introduction to art essay

Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art. It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

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Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

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Introduction to Art: Design, Context, and Meaning

(58 reviews)

Pamela Sachant, University of North Georgia

Peggy Blood, Savannah State University

Jeffery A LeMieux, Brunswick, GA

Publisher: University of North Georgia Press

Language: English

Formats Available

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Learn more about reviews.

Reviewed by Eddy Mora, Faculty, Johnson County Community College on 5/8/22

Very comprehensive touching on subjects required not only to understand art but design as well. Topics were related to visual communication, visual literacy, and meaning. I love that the author does not stop at aesthetics but follows with cultural... read more

Comprehensiveness rating: 5 see less

Content Accuracy rating: 5

Having studied art for the last 30 years I can recognize the subject in reference and it appears to be accurate.

Relevance/Longevity rating: 5

Very relevant. I loved the introduction to the text because it makes it relevant to current and future generations of students, linking image use to cultural context and meaning.

Clarity rating: 5

Very clear and easy to follow and understand.

Consistency rating: 5

I like the sequential consistency of the text.

Modularity rating: 5

Very easy to pick up were left off.

Organization/Structure/Flow rating: 5

The book is very relevant in the progression of topics. I love how is organized. The organization logic could help teachers focused on specific topics.

Interface rating: 5

Beautiful interface put together and easy to follow. Very well documented with images and captions.

Grammatical Errors rating: 5

No grammatical errors that I found.

Cultural Relevance rating: 5

The text is very inclusive culturally. I liked how it helps the reader travel through continents with different styles, modes, histories, and artists.

I would recommend this book not only for its relevance to art history or fine art students but also to use with graphic design students. The many topics touched such as art structure, materials relevancy, communication, art analysis, and design formalities are more needed in design now more than ever, especially in face of the open cultural globalization our youth is experiencing.

Reviewed by Monika Meler, Assistant Professor of Art and Foundations Coordinator, University of Saint Francis on 12/30/21

Comprehensiveness rating: 4 see less

This book is a good and comprehensive text outlining themes and ideas. I see the audience for this text being complete beginners. It focuses less on formal principles and elements and tackles larger, more comprehensive themes like defining art, audience, and really large and complex ideas like identity, and power. Because it is a large survey textbook, these topics are not discussed in depth but do offer a brief introduction. The text does have a lot of questions at the end of chapters that would spark great conversation about these topics from beginning students. I don't mean to suggest that the book doesn't discuss elements and principles, but not nearly in as much depth as the textbook we use for foundations courses currently. I would use portions of this book for a 2D, 3D, or beginning drawing class, but it would not be an accurate replacement text for an intro/foundations course. For instance, the chapter on "describing art" would be very applicable to introduce students to critique. There are great examples of formal analysis that would be excellent to start the process of critique with.

The content of the book is very accurate.

Relevance/Longevity rating: 3

This is tricky to evaluate because this book is extremely relevant to beginning students. I could see this book being used in an art appreciation class or a class for non-majors not looking to go very deep. In our program, we teach a series of 1 credit beginning seminars for art majors that introduce them to different areas of study in studio art, audience, content, materials, and meaning. If I have the opportunity to teach one of these classes, I will definitely be pulling parts of this book. As you know, I am a fan of the "Describing Art" chapter and foresee using the "Connecting Art to Our Lives" chapter in the class as well as "Meaning on Art" in the courses.

My vote of "3" here is because of the lack of cultural diversity in the art that is represented and the fact that there are very few examples of more contemporary art. The examples are very European and this is why I would not use this as the sole text for any class. I would need to supplement with more contemporary/culturally diverse perspectives. Contemporary artists are mentioned, but few visual examples are used.

I think the book is very clear and consistent and believe that it communicates well to a beginning audience.

The book is very consistent. I like that each chapter begins with a section on "learning outcomes" and concludes with a review of key concepts. If your course includes tests or quizzes, this consistent structure would make it easier to construct the texts/quizzes and would serve as a nice study guide for students.

I addressed some of this in the "consistency" review above but this is one of the books biggest strengths. It is very easy to pull just one part of the book and teach from sections. The sections do no depend on the student having knowledge of previous chapters/sections.

As I have mentioned in previous points, this is a strength of the book.

There are no interface/navigation problems. I am impressed with the quality of images used.

I do not see any grammar issues.

Cultural Relevance rating: 1

This is one of the major issues I see with the book and I mentioned that in the points above. Other reviewers have also mentioned the lack of focus on cultural inclusion/diversity. If this book is to be used as a sole text for any course, it would have to be much more inclusive.

Reviewed by Christine Shearer, Adjunct Professor, Cleveland State University on 7/11/21

The book is a good resource for a basic art appreciation course that plans to focus more on topics and themes and less on formal qualities. Most of the examples are of a Western focus and provide a very Eurocentric viewpoint. There is a lack of female representation, both as maker and patron, providing a male-centric focus—a common occurrence in art historical textbooks.

