Rewritten and reorganized, this new edition weaves together the most recent scholarship, the most current thinking in art history, and the most innovative online supplements, including digital art library. Experience the new Janson and re-experience the history of art. Long established as the classic and seminal introduction to art of the Western world, the Eighth Edition of Janson's History of Art is groundbreaking. When Harry Abrams first published the History of Art in 1962, John F. Kennedy occupied the White House, and Andy Warhol was an emerging artist. Janson offered his readers a strong focus on Western art, an important consideration of technique and style, and a clear point of view. The History of Art, said Janson, was not just a stringing together of historically significant objects, but the writing of a story about their interconnections, a history of styles and of stylistic change. Janson's text focused on the visual and technical characteristics of the objects he discussed, often in extraordinarily eloquent language. Janson's History of Art helped to establish the canon of art history for many generations of scholars. The new Eighth Edition, although revised to remain current with new discoveries and scholarship, continues to follow Janson's lead in important ways: It is limited to the Western tradition, with a chapter on Islamic art and its relationship to Western art. It keeps the focus of the discussion on the object, its manufacture, and its visual character. It considers the contribution of the artist as an important part of the analysis. This edition maintains an organization along the lines established by Janson, with separate chapters on the Northern European Renaissance, the Italian Renaissance, the High Renaissance, and Baroque art, with stylistic divisions for key periods of the modern era. Also embedded in this edition is the narrative of how art has changed over time in the cultures that Europe has claimed as its patrimony.
Preface xiv Faculty and Student Resources for Teaching and Learning with Janson's History of Art xix Introduction xxi PART ONE: THE ANCIENT WORLD
Chapter 1: Prehistoric Art PALEOLITHIC ART 2 MATERIALS AND TECHNIQUES: Cave Painting 5 Interpreting Prehistoric Painting 5 Paleolithic Carving 7 INFORMING ART: Telling Time: Labels and Periods 9 Paleolithic houses 11 NEOLITHIC ART 11 Settled Societies and Neolithic Art 11 Architecture in Europe: Tombs and Rituals 15 INFORMING ART: Dating Techniques 17
Chapter 2: Ancient Near Eastern Art SUMERIAN ART 22 Temple Architecture: Linking Heaven and Earth 23 MATERIALS AND TECHNIQUES: Mud Brick 23 Sculpture and Inlay 25 PRIMARY SOURCES: The Gilgamesh Epic 25 Visual Narratives 27 Cylinder Seals 29 THE ART HISTORIAN'S LENS: Losses Through Looting 29 ART OF AKKAD 30 Sculpture: Power and Narrative 30 NEO-SUMERIAN REVIVAL 32 Architecture: The Ziggurat of Ur 32 Sculpture: Figures of Gudea 32 PRIMARY SOURCES: Texts on Gudea Figures from Lagash and Surrounding Areas, ca. 2100 33 BABYLONIAN ART 33 The Code of Hammurabi 34 ASSYRIAN ART 34 PRIMARY SOURCES: The Code of Hammurabi 35 Art of Empire: Expressing Royal Power 37 LATE BABYLONIAN ART 37 The Royal Palace 38 REGIONAL NEAR EASTERN ART 38 The Hittites 40 The Phoenicians 40 The Hebrews 41 IRANIAN ART 41 Early Iranian Art 42 The Persian Empire: Cosmopolitan Heirs to the Mesopotamian Tradition 43 Mesopotamia Between Persian and Islamic Dominion 46
