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Title: Masterpieces of Western Art: A History of Art in 900 Individual Studies from the Gothic to the Present Day by Ingo F. Walther, Robert Suckale, Manfred Wundram ISBN: 3-8228-1825-9 Publisher: TASCHEN America Llc Pub. Date: September, 2002 Format: Paperback Volumes: 1 List Price(USD): $39.99 |
Average Customer Rating: 4.75 (4 reviews)
Rating: 4
Summary: A fine overview
Comment: A book thorough in its presentation of Western art from the Gothic period on through the period of Neoclassicism, the authors of the chapters in it have given the reader a fine overview of the art techniques used in this time period. They also attempt to explain the various rationale and motivations of the artists themselves in creating the artforms that they did. These attempts will of course remain points of controversy, for it is difficult, and the authors cannot claim with certainty, any correlation between the artforms and the political, personal, and social philosophies of the time periods discussed. But the author's speculations on these reasons entice readers to form their own, and this enhances the didactic quality of the book.
In the discussion of the Gothic era, for example, the author (Robert Suckale) claims that the art of this period was to be contrasted with that of the Middle Ages, which exclusively produced works that protrayed life in the hereafter. A sharp boundary would be difficult to draw between the Gothic and Middle Ages though, so it should be concluded that his statement is one that could be characterized as dealing with "averages" over the works produced. Certainly some exceptions or deviations could be found in the works of the Gothic era as well as the Middle Ages. It might be perhaps more precise to classify time periods in art relative to the techniques used rather than the content, especially when comparing two points in history that are separated by a relatively short time scale. Therefore it is easier to accept that art at the end of the Gothic period was very different in content than the beginning of the Middle Ages, but as one shrinks the time scale separating these endpoints, the distinction becomes more difficult.
in addition, Suckale emphasizes the role of the artist as architect in the Gothic period, with geometrical considerations viewed as "natural" and therefore subject to the dynamism displayed by nature. This lead to complex mathematical configurations coupled with intricate non-geometric components. The "fresco" technique had its origin in this time period, and Suckale takes the reader through the process of how this was done, it requiring the artist to work very quickly. The ramifications of the Black Death on commerce at the time influenced art dramatically, Suckale argues, and resulted, interestingly, with an explosion of both religious and secular works of art. The survivors of the Black Death were those of the repentant and those who felt life was short and must be enjoyed to the fullest. Suckale also explains the switching by artists from the pattern book to the sketch book, resulting in more originality by the artists.
Manfred Wundram follows in the next article with a discussion of the early Renaissance period, which can be characterized he says by emphasis on portraiture and landscape painting. He claims that fine art is a means of expression of humankinds general cultural and intellectual history, and that religious and political conditions play a major role in shaping the art forms of a particular era. Art intepretation, he says, cannot happen without visual evidence. Any attempt to do so is mere speculation. These comments are to some extent convincing, but the interpretation of all art, regardless of the time period in which it was produced, should be left to the mind of the observer, in whatever framework such an observer chooses, be it a modern viewpoint or one that is actually attempting to relate the artwork to the time period in which it was produced. Pure speculation in the appreciation of art is thus permissible and is to be encouraged.
Wundrum continues his analysis in the next article on the Renaissance and Mannerism, in which he argues, painting reached an absolute zenith. Readers preferences may prohibit an agreement with this characterization of the Renaissance however. In the artworks displayed in this article, a good example being the Virgin and Child with St Anne and St John the Baptist, one can see what Wundrum describes as color modulation, as the gradual dissolving of outlines. Wundrum also discusses in detail the origins of the term Mannerism and its problematic use in describing some of the art in this time period, and as being a transition between Renaissance and Baroque. And interestingly from a modern perspective is the exaggeration and deformation of the ideal human figure which took place under the category of Mannerism, supposedly according to the author to make more of an expressive impact.
In the next article, Andreas Prater takes the reader through the Baroque period, the art in this period reflecting the ostentation and exuberance of the times. He argues that the art of this period is very difficult to define and characterize, and he summarizes the attempts to do so in detail. Illusionism and distortion of reality he says, are characteristics of the Baroque period. This is not readily apparent in the artworks displayed in this section however, unless one view angels, unicorns, etc as a distortion of reality, and not merely a flight of fancy on the part of the artist. In fact a certain degree of optimisim is present, a good example being "Seaport at Sunrise' by Claude Lorrain.
Hermann Bauer continues with the Baroque period but from the standpoint of the Netherlands in the next article. The paintings seem more naturalistic in this case, the landscapes more serene, with an overabundance of earth tones. The "Honeysuckle Bower" of Peter Paul Rubens has to rank as one of the most impressive studies in detail ever put on canvas. Rembrandt's "Slaughtered Ox" is characteristically post-Modern.
Eva-Gresine Baur ends the book with an article on Rococo and Neoclassicism. The use of pastels characterizes this period, argues Baur, and she describes these methods in detail. She characterizes the art of this period as a repression of fear, and without agreeing with this statement, the artworks listed do seem to exemplify a certain degree of escapism.
Rating: 5
Summary: At Last - A Masterpiece of Art History in Its Own Right
Comment: This is one of the best art books I have ever read, for serious art historian or novice. The production is beautiful, the writing simple and to the point. And the great thing is, once is not enough - you want to look at it and read it over and over again. A bargain at the price and a joy to handle and peruse.
Rating: 5
Summary: At Last - a Comprehensive, Beautiful Book about Western ARt
Comment: This is a comprehensive, intelligent, beautifully produced work, covering the greatest paintings of Western Art in a way which appeals to the educated art lover as well as the novice. I thoroughly recommend it. One caveat: It's heavy!Carrying it can be a chore. But give it a good home and it will be a perpetual source of pleasure and instruction.
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Title: What Great Paintings Say by Rose-Marie Hagen, Rainer Hagen ISBN: 3822813729 Publisher: TASCHEN America Llc Pub. Date: December, 2002 List Price(USD): $39.99 |
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Title: Sculpture by Taschen ISBN: 3822816620 Publisher: TASCHEN America Llc Pub. Date: June, 2002 List Price(USD): $29.99 |
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Title: Art: A World History by Dorling Kindersley Publishing ISBN: 078948904X Publisher: DK Publishing Pub. Date: 01 July, 2002 List Price(USD): $40.00 |
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Title: The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern by Carol Strickland, John Boswell ISBN: 0836280059 Publisher: Andrews McMeel Publishing Pub. Date: 01 June, 1992 List Price(USD): $22.95 |
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Title: Auguste Renoir, 1841-1919, the Painter of Happiness by Gilles Neret ISBN: 3822858765 Publisher: TASCHEN America Llc Pub. Date: December, 2001 List Price(USD): $39.99 |
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