Content Accuracy rating: 4

The images are great examples; however, they do not include any information that most professors would include in their lectures and PowerPoints—artist, title, date, medium, location.

Relevance/Longevity rating: 4

For a survey it has relevance, but it is not relevant for an upper division art history course. The book does not include much material post-1960, lacks representation beyond Europe and Western civilization, and is light on female contributions.

The template of the book is clear, nicely designed, and consistent. The writers have expressed their ideas in easy-to-understand language and have provided images and/or links to images to expand the learning experience visually. At the beginning of each chapter there is a list of learning objectives, and at the end of each chapter there is a review of key concepts, a test yourself section, and key terms.

The book is arranged thematically throughout, and the format is the same for each chapter.

Each chapter is broken down into subsections that are easy to pull out and assign in a different order than they are presented or as part of another course.

Organization/Structure/Flow rating: 4

The organization of the book is by theme. It is structured to cover what is art and how to make art in the beginning chapters and then progresses through different forms before landing on specific themes. It can be used as presented or re-arranged to fit another format.

There are hyperlinks that are a little long. These could perhaps by converted to bitly links to make it less distracting when you come across them in the text.

Grammatical Errors rating: 4

There are a few grammatical errors.

Cultural Relevance rating: 4

As stated above, the book is heavily Eurocentric and focused on Western art. Very little material on women and post-1960 is included within that focus as well. It does not include non-Western art and culture which is often lacking from many art historical texts. Sections could be used for supplementing material in other courses, but overall, it is a good source for an introductory art appreciation course.

Reviewed by David Chatfield, Adjunct Instructor, Community College of Aurora on 5/24/21

This text is not especially comprehensive. The first, and the most egregious example is the lack of historical and cultural contexts, normally found in the form of sections on art history. The authors attempt to embed art history into... read more

Comprehensiveness rating: 2 see less

This text is not especially comprehensive.

The first, and the most egregious example is the lack of historical and cultural contexts, normally found in the form of sections on art history. The authors attempt to embed art history into sections on material, Formal Elements, and Themes in Art, but it lacks a lot of context. This is especially the case when it comes to representation in non-western cultures. While I understand it is difficult to represent all cultures in dedicated chapters in this kind of text, and while I like the idea of embedding art history into other sections, they do not provide enough historical context and non-western cultures. One can choose a select group of representative cultures that demonstrate the relevant ideas that can give the students the structure and critical thinking skills needed to analyze the omitted cultures. Exposure to other cultures and other contexts is essential to developing empathy, essential in developing critical thinking skills when considering new and unfamiliar contexts.

Finally, while it is fairly comprehensive in describing other ideas, like materials, Formal vocabulary, and themes it's not very comprehensive on the application of those ideas.

Content Accuracy rating: 3

While the content seems accurate, it is not unbiased. As stated above this text is pretty typical in so far as the overrepresentation of Western cultures (and cultures generally accepted by the Western Canon like Egypt or China) in textbooks. This shows a bias toward an outdated Eurocentric viewpoint.

The content is not up-to-date. As an example, in the chapter on Protest and Shock, the most recent example is from 2001. There is a plethora of protest art from recent years, for example, BLM to the continued LGBTQ+ rights movements.

Though the text does include some contemporary artists, like Mel Chin, the examples are outdated.

The text also has at least 2 outdated links to image examples. Relying on links to other sources does not ensure longevity as the web is ever-changing. One could PDF the source and include that, or just include the images directly.

Clarity rating: 2

This text is pretty academic/inaccessible in its prose and doesn't provide much context for the terminology. For example, in the description of the often confusing Complimentary Colors, the authors state: "There is a slight delay between the depletion and restoration of this chemical supply within the neuron. In the interim, an afterimage occurs. Look at the green, orange, and black flag for 10 seconds, then look at a blank wall or empty white space. (Figure 2.52) For a few moments, you will see the complement, or opposite, of green (red), the complement of orange (blue), and the complement of black (white)..."

This idea is deceptively hard to teach, and even experienced art students are confused by Complimentary Colors. Describing chemical reactions and neurons might require one to explain what neurons are as well as what color wavelengths are on top of the cultural specificity of color and so-on and so-on only to additionally complicate a complicated idea, when what the student's need to know is how Complimentary Colors behave visually in contrast to Harmonious Colors, and why that is important to an artist. Compliments clash, while Harmonies don't.

Consistency rating: 4

The text is fairly consistent in its terminology and seems to be organized by an overall framework, starting with the vocabulary, then materials, then finally themes of Art. I would like to see more ties between the different sections using the vocabulary. For example, in the earlier section on the Formal Elements and the later section on visual analysis, the vocabulary used in the early section isn't brought forward in a clear and consistent way.