Chapter 3: Egyptian Art PREDYNASTIC AND EARLY DYNASTIC ART 50 The Palette of King Narmer 50 INFORMING ART: Egyptian Gods and Goddesses 52 THE OLD KINGDOM: A GOLDEN AGE 53 Old Kingdom Funerary Complexes 53 INFORMING ART: Major Periods in Ancient Egypt 54 The Pyramids at Giza: Reflecting a New Royal Role 55 MATERIALS AND TECHNIQUES: Building the Pyramids 56 PRIMARY SOURCES: Excerpt from the Pyramid Text of Unis (r. 2341 2311 BCE) 58 Representing the Human Figure 59 THE MIDDLE KINGDOM: REASSERTING TRADITION THROUGH THE ARTS 62 Royal Portraiture: Changing Expressions and Proportions 62 Funerary Architecture 63 THE NEW KINGDOM: RESTORED GLORY 65 Royal Burials in the Valley of the Kings 65 Temples to the Gods 67 Block Statues 70 Images in New Kingdom Tombs 71 AKHENATEN AND THE AMARNA STYLE 72 The Amarna Style 72 Tutankhamun and the Aftermath of Amarna 75 THE ART HISTORIAN'S LENS: Interpreting Ancient Travel Writers 75 PAPYRUS SCROLLS: THE BOOK OF THE DEAD 77 PRIMARY SOURCES: The Book of the Dead 77 LATE EGYPT 78
Chapter 4: Aegean Art EARLY CYCLADIC ART 82 MINOAN ART 84 The "Palace" at Knossos 84 Wall Paintings: Representing Rituals and Nature 86 THE ART HISTORIAN'S LENS: Two Excavators, Legend, and Archaeology 87 Minoan Pottery 89 Carved Minoan Stone Vessels 90 Late Minoan Art 92 MYCENAEAN ART 93 Architecture: Citadels 93 Mycenaean Tombs and Their Contents 96 Sculpture 99
Chapter 5: Greek Art THE EMERGENCE OF GREEK ART: THE GEOMETRIC STYLE 104 INFORMING ART: Greek Gods and Goddesses 105 Geometric Style Pottery 105 Geometric Style Sculpture 107 THE ORIENTALIZING STYLE: HORIZONS EXPAND 107 Miniature Vessels 108 ARCHAIC ART: ART OF THE CITY-STATE 109 The Rise of Monumental Temple Architecture 109 STONE SCULPTURE 113 Architectural Sculpture: The Building Comes Alive 115 Vase Painting: Art of the Symposium 119 THE CLASSICAL AGE 123 Classical Sculpture 123 MATERIALS AND TECHNIQUES: The Indirect Lost-Wax Process 128 Architecture and Sculpture on the Athenian Akropolis 131 PRIMARY SOURCES: Aristotle (384 322 BCE) 133 THE ART HISTORIAN'S LENS: Repatriation of Cultural Heritage 134 PRIMARY SOURCES: Plutarch (ca. 46 after 119 CE) 136 THE LATE CLASSICAL PERIOD 141 Late Classical Architecture: Civic and Sacred 141 Late Classical sculpture 142 Painting in the Late Classical Age 145 THE AGE OF ALEXANDER AND THE HELLENISTIC PERIOD 147 Architecture: The Scholarly Tradition and Theatricality 148 City Planning 150 Hellenistic Sculpture: Expression and Movement 154 THE ART HISTORIAN'S LENS: J.J. Winckelmann and the Apollo Belvedere 157 Hellenistic Painting 161
Chapter 6: Etruscan Art FUNERARY ART 165 Tombs and Their Contents 166 MATERIALS AND TECHNIQUES: Etruscan Gold-Working 169 ARCHITECTURE 173 City Planning 174 SCULPTURE 175 Dynamism in Terra Cotta and Bronze 175
Chapter 7: Roman Art EARLY ROME AND THE REPUBLIC 181 THE ART HISTORIAN'S LENS: Recognizing Copies: The Case of the Laocooen 183 NEW DIRECTIONS IN ARCHITECTURE 183 Sculpture 188 PRIMARY SOURCES: Cicero (106 43 BCE) 192 MATERIALS AND TECHNIQUES: Copying Greek Sculptures 193 Painting and Mosaic 194 PRIMARY SOURCES: Polybius (ca. 200 ca. 118 BCE) 194 THE EARLY EMPIRE 195 Architecture 196 THE ART HISTORIAN'S LENS: Two Pantheon Problems 202 Portrait Sculpture 203 Relief Sculpture 207 PRIMARY SOURCES: Josephus (37/8 ca. 100 CE) 210 Art and Architecture in the Provinces 213 Domestic Art and Architecture 216 THE LATE EMPIRE 222 Architecture 222 MATERIALS AND TECHNIQUES: Painted Stone in Greece and Rome 223 Architecture in the Provinces 227 Portrait Sculpture 228 Relief Sculpture 229 PART TWO: THE MIDDLE AGES
