Mirror of the World: A New History of Art

3,94 durchschnittliche Bewertung
( 120 Bewertungen bei Goodreads )
 
9780500287545: Mirror of the World: A New History of Art

“Exuberant, astute, and splendidly illustrated history of world art . . . draws fascinating parallels between artistic developments in Western and non-Western art.”―Publishers Weekly

In this beautifully written story of art, Julian Bell tells a vivid and compelling history of human artistic achievements, from prehistoric stone carvings to the latest video installations. Bell, himself a painter, uses a variety of objects to reveal how art is a product of our shared experience and how, like a mirror, it can reflect the human condition.

With hundreds of illustrations and a uniquely global perspective, Bell juxtaposes examples that challenge and enlighten the reader: dancing bronze figures from southern India, Romanesque sculptures, Baroque ceilings, and jewel-like Persian manuscripts are discussed side by side. With an insider’s knowledge and an unerring touch, Bell weaves these diverse strands into an invaluable introduction to the wider history of world art. 267 color and 105 black-and-white illustrations

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About the Author:

Julian Bell is a painter and writer.

From Publishers Weekly:

Starred Review. Bell's guidelines in writing this exuberant, astute and splendidly illustrated history of world art-spanning from the cave paintings of Lascaux through contemporary artists such as Julie Mehretu-are threefold: every work is complemented by a reproduction, the narrative is chronological, and art is viewed as "a frame within which world history, in all its breadth, is continually reflected back at us." Bell (500 Self-Portraits; What is Painting?: Representation and Modern Art) is a renowned critic, artist and professor of art history, and son of artist and critic Quentin Bell; he writes of his personal "pleasure" in creating and studying art. Bell draws fascinating parallels between artistic developments in Western and non-Western art: a discussion of Brancusi highlights the influence of West African carving on his work; one of Borromini's domes is juxtaposed with its near contemporary in the Masjid-e-Shah mosque in Isfahan. The survey is selective, presenting some typically overlooked works, but Bell trains his probing perspective to each. His conclusion is unpretentious: he advises readers to supplement his study with "finer-grained art histories" and to "get close to the work itself." Best, he says, is to make things oneself: "What happens in art is up to you." The unique study will appeal to anyone-from the generalist to the scholar-interested in a discriminating and perceptive history of world art. Illus.
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