Modularity rating: 4

The text is modular, with sections delineated out into broader ideas that are then explored specifically, that can be viewed independently if needed.

Organization/Structure/Flow rating: 3

As stated above the text is well organized. 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.

Interface rating: 2

Though this text has some accessibility problems.

As to the interface, I have been able to copy and paste text easily, making me think the text accessible to an eReader. I'd like to see how this text works with an eReader for visually impaired or neuro-divergent students. As of now, I do not see an option for the text to be read within this interface requiring a third-party eReader.

The images are small and cannot be enlarged or opened in another tab. Being able to zoom in helps students interact with the work in a more intimate way. This is also a huge problem for visually impaired students.

There are several broken links, and I've found that the PDF takes a lot of time to load, even on a stable internet connection. This could be problematic if a user's computer or internet connection is slow. Could the sections be broken into smaller, linkable sectons?

Beyond a few links, the user experience is limited.

As best as I can tell there are or no grammatical or spelling errors. Though I'm no editor.

I did a keyword search and found a striking lack of non-Western Art. Renaissance is mentioned 30 times, while Africa/African: 8, Mesoamerica: 0, Aztec: 3, Mayan: 1. Aboriginal: 2, Pacific Island: 1, and so on. A cursory glance at the imagery is equally unrepresentative. I mostly see artwork from movements typically seen in Eurocentric Textbooks that dominate Academia (or cultures like Egypt or China, generally accepted into the Western Canon). The purpose of seeking out an OER is to move away from these types of texts. This lack of representation is highly problematic.

As to Higher Order Learning skills, specifically analysis/evaluation, I don't see enough in the text on how to analyze a work of art. They simply include a brief section with only two images and all too brief corresponding paragraphs of academic visual analysis. I don't see many connections to previous sections on the vocabulary used in visual analysis. The authors academically explain an idea, or a theme, but give the students much opportunity to apply those ideas.

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.

Then they need to have an immediate opportunity to apply those ideas. I realize this is part of my job, however, a good text does add exercises the authors find relevant to their text. My assignments may not be enough. At any rate, it's nice for the students to have additional options for the application of ideas.

This text also does not contain enough modalities in presenting the information. There are no supplemental videos, hands-on projects, or audio components. Just providing text and pictures is not enough. This particular text would require me to heavily supplement information, in which case I might as well toss the text and curate content that comes from multiple modalities myself.

Finally, quizzes at the end of each section may provide decent quantitative assessments, there is little here to help me provide qualitative assessments. Again, I understand that is my job to provide those opportunities, but I've found good text does as well.

Reviewed by Ines Corujo-Martin, Adjunct Assistant Professor, New York City College of Technology on 5/4/21

This textbook seeks to offer a deep and comprehensive insight into the world of art, including a broad variety of perspectives, such as art and meaning; art and power; art and ethics, among many other subjects. It contains over 400 high-quality images that illustrate the various forms of art, its technical applications, and its many uses. The table of contents seems detailed at first, but a closer look reveals the lack of logical and coherent progression. While Chapters 1 and 2 analyze the meaning of visual art, what is an artist, and the structure of art, Chapter 3 jumps into the study of materials, introducing jargon and technical terms that belong to an art history or more specialized course. Chapters 4 and 5, which respectively explore “Describing Art” and “Meaning in Art,” should have been placed right after Chapter 1, as they cover basic topics and terms. On the other hand, Chapter 7 delves into art in architecture, while other forms of art like painting, sculpture, or photography are neglected and find no space of deep analysis in the textbook. Overall, the content is imbalanced and needs more work, as well as the inclusion of updated materials and examples. Relevant chapters that could introduce thought-provoking and add new perspectives into the classroom (e.g., Chapter 8: Art and Identity; Chapter 9: Art and Power) are brief in comparison to other sections and offer a superficial and simplistic overview on very complex topics. For example, the authors do not illustrate the relationship between art and the construction of intersectional identities of race, gender, nationality, and ethnicity, mainly centering on religious and spiritual values (Chapter 6 and Chapter 10). Although each chapter ends with a section of "Key Terms," there is no glossary or list of illustrations at the end of the textbook. It includes footnotes citing the references employed, but there is no final bibliography, which is detrimental for an introductory college textbook that should provide a condensed view of documentation in the field. This textbook is inaccurately described online as “digital in nature,” when it takes on a conventional approach to teaching and learning. The only digital component is the inclusion of links embedded throughout the text, most of which are not contextualized. Some of these links do not work, and others send students to artworks with poor image quality. The textbook as a whole fails to provide digital activities and/or projects to expand students’ educational experiences beyond the textbook, helping them master concepts (i.e., quizlets, flashcards, videos, interactive images, etc.). It does not contain learning features like annotate and bookmark, which increase engagement with course content. Besides, there is no way to monitor students’ progress. It would have been useful to incorporate review, summary, and expansion activities at the end of the chapters, in addition to self-quizzes, to enhance student performance and facilitate the grasp of content.