Chapter 8: Early Jewish, Early Christian, and Byzantine Art EARLY JEWISH ART 237 EARLY CHRISTIAN ART 240 Christian Art before Constantine 240 INFORMING ART: The Life of Jesus 241 PRIMARY SOURCES: The Book of the Popes (Liber Pontificalis) 244 Christian Art after Official Recognition of Christianity 245 MATERIALS AND TECHNIQUES: Mosaics 248 BYZANTINE ART 254 Early Byzantine Art 254 PRIMARY SOURCES: Procopius of Caesarea (Sixth Century) 258 The Iconoclastic Controversy 265 Middle Byzantine Art 265 PRIMARY SOURCES: St. Theodore the Studite (759 826 CE) 266 Late Byzantine Art 273 INFORMING ART: Biblical and Celestial Beings 273
Chapter 9: Islamic Art Religious Architecture 280 PRIMARY SOURCES: Muhammad Ibn Mahmud Al-Amuli (Iran, 14th Century) 280 THE FORMATION OF ISLAMIC ART 281 INFORMING ART: Islam and Its Messenger 283 Secular Architecture 284 THE DEVELOPMENT OF ISLAMIC STYLE 285 Religious Architecture 285 Luxury Arts 287 ISLAMIC ART AND THE PERSIAN INHERITANCE 287 Architecture 287 Figural Art Forms in Iran 288 THE CLASSICAL AGE 290 THE ART HISTORIAN'S LENS: Spanish Islamic Art and Europe in the Middle Ages 290 The Fatimid Artistic Impact 291 The Ayyubids and the Seljuk Turks of Asia Minor 292 LATER CLASSICAL ART AND ARCHITECTURE 294 Mongol Patronage 295 Timurid Patronage 295 Mamluk Patronage 296 Nasrid Patronage: The Alhambra 299 THE THREE LATE EMPIRES 300 PRIMARY SOURCES: The Ottoman Sultan Selim II (1524 1574) 300 MATERIALS AND TECHNIQUES: The Oriental Carpet 301 The Ottomans in Europe and Asia 302 The Safavid Period in Iran 304 The Mughal Period in India 308 PRIMARY SOURCES: Abd Al-Hamid Lahori (d. 1654) 309 CONTINUITY AND CHANGE IN ISLAMIC ART 310
Chapter 10: Early Medieval Art ANGLO-SAXON ART 314 MATERIALS AND TECHNIQUES: Metalwork 315 The Animal Style 316 HIBERNO-SAXON ART 318 Manuscripts 318 PRIMARY SOURCES: Lindisfarne Gospels 320 VIKING ART 322 CAROLINGIAN ART 324 Sculpture 324 Illuminated Books 325 Architecture 328 PRIMARY SOURCES: Hariulf (ca.1060 1143) 331 PRIMARY SOURCES: St. Angilbert (ca. 750 814) 332 OTTONIAN ART 333 Architecture 333 Metalwork 336 Ivories and Manuscripts: Conveyors of Imperial Grandeur 340 Sculpture 343
Chapter 11: Romanesque Art FIRST EXPRESSIONS OF ROMANESQUE STYLE 349 Architecture 349 Monumental Stone Sculpture 350 MATURE ROMANESQUE 351 Pilgrimage Churches and Their Art 351 PRIMARY SOURCES: The Pilgrim's Guide 352 Cluniac Architecture and Sculpture 356 PRIMARY SOURCES: St. Bernard of Clairvaux (1090 1153) 359 Cluniac Wall Painting 365 Cistercian Architecture and Art 366 Other Benedictine Architecture and Wall Painting 367 Book Illustration 368 THE ART HISTORIAN'S LENS: Preserving and Restoring Architecture 369 OTHER REGIONAL VARIANTS OF ROMANESQUE STYLE 372 Western France: Poitou 372 Southeastern France: Provence 373 The Holy Land 374 Tuscany 375 Germany 378 The Meuse Valley: Mosan Style 379 MATERIALS AND TECHNIQUES: Vaulting 380 Normandy and England 381 THE PARADOXICAL MEANING OF ROMANESQUE 386
