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We wish you could teleport you to actual museums to see works in person.
The next best thing is to see a beautiful, high resolution image in an oversized book.
Art is one subject where you want to come to the library and get your hands on books.
Tiny screen shots just aren't the same.
Steer and White chart, more or less chronologically, the course of art history with brief topical essays and some 150 maps. Superimposed upon plain base maps (shortlines and rivers only, with too few key maps of the physical landscape) are a great variety of colors and geometric symbols relating to an artistic topic, time, and place. Many of the historical subjects covered are obvious ones, like the medieval pilgrimage routes and the expansion of Alexander the Great's empire. Others are quite novel and demonstrate the keen descriptive power of maps: the travels of individual masters during the Ren-aissance, for instance, and the widespread sources of raw materials in antiquity. Least effective are those devoted to American art, which amount to little more than lists of names lain atop a map. The authors wisely intend this to supplement rather than supplant the more standard surveys of art history. No doubt it will prove a richly useful resource for students and art aficionados alike.
Theories of Art offers a thorough-going analysis and reassessment of major trends in European art theory and the development of that theory from the time of Plato to the early eighteenth century. In this elegant presentation Moshe Barasch acknowledges that art theory may have changed in intellectual outlook and artistic aims during the pre-modern period. However, he argues that it nonetheless remained a whole in which different attitudes and traditions were so intricately interwoven that they could not be separated from one another. Barasch shows how (and why) art theory then broke into several disciplines - history of art, abstract aesthetics, art criticism - in the eighteenth century. He demonstrates that the many-sided concepts of painting and sculpture that crystallized in the Age of Reason have ensured that art must now be studied within conceptual frameworks different from those of the past.
In this unique collection of notebooks, letters, treatises, and contracts dealing with the art of the Middle Ages and Renaissance, the reader is given an extraordinary insight into the personalities and conditions of the times.
Comic book studies has developed as a solid academic discipline, becoming an increasingly vibrant field in the United States and globally. A growing number of dissertations, monographs, and edited books publish every year on the subject, while world comics represent the fastest-growing sector of publishing. The Oxford Handbook of Comic Book Studies looks at the field systematically, examining the history and evolution of the genre from a global perspective. This includes a discussion of how comic books are built out of shared aesthetic systems such as literature, painting, drawing, photography, and film. The Handbook brings together readable, jargon-free essays written by established and emerging scholars from diverse geographic, institutional, gender, and national backgrounds. In particular, it explores how the term "global comics" has been defined, as well the major movements and trends that will drive the field in the years to come. Each essay will help readers understand comic books as a storytelling form grown within specific communities, and will also show how these forms exist within what can be considered a world system of comics.
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