The images do not include information on the artist, title, size, medium, date, and museum/collection of the works of art, and the emphasis is solely placed on the open source. Names of artists are sometimes misspelled and show no consistency like Vassily Kandinsky instead of Wassily Kandinsky (p.106).

As previously noted, this textbook takes on a traditional approach both in content and format, failing to add innovative insights to the art field. It mostly focuses on the pre-1960s period, and there is a notable absence of contemporary art, non-Western cultures, and art produced by female artists and people of color. There is barely no discussion of subculture art, urban art, or popular art, and the importance given to museums for the dissemination of art is minimal. There are stances in which the authors delve into topics that seem irrelevant to an introductory art course. For instance, the emphasis on the cultural value of materials (Chapter 3) seems very off-topic and, as already mentioned, should belong to an art history or material culture course. In contrast, relevant ongoing topics like digital art and the relationship between art and technology, often students’ favorite section, should be organized as a separate chapter instead of inserting disconnected and vague references throughout the text. The textbook does not provide enough opportunities for students to develop their critical thinking. This aspect could have been polished by designing exercises to analyze the works of art presented or by adding case studies on current and relevant artistic activities to interpret practical scenarios. To give an example, the eleventh chapter--"Art and Ethics"--could be greatly improved by introducing recent articles and real-world examples to explore ethical dilemmas related to the concepts of intellectual property, collecting, and censorship.

Clarity rating: 4

Overall, the language is clear and accessible, except for instances in which the authors use jargon and obscure terminology not appropriate for an introductory art course. Some of these technical words are not even included in the "Key Terms" sections at the end of each chapter, forcing the readers to figure it out by themselves and confusing students who might have little or no background in art.

The template used is consistent through the chapters. There is consistency regarding structure, framework, and terminology.

Each of the eleven chapters that comprise the textbook are organized into topics followed by subsections that are meant to connect back to the main theme. All chapters start off with a section of "Learning Outcomes," summarizing the learning objectives that should be attained at the end. After this, an introductory part provides background and presents the main themes and ideas that will be covered. The constant inclusion of rhetorical questions throughout the text allows students to reflect on their own learning process and to recognize the impact of art in their daily lives. Moreover, each chapter ends with two conclusive sections: "Before You Move On" and "Key Terms." The first one gives a list of discussion prompts to test the knowledge gained so far and to connect the content to students’ personal experiences. These self-reflection questions are particularly useful to engage students in their knowledge-building process and can be easily assigned to discuss in small groups during class or adapted for online forums to extend the exchange of views beyond the classroom.

There is no introduction/preface in which the authors explain the structure they follow, their educational goals or the relevance and application of the content in this textbook. Having a preface at the beginning of the textbook is useful to specify and give more information on the intended audience, as well as the educational level for which it is recommended (although we assume it is addressed to introductory college/university courses on visual art, art history, and art appreciation). There are no suggestions for planning the course and using the textbook in the classroom. This lack of pedagogical guidance could be greatly improved in the future.

Interface rating: 4

This is an aspect that needs improvement, as many of the links do not work or the linked images and pages are missing. In other cases, when referring to previously discussed images, the labeling tends to be incorrect. It is frustrating that the links within the body of the text are so long and that they are not enclosed with a period, which distracts the reader. Other than that, navigation through the text is straightforward and the text is clearly displayed.

The text does not include grammatical errors.

Cultural Relevance rating: 2

The approach of this textbook is clearly Eurocentric and Westernized, leaving out examples of art from Africa, Latin America, indigenous tribes, or any other non-Western culture. The only part in which the authors make some explicit references to other cultures (in this case Asian) takes place is Chapter 10 on "Art and Ritual Life"; however, this discussion occurs within the framework of Western themes. The vast majority of artworks in the textbook display white men and, as mentioned elsewhere in this review, there is no representation of female artists or people of color. This omission of diversity is problematic and one of its main downfalls. Art is one of the most powerful mediums to educate others on issues of inclusivity, social justice, and cultural sensitivity, which is key to forming well-rounded, global citizens. This textbook perpetuates a white-male-dominant perspective, following the typical works of art found within the canon of Western Art History. It is highly recommended that the authors revise the selection of pictures, citations, and examples to represent diverse cultures, races, ethnicities, genders, and backgrounds. In this respect, it is noteworthy to mention that the eighth chapter on the subject "Art and Identity" is one of the shortest and most superficial ones (in comparison, for example, to the previous chapter devoted to architecture that occupies more than 30 pages). The chapter "Art and Identity" provides over simplified conceptions of what cultural identity means (and constantly from a Westernized perspective) and misses out the fertile intersection of art with gendered and racialized identities over the course of history.