Chapter 12: Gothic Art EARLY GOTHIC ART IN FRANCE 391 Saint-Denis: Suger and the Beginnings of Gothic Architecture 391 PRIMARY SOURCES: Suger of Saint-Denis (1081 1151) 393 Chartres Cathedral 395 Laon Cathedral 397 Cathedral of Notre-Dame in Paris 398 HIGH GOTHIC ART IN FRANCE 399 The Rebuilding of Chartres Cathedral 400 PRIMARY SOURCES: Theophilus Presbyter (12th Century) 402 MATERIALS AND TECHNIQUES: Stained Glass 405 THE ART HISTORIAN'S LENS: Modules and Proportions 406 Amiens Cathedral 408 Reims Cathedral 408 RAYONNANT OR COURT STYLE 413 Sainte-Chapelle 413 Saint-Urbain in Troyes 415 Manuscript Illumination 416 LATE GOTHIC ART IN FRANCE 418 Manuscript Illumination 418 Sculpture 420 Architecture: The Flamboyant Phase 422 THE SPREAD OF GOTHIC ART 423 Spain 423 England 426 Germany 430 PART THREE: THE RENAISSANCE THROUGH ROCOCO
Chapter 13: Art in Thirteenth- and Fourteenth-Century Italy THE GROWTH OF MENDICANT ORDERS AND THE VISUAL ARTS IN ITALY 438 The Franciscans at Assisi and Florence 438 Churches and Their Furnishings in Urban Centers 441 MATERIALS AND TECHNIQUES: Fresco Painting and Conservation 441 Pulpits in Pisan Churches 442 Expanding Florence Cathedral 445 Building for the City Government: The Palazzo della Signoria 448 PAINTING IN TUSCANY 449 Cimabue and Giotto 449 Siena: Devotion to Mary in Works by Duccio and Simone 453 PRIMARY SOURCES: Agnolo di Tura del Grasso 454 THE ART HISTORIAN'S LENS: The Social Work of Images 455 Pietro and Ambrogio Lorenzetti 458 Artists and Patrons in Times of Crisis 461 PRIMARY SOURCES: Inscriptions on the Frescoes in the Palazzo Pubblico, Siena 461 NORTHERN ITALY 465 Venice: Political Stability and Sumptuous Architecture 465 Milan: The Visconti Family and Northern Influences 465 Glossary Bibliography Index Credits
Penelope J. E. Davies is Associate Professor at the University of Texas, Austin. She is a scholar of Greek and Roman art and architecture as well as a field archaeologist. She is author of Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius, winner of the Vasari Award. Walter B. Denny is a Professor of Art History at the University of Massachusetts at Amherst. In addition to exhibition catalogues, his publications include books on Ottoman Turkish carpets, textiles, and ceramics, and articles on miniature painting, architecture and architectural decoration. Frima Fox Hofrichter is Professor and former Chair of the History of Art and Design department at Pratt Institute. She is author of Judith Leyster, A Dutch Artist in Holland's Golden Age, which received CAA's Millard Meiss Publication Fund Award. Joseph Jacobs is an independent scholar, critic, and art historian of modern art in New York City. He was the curator of modern art at the John and Mable Ringling Museum of Art in Sarasota, Florida, director of the Oklahoma City Art Museum, and curator of American art at The Newark Museum, Newark, New Jersey. David L. Simon is Jette Professor of Art at Colby College, where he received the Basset Teaching Award in 2005. Among his publications is the catalogue of Spanish and southern French Romanesque sculpture in the Metropolitan Museum of Art and The Cloisters. Ann M. Roberts, Professor of Art at Lake Forest College has published essays, articles and reviews on both Northern and Italian Renaissance topics. Her research focuses on women in the Renaissance, and her most recent publication is entitled Dominican Women and Renaissance Art:The Convent of San Domenico of Pisa. H. W. Janson was a legendary name in art history. During his long career as a teacher and scholar, he helped define the discipline through his impressive books and other publications. Anthony F. Janson forged a distinguished career as a professor, scholar, museum professional and writer. From the time of his father's death in 1982 until 2004, he authored History of Art.
