gergory Curtis makes us see the astonishing sophistication and power of the paintings and tells us what is known about their creators, the Cro-Magnon people of some 40,000 years ago. He takes us through various theories—that the art was part of fertility or hunting rituals, or used for religious purposes, or was clan mythology—examining the ways interpretations have changed over time. Rich in detail, personalities, and history, The Cave Painters is above all permeated with awe for those distant humans who developed—perhaps for the first time—both the ability for abstract thought and a profound and beautiful way to express it.
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Two gifted photographers have documented every aspect of this extraordinary urban subculture, complete with 239 full-color photographs.
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First publication of remarkable repainting of outstanding Mexican codex — priceless original is in Vatican Library — thought to have originated in the Cholula area, ca. AD 1400. 76 large full-color plates show an astounding array of gods, kings, warriors, mythical creatures, and abstract designs. A work of rare power and beauty. Introduction.
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The breathtakingly beautiful art created deep inside the caves of western Europe in the late Ice Age provokes awe and wonder in equal measure. What do these animals and symbols, depicted on the walls of caves such as Lascaux, Chauvet and Altamira, tell us about the nature of the ancestral mind? How did these images spring, sophisticated and fully formed, seemingly from nowhere into the human story? The Mind in the Cave puts forward the most plausible explanation yet proposed for the origins of image-making and art. David Lewis-Williams skilfully interweaves a lifetime of anthropological research with the most recent neurological insights to offer a convincing account of how we became human and, in the process, began to make art. This is a masterful piece of detective work, casting light on the darkest mysteries of our ancestors and on the nature of our own consciousness and experience.
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"NORTHWEST COAST INDIAN ART is a very beautiful book and it is also an important contribution to the fields of art and anthropology, Its most distinguished feature is the author's sensitive yet scientific approach in coming firmly to grips with elements of art which often have been considered intangible".--THE BEAVER.
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With an estimated 6,000 to 8,000 sites spread throughout its canyons, mountains and deserts, the Grand Canyon state of Arizona constitutes one of the premier rock art theaters in the world. Consisting primarily of engraved images (petroglyphs) on sandstone and basalt, but also offering paintings (pictographs) under overhangs, and ground figures (geoglyphs) on the desert pavements, Arizona's rock art truly commands awe and respect. This book, in a comprehensive survey, presents the full gamut of the state's impressive open-air art from its earliest beginnings until more recent manifestations in the historic era. Though The Rock Art of Arizona contains more than 380 color photographs, over 130 drawings, and numerous charts and maps, it goes beyond the usual bounds of a lavishly illustrated coffee-table book. In addition to describing the various Archaic and post Archaic rock art styles and traditions in the state's fifteen counties, author Ekkehart Malotki focuses on providing insights into what may have compelled Arizona's ancestral artists to produce the imagery and what functions it may have had in their daily lives. At the same time, he acknowledges the severe limitations of scientifically dating the paleoart, the subjective biases involved in stylistic classification, and the ultimate mystery of its meaning. Within the confines of this explanatory framework, drawing primarily on novel ideas derived from the field of evolutionary psychology and the concept of human universals, he argues that rock art, in a broadly defined context of art and ritual, had beneficial adaptive value in the human struggle for survival and thus can truly be perceived as art for life's sake.
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Painted Ponies is teh classic book of antique carousel art. This extraordinary coffee table style book presents the finest carving examples by the most renowned carousel artists. The rarest horses and most unique menagerie animals were selected from America's premier private collections and antique operating carousels. Painted Ponies contains useful guides, charts, and directories for collectors, carvers, artists, and enthusiasts. This book contains over 650 color photographs, 256 pages, 9"x11.5", deluxe hardcover edition.
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Writing from the perspective of an art historian, Jane P. Davidson traces the history of paleontology illustration from the 15th century to the present. She combines discussions of these images as works of representative art with assessments of the artists. The book covers depictions of fossils, restorations of plants and animals, and ecological restorations in painting, drawing, sculpture, and in display restorations such as dioramas. Although the main subject of the book is scientific illustration, it also delves into "popular" illustrations such as those found in children's textbooks, popular introductions to paleontology and geology, museum and other public displays, and film. Both a history of science and a history of representation, this is a fascinating exploration of the interactions between art and science.
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"An essential guide to the art and architecture of ancient Central America."—Colonial Latin American Historical Review
Mary Ellen Miller evocatively surveys the artistic achievements of the high Precolumbian civilizations—Olmec, Maya, Teotihuacan, Toltec, Aztec—as well as those of their less well-known contemporaries. Their pyramids and palaces, jades and brightly colored paintings emerge from these pages as vividly as when they first astonished Cortes's men in 1519.