This textbook is not recommended as the main reference material or as a tool for organizing the course structure due to all the weaknesses in regard to content, structure, and cultural relevance detailed in this review. However, some of its sections can be incorporated into already prepared lessons, in particular Chapter 1, 4, 5, and 11, which from my perspective are the strongest. The textbook is not overly self-referential and some parts can be easily used as a supplemental material in combination with other educational resources.

Reviewed by Meidor Hu, Professor, Hawaii Community College on 4/23/21

This text is a comprehensive survey of ideas and subjects— theoretically and historically, similar to other text for an introduction to visual arts course. A wide variety of artistic media styles, time periods, and regions are covered, mostly with examples from Western art. Love the "Test Yourself" and "Key Terms" section at the end. It is lacking an index and glossary at the end of the text. I can see how this text can be easily incorporated with my previously prepared lessons.

The text reads unbiased and highly accurate. Although the image examples left out info on size, media, date and location of the art work.

The text is current but could give more focus on art since the 1960s and inclusion of more women artists.

The writing is clear and easy to read. The "Test Yourself" section at the end of each chapter is a great addition to check for understanding.

There is consistency in the logical structure and presentation.

The chapters and subheadings are logical. Each chapter opens with Learning Outcomes and ends Key Concepts, Test Yourself, and Key Terms sections to check for understanding. The subheadings are in easily digestible sections.

The text's organization is clear in format and structure.

The basic design is clear and non-distracting. The image quality were also good.

No issues with grammatical errors.

Cultural Relevance rating: 3

Although the text incorporated examples from different cultural and geological region, the majority of the discussions are Eurocentric in perspective. More attention to Asian, African, Pacific and the Americas would give the content more diversity.

Reviewed by Daniel Vedamuthu, Instructor of Art and Design, Rochester Community & Technical College on 4/1/21, updated 6/1/21

Books for Introduction to Art / Art Appreciation courses usually cover some standard topics: the definition of art, materials used to make, the elements of art and the principles of design, reasons for creating art, and methods of formal analysis of art. Introduction to Art: Design, Context, and Meaning covers these topics in the appropriate amount of depth. Texts usually then present a thematic, chronological, or cultural history of art. Introduction to Art: Design, Context, and Meaning focuses on a thematic approach. Figures often appear without dates. Courses that focus on a chronological approach will find this text lacking. The text lacks a “whole book” glossary of key terms. The Key Terms are found at the end of each chapter. The text includes a Table of Contents but does not have a formal index. This would have a negative impact on a printed version of the text. In the PDF version, searching the text is only a click away.

The text is accurate. One of the most important aspects of accuracy in a text in this subject is ensuring that the Artist, Artwork Name, and Date of Creation are correct. Doing a few random spot checks, when this information is present, the information is correct. Figures are labelled with the source author, source location, and the license. One area the text could improve is the lack of pronunciation guides in the text and in the Key Terms areas.

Being a text covering the thematic history of visual art, the content itself will not go out of date. The lack of contemporary imagery is the biggest drawback to the text, due to licensing of the figures. To include contemporary artwork in the text, links to outside images are provided in the text. Outdated links or redirects could cause the text to become obsolete. I believe it would be helpful to have a section after the copyright page or at the end of the text describing when links have last been updated or revised. However, the text is organizing in such a way that adding new images requires revising the thematic examples throughout the text instead of having to add and reorganize chapters. This is a benefit for adding new contemporary or cultural examples through the text.

The text is very clear. Art terms are clearly explained. Written examples are used to explain difficult terms. Even more importantly, Figures are used to demonstrate the meaning of art terms. When there are contrasting ideas, the text provides multiple Figures to demonstrate those competing ideas and provide instant opportunities for students to discussion about compare-and-contrast between the two figures.

The text is consistent on how it approaches topics. Art terms are using consistently throughout the text.

The text is built to be modular. Each chapter could be assigned in any order, though it’s obvious that the editor has an intended order for reading at the beginning of the text in order to logically introduce readers to the topics. Toward the end of the text, the topics become more thematic, and these chapters could be easily reorganized and adapted. Each Chapter’s main Chapter Content has clear headings and well-defined sub-headings. Each level of heading seem to be good breaking points to create smaller readings or to remix and rearrange the text.

Chapters in the text follow a logical and consistent structure. Each chapter establishes Learning Outcomes (which are meaningfully written), and Introduction, Chapter Content with well-defined subheadings, a conclusion named “Before You Move On” that includes Key Concepts and Chapter Questions, and finally, a list of Key Terms from the Chapter. Chapters build in a logical progression a the beginning of the text.

The real point of concern with any art appreciation text is the quality of the images. The resolution of most images appears to be sufficient for screen and print. Images are no distorted. Navigating the text is easy through PDF Bookmarks.

