Table Of Content
Links were placed within text immediately following the artist or artwork under discussion, making them easy to find. The links themselves were relevant and added to the topic(s) at hand. All of the links I checked were operational, but as one might expect, the quality and size of images and text varied from website to website. The format introduces each chapter with learning outcomes and a brief introduction. Each chapter ends with key concepts, vocabulary and good test questions as a review of the material.
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These aspects provide a solid foundation for students who will want to know more. It is a sufficient balance of form and meaning, which you don't often see in introductory texts. The embedded hyperlinks to supplemental information is also a unique feature that students will find helpful. This is tricky to evaluate because this book is extremely relevant to beginning students.
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A brick-walled patio became a party-ready outdoor kitchen and dining area thanks to Douglas R. Santicola of Outdoor Elegance. Santicola and Monique Wood installed Caesarstone countertops fabricated by Carlito’s Way Stone to create a functional space for outdoor entertaining. Designer Mark Hermogeno paid tribute to Silver Queen Susanna Bransford Emery-Holmes in the kitchen, butler’s pantry, family room, powder room, and mudroom.
Columbia College Chicago
The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate. The text is quite clearly divided into chapters and subheadings, and there is a "Key Terms" section at the end of every chapter. However, the text lacks an omnibus glossary and subject index. The text's treatment of anthropological and art historical detail is meticulous.
Presenting basic concepts on the definition of art and the formal qualities that comprise an artwork in the first four chapters provides a good starting point for the context and meaning discussed further into the text. The only issue with the "flow" would be the inclusion of the chapter on architecture. The content incorporates relevant and informed perspectives on crucial art world debates, including issues of ethical circulation of cultural property and material culture. Its content offers a broad appeal across the humanities and even social sciences, with relevance to students of philosophy and history as well archaeology and communication. The text is organized thematically and covers some of the areas of Art.
There are several principles of design in art, which can all be applied to create certain visual effects and feelings. These are balance, contrast/emphasis, movement, pattern/repetition, proportion, rhythm, scale, unity/harmony, and variety. There are seven elements of art, namely, color, form, line, value, shape, space, and texture. These are important to understand when viewing a painting, or creating a painting. It is important to note before we explore these art principles, that these should not be confused with the elements of art, which are described as the “visual tools” that compose an artwork.
Text is rife with various and confusing imagery placed next to each other making it difficult for the beginning art historian to make sense of it. There is a lack of cohesive structure throughout the text with a few exceptions. This dialog goes from the Sarcophagus of Constantina to the Palace Chapel of Aachen with no real discussion of how valuable materials are used for iconographic purposes. The text could do with some examples of ideas and images about diverse cultures that the learner in the introductory class can later build upon. As described elsewhere, it may suffer a little from its lack of discussion of contemporary genres, artists, techniques, etc.
A good book should lay the groundwork first on the necessary ideas, concepts, and vocabulary. When a student gets to the analysis in this book I don't think they would be prepared to understand the analysis the authors provide. Looking at the table of contents one can easily find specific ideas and jump to them using the page number feature. That being said, it would be far more intuitive and accessible if the sections in the table of contents linked directly to their corresponding sections. A palette of whites, deep blues, and gold creates an elegant atmosphere in the formal living room, which was designed by Rachel Duarte. The designer established two seating areas within the space, including a cozy gathering spot with chaise longues that flank the original carved marble fireplace.
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A logical combination of text, images, and titles delivered in a visually pleasing way. I have not found any grammatical errors in my assessment of each segment of this book. I think it would be easy to organize this text anyway you like when teaching, although the flow, the way one chapter leads into another, is nice, so I personally would not change it. I believe the text is organized in a way so as to easily implement updated material. The quality of images and text for those links varied from website to website. There are no navigation issues with the text or the display of image examples.
It is also represented through other elements like color variations and lines to indicate a contour or outline. Patterns are art elements placed in repeated arrangements or sequences, whether these are from lines, colors, shapes, or others. This repetition in a composition can create various effects, for example, the idea of movement, texture, unity, or balance.
Each spread includes one or more works by each artist and a fun, informative text, inviting children to look closely and discover a variety of paintings, sculptures, photographs, and more. Editors chose these topics to somehow relate not only to history of art but to serious ways of making art. So this text is not aimed at teaching students about the why of art but about the construction of art. This makes it an art appreciation text, not an art history text. The text does not show any outright bias against any specific cultural, racial or ethnic groups. However they are not many examples of non-western art or artists or women artists within the examples provided within the book.
When applying each color, or art element, with a specific paintbrush, or art principle, you will create a compositional whole. In the principles of design in art, it is important not to confuse scale with proportion. Scale relates to the object’s size within the composition compared to all the other objects. For example, a figure standing next to a building, which will be to scale if depicted accurately in terms of how it would appear in real life or as some art sources state, “typically the size of the artwork to the viewer’s body”. Each chapter covers material outlined in the table of contents and the introductory chapter.
For instance, Chapter 3 on cultural value of materials is very out of place in this text. My only concern is that there is no index, nor is there a bibliography (unless I missed them). The content is mainly accurate throughout the text, with some typographical, spelling, and technical errors (broken links), especially in the second half of the book. As noted below, the text includes some inaccuracies or inconsistencies pertaining to indigenous cultures and artists. On occasion, the authors present controversial viewpoints in a straightforward manner.
The calligraphic text is contained in a geometric shape places near the bottom of the page. During the Middle Ages, manuscript books preserved and propagated sacred writings. These early books were written and illustrated on sheets of treated animal skin called parchment, or vellum, and sewn together into a codex format with pages that turned like the pages of contemporary books. In Europe, monastic writing rooms had a clear division of labour that led to the design of books. A scholar versed in Greek and Latin headed the writing room and was responsible for the editorial content, design, and production of books. Scribes trained in lettering styles spent their days bent over writing tables, penning page after page of text.
To talk about classical and modern examples in a section can be challenging for a new student in art to compare and comprehend. The thematic nature of this textbook would work well for an Art Appreciation or Introduction to Art seminar/survey course but would not be applicable to an Art History course that demands more chronological order. The text is successfully organized so a student would easily understand what to expect from chapters and subtopics. Text formatting unobtrusively guides the viewer to important concepts and key terms.
The text is not culturally insensitive or offensive in any way. In fact, it makes great use of examples that are inclusive of a variety of races, ethnicities, backgrounds, and time periods. This is a decent textbook for cherry-picking specific topics from, but all together it is not a great text to use as a tool for creating course structure.
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