The fourth edition of this standard work includes exciting new discoveries, from Palenque, Mexico, where architecture and sculpture reveal a dramatic eighth century, to San Bartolo, Guatemala, where Maya paintings have riveted an international audience. Continuing hieroglyphic decipherments provide fresh insights. The revised edition of the Art of Mesoamerica is the ideal companion for art historians, students, and travelers alike. 220 illustrations, 136 in color.
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The first comprehensive, illustrated guide to all of the decorated Ice Age caves in Europe that are open to the public.
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This pioneering work revises our notions of the origins and early development of textiles in Europe and the Near East. Using innovative linguistic techniques, along with methods from palaeobiology and other fields, it shows that spinning and pattern weaving began far earlier than has been supposed.
Prehistoric Textiles made an unsurpassed leap in the social and cultural understanding of textiles in humankind's early history. Cloth making was an industry that consumed more time and effort, and was more culturally significant to prehistoric cultures, than anyone assumed before the book's publication. The textile industry is in fact older than pottery--and perhaps even older than agriculture and stockbreeding. It probably consumed far more hours of labor per year, in temperate climates, than did pottery and food production put together. And this work was done primarily by women. Up until the Industrial Revolution, and into this century in many peasant societies, women spent every available moment spinning, weaving, and sewing.
The author, Elizabeth Wayland Barber, demonstrates command of an almost unbelievably disparate array of disciplines--from historical linguistics to archaeology and paleobiology, from art history to the practical art of weaving. Her passionate interest in the subject matter leaps out on every page. Barber, a professor of linguistics and archaeology, developed expert sewing and weaving skills as a small girl under her mother's tutelage. One could say she had been born and raised to write this book.
Because modern textiles are almost entirely made by machines, we have difficulty appreciating how time-consuming and important the premodern textile industry was. This book opens our eyes to this crucial area of prehistoric human culture.
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In 1990 Jacques Chirac, the future president of France and a passionate fan of non-European art, met Jacques Kerchache, a maverick art collector with the lifelong ambition of displaying African sculpture in the holy temple of French culture, the Louvre. Together they began laying plans, and ten years later African fetishes were on view under the same roof as the Mona Lisa. Then, in 2006, amidst a maelstrom of controversy and hype, Chirac presided over the opening of a new museum dedicated to primitive art in the shadow of the Eiffel Tower: the Musée du Quai Branly.(20070702)
Paris Primitive recounts the massive reconfiguration of Paris’s museum world that resulted from Chirac’s dream, set against a backdrop of personal and national politics, intellectual life, and the role of culture in French society. Along with exposing the machinations that led to the MQB’s creation, Sally Price addresses the thorny questions it raises about the legacy of colonialism, the balance between aesthetic judgments and ethnographic context, and the role of institutions of art and culture in an increasingly diverse France. Anyone with a stake in the myriad political, cultural, and anthropological issues raised by the MQB will find Price’s account fascinating.
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This text comprises eleven chapters, each focusing on a discrete area of non-Western or Native American art. With nearly 180 illustrations (many in full color) and an accessible 8 1/2 x 11 format, students are introduced to important subjects and artworks outside of the Western tradition.
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What did America's first inhabitants use for cooking and eating? What did the stranded characters of television's Gilligan's Island use to prepare and eat food? Taking her cue from these questions, author Angela Mohr demonstrates how to create authentic vessels by using gourds. A watering can, cooking utensils, and bowls are created in this step-by-step instruction book, as Mohr brings fun and authenticy to her gourds. Historical re-enactors will find inspiration fhere for their authentic life-style performances and drama students, the rights tools to pursue their craft.
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While some prehistoric sites--notably the painted caves at Lascaux in France and at Altamira in northern Spain--are familiar, many more such places are almost unknown. In fact, remains left by prehistoric men and women are far more numerous, and have been found over a much greater territory--including Eurasia, Africa, Australia, and the Americas--than most people are aware. These remains include paintings and engravings in caves and rock shelters, but also decorated tools, weapons, statuettes, personal ornaments, and even musical instruments made of stone, ivory, antler, shell, bone, and fired clay.In Prehistoric Art, anthropologist Randall White presents a global survey, starting with the first explosion of imagery that occurred approximately 40,000 years ago but also including the creations of essentially "prehistoric" peoples living as recently as the early 20th century. Drawing on the most up-to-the-minute research, White places these discoveries in context and discusses possible uses and meanings for the objects and images, opening a fascinating new window onto the history of creative expression.