I observed no grammatical errors in the text.

This book features many examples that vary from the traditional art appreciation “textbook examples.” Images still tend to represent a “western art” perspective. There are examples from a range of different cultures but compared to some of the best commercial textbooks for cultural relevance, this text does compare to those standards. Are there any other comments you would like to make about this book? I am not fond of the typographic and typesetting choices made for the text. Multiple columns of text would reduce some of the very long line lengths found in the text. With a long line length and narrow leading, the lines seem to blend together. Figures do not seem to follow a strict layout grid that enhances the layout of the information. The drop-shadows on Figures are unnecessary. Fake small cap on Chapter names in the Table of Contents isn’t high quality.

Reviewed by Andrea Lepage, Professor of Art History, Washington & Lee University on 12/13/20

The text integrates all of the key areas traditionally covered in an art appreciation course with an emphasis on cultivating an art specific vocabulary and understanding the materials of art. The authors incorporate a wide variety of artistic media, traditions, styles, time periods, and regions into their discussions. The majority of the examples provided are drawn from Western art historical traditions, but the authors also include examples from regions beyond the West—especially China, Japan, and India. The text features some examples from Nigeria, Ghana, and North American indigenous traditions, but greater attention to African, Latin American, Central and South Asian, Oceanic, and indigenous traditions would be welcome. The work of male artists, mostly drawn from the Western art historical canon, dominate the discussions; greater coverage of women artists would also be welcome. The Table of Contents is hyperlinked and clearly organized, and each chapter concludes with an excellent glossary of terms. Including an index would assist students in navigating the book.

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 2003 toppling of the Saddam Hussein monument in Baghdad (p. 249) is one example. In a section dedicated to propaganda, the authors make no reference to the controversial nature of this incident, which may have been initiated or manipulated by U.S. military forces for propagandistic purposes.

The text is arranged in such a way that extended discussions and additional examples would be relatively easy to introduce. Updates might include extended discussions about artwork produced by women, indigenous, black, and other artists of color. In some cases, updates might simply expand the discussion around examples already introduced into the text (for example Gee’s Bend quilt maker Lucy Mingo, page 7; Judith Baca’s Great Wall of Los Angeles, pages 23-24; Jaune Quick-to-See Smith’s multi-media work, page 168). Such updates would help to further decenter traditional canonical Western art historical narratives. In addition, references to LGBTQ artists would be a welcome addition, as would including supplementary sections dedicated to contemporary artistic production. The authors have been careful to include discussions of more contemporary art forms like new media and graphic novels, and additional examples would be relatively easy to insert into the text. Discussions of early modern and modern art are already strong.

The text is written in clear and accessible prose. The learning outcomes at the beginning of each chapter give readers the necessary information to navigate each chapter. The concluding section in each chapter (“Before You Move On: Key Concepts”) does an excellent job of synthesizing the key points included in each chapter.

The text is arranged thematically rather than chronologically and is internally consistent throughout. Each chapter is well organized and easy to follow with a consistent arrangement that will be especially helpful for students as they study key points presented in the text.

The authors organize the text thematically, rather than chronologically as is the case with many introductory art history textbooks. Each chapter is organized consistently with learning outcomes, an introduction, a series of content sections that could be assigned at different points in the course, followed by a recap section entitled ‘Before You Move On,” and a list of key terms. The key term/glossary sections are extremely useful. In particular, the key terms included in chapter three, “Significance of Materials Used in Art”, provide an excellent and comprehensive glossary of artistic materials. It is easy to imagine students consulting this resource routinely throughout the course. Many of the ‘Test Yourself’ questions included at the end of each chapter could also double as in-class discussion prompts.

The book contains eleven chapters, organized thematically. The chapters cover conceptual questions, including: What is art, who is considered an artist, and why is art powerful (chapters one and nine)? How does art connect to our lives (chapter six), our identity (chapter eight), ritual life (chapter ten), and ethical world views (chapter eleven)? These conceptual discussions bookend chapters focused of the materials of art, and later chapters effectively circle back to themes briefly presented in the introductory chapter.

The remaining chapters provide students with art specific vocabulary and the descriptive and analytical tools to view, discuss, and interpret art and architecture. Chapters two (“The Structure of Art”) and three (“The Significance of Materials Used in Art”) provide students with an excellent and thorough description of the materials of art, which will be especially useful to students without a background in studio art. The authors are careful to include discussions of a wide variety of media including architecture (chapter seven), painting, printmaking, sculpture, video, performance, and new media. Chapters four (“Describing Art”) and five (“Meaning in Art”) provide students with an overview of strategies for formal and contextual analysis.

The Table of Contents provides links to each subsection, which is an effective navigational feature. The artworks and charts embedded in the text are high quality, well placed, and increase reader understanding of the concepts presented. The consistent design layout makes it easy for the reader to shift between image and text. Due to copyright restrictions, however, the authors are unable to include reproductions of all of the artworks discussed in the text. In those instances, the text includes links to the images. Some of the links to artworks are broken or point to sites that will require students to sift through extensive texts or image sets to find the artwork mentioned in the textbook. Along with the artist and title, it would be helpful to include the date, medium, size, and location in the label accompanying each artwork. This is a highly accessible textbook—the authors offer a variety of ways to download the PDF as both low- and high-resolution files, chapter sets (1-3; 4-7; 8-11), and in Japanese translation. The work is licensed under a Creative Commons Attribution-Share Alike 4.0 License.

The text does not contain obvious grammatical errors. However, it does contain typographical and spelling errors; accents are omitted at times.

Overall, the text makes use of examples that are inclusive of a variety of races, ethnicities, and backgrounds. At times, the text misses opportunities to bring the discussion into communication with cultures that flourish beyond the Western world. Greater attention to indigenous cultural specificity is warranted. For example, the authors reference the Aztec Plumed Serpent deity Quetzalcóatl (p. 256) in the context of Chichén Itzá, which is a Maya site located in the Mexican state of Yucatán. However, Kukulcán is the name of the Yucatec Maya deity to which the main temple at Chichén Itzá is dedicated. The authors should reconsider using the word ‘Eskimo’ (p. 270) or explain that ‘Eskimo’ is a designation imposed upon Inuit and Yupik people that has been rejected by Inuit communities for decades. This is one of several instances in which the authors could engage more significantly and critically with histories of settler colonialism. Other opportunities to confront biased Western narratives could occur in the sections focused on mahogany harvesting in the Caribbean (p. 88), Manifest Destiny (p. 161-162), and discussions of transatlantic trade in general. The discussion of Jaune Quick–to–See Smith's (an enrolled Salish member of the Confederated Salish and Kootenai Nation) "Montana’s Trade (Gifts for Trading Land with White People)" presents one such opportunity (p. 168), but both links to her work are broken. Because the artist’s name is misspelled twice in this section, students may encounter difficulties finding a reproduction of the work independently. Similarly, the authors could confront histories of enslavement more frequently, modeling their discussions on the section dedicated to Fred Wilson’s "Mining the Museum" exhibition (p. 289-290).

This text represents an important contribution in the effort to make art and the study of art accessible to students. Undergraduates studying art appreciation will benefit from the accessible prose, clear design layout, and high-quality in-text illustrations.

Reviewed by Julia May, Assistant Professor, University of Virginia on 11/30/20

I would use this text in my art appreciation/visual culture course. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. 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. It is accessible and easy to follow. The embedded hyperlinks to supplemental information is also a unique feature that students will find helpful.

The information is accurate and consistent.

Any updates will be easy to make. I don't see anything going out of date too soon.

The language is clear and accessible. Including glossaries at the end of each chapter is a great way for students to have ready access to key definitions.

The text is consistent.

I feel that the modularity of the text is adequate. The reader should not be overwhelmed by the above elements. Being able to zoom in on the images - is a great feature - they remain very crisp and clear, at least for me.

The authors organized the text effectively, considering the amount of material covered (see above). I appreciate how the authors include a set of learning outcomes at the start of each chapter and have "tests" throughout as well as "key concepts" and glossaries. My only concern is that there is no index, nor is there a bibliography (unless I missed them).

I think the interface is sufficient. I was able to access the material embedded in the hyperlinks. Using hyperlinks to supplemental content is a terrific way for students to obtain details on particular objects. I also like that authors used them judiciously.

I did not see any grammatical errors.

The chapter on art and ritual life serves as an excellent example of presenting the traditions of a variety of cultures in a balanced and respectful manner.

This book is a perfect companion to any college-level art appreciation course - and for today's student. The balance of form and meaning, the inclusion of learning objectives for each chapter, the "tests," and hyperlinks to supplemental material makes it unique and a text I would consider using in my course.

Reviewed by Danielle Bell, Adjunct Professor of Art and Art History, Community College of Aurora on 8/14/20

In reviewing this text, there were many things that I had issues with: 1. The text condenses the discussion on artistic mediums to half a chapter. This does not give students enough time to fully engage with the mediums since there is no context given. 2. There is a whole chapter dedicated to architecture, but only smaller sections within a chapter dedicated to other art mediums, such as painting, printmaking, and drawing. The chapter on architecture could have been condensed so much more and included in the mediums section. 3. In the sections on mediums, the text does not always show examples. For instance, in the printmaking section, they do not show an art example for each process, so the students reading would have no idea what a screen print even looks like. 4. My other issue with chapter 2 is directed at the sections on the elements of art and principles of design. These sections are very rushed. Its information overload. The authors do not spend an adequate amount of time/space on each element. Again, no context is given for each element and its many facets. There needs to be more time given to the elements and principles and more art examples given so that students are better equipped to identify such things when doing a formal analysis. 5. My next issue is that there is no definition of formal analysis given before the authors, in Chapter 4, begin performing a formal analysis on two different works of art. 6. Chapter 4 also has a rather quick, but comprehensive art historical section, but it doesn't really belong in this chapter as its supposed to be about "describing art." 7. The chapter on identity in art is incredibly Eurocentric, and is also is very focused on art before 1900. There is a significant lack of contemporary art discussed in this text.

The content that is presented and discussed is done so accurately and seemingly unbiased.

For the most part, the text is very relevant, especially its chapters on themes in art. However, there are times the authors delve into topics that seem irrelevant to an intro to art text. For instance, Chapter 3 on cultural value of materials is very out of place in this text.

Clarity rating: 3

The book is at times accessible and yet also full of scholarly jargon that is confusing to those not familiar with that type of writing. Throughout the text, the authors "name drop" scholars, art schools, historical figures and events, etc. without providing context. Even the metadata for artworks is always clear as there are times where the text will omit information rather than indicating that the information is unknown.

I encountered some inconsistency in the spelling of artist names. In the text, there are conventional transliterations of artist’s names. For instance, for artist Do Ho Suh, the name is spelled Do Ho Su on page 92, and Wassily Kandinsky is spelled Vasily Kandinsky on page 106.

The text is not overly self-referential and would be easy for any professor to cherry-pick sections to assign to students. I think the strongest chapters in this book that any intro to art class could benefit from are chapters 1, 5, and 11.

The organization of topics is strange and, at times, confusing. One area that really stood out to me as disorganized is found in Chapters 2, 3, and 4. Chapter 2 is titled "Structure of Art", which is already a confusing name for this chapter as the topics range from mediums of art to the elements and principles of art and design. Chapter 3 then gets into the intrinsic value of materials, which already seems of out place in this textbook as it seems like something more relevant to an art history class than an introduction to art class. Finally, in Chapter 4, there is a discussion on formal analysis, which really should have been included in, or put after, chapter 2 since it discussed the elements and principles.

There are a number of links given in the text that do not work and others send students to works of art with low image quality.

I found no grammatical errors in this text.

This text is pretty Eurocentric. While it does have sections where the authors discuss non-Western topics, such as Chapter 10 on ritual life and art, its only in the context of Western themes. African, Mesoamerican, and Native American art are some notable cultures that are either left out or barely discussed.

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.

Reviewed by Don Oberheu, Lecturer, Leeward Community College on 7/14/20

The text does an excellent job of covering the areas and ideas that one expects from an introduction to art textbook. The table of contents is clear and provides easy navigation within the text. While there is no glossary at the end of the text, there is a chapter-specific glossary at the end of each chapter providing a convenient review of the concepts and terms covered in each chapter.

The content is accurate, error-free, and, with its many comparative references to different cultures and times, very unbiased.

The content is up-to-date and covers all of the mediums, including photography, that one would expect from an introduction to art text. It is written and arranged in such a way that any necessary updates will be relatively easy and straightforward to implement.

The text is written in organized and well-flowing prose that introduces and explains the ideas, the technical terminology, and the historical flow of the material it covers.

The text is internally consistent in terms of terminology and framework.

The text is easily and readily divisible into smaller reading sections that can be assigned at different points within a course. The text is not overly self-referential. One can cherry-pick whole chapters or sub-sections within a chapter to align with various subunits of a course without presenting much disruption to the reader.

The topics in the text are presented in a logical, clear fashion.

The interface is the only area of this text that needs some improvement. While the text is not overly self-referential, when it does refer to previously introduced and discussed images, the reference tends to be incorrect. The image referred to does exist however, the given labeling is often incorrect. Likewise, while it is great that the text is peppered with hyperlinks to images on the web, many of the links are not valid. The hyperlinks work, however, the linked images or pages are often missing.

The text contains no grammatical errors.

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.

In addition to serving as a textbook for introduction to art courses, this text can also be used in more medium-specific introductory art courses, e.g., Introduction to Digital Photography, to help learners in the courses better understand both composition and the potential role of their own art as it relates to the medium they are learning.

Reviewed by Sandra Clyne, Adjunct Instructor, Bunker Hill Community College on 6/30/20

Although the text provides a detailed analysis of ancient, traditional, and modern visual art, it is notably deficient in its treatment of contemporary (post 1960s) art. This omission would lessen the appeal to college students of this otherwise... read more

Comprehensiveness rating: 3 see less

The text's treatment of anthropological and art historical detail is meticulous.

Art students require a text that provides insight into the revelatory role of visual art within human consciousness. This text is far too pedantic and does not invite exploration and imagination by the students in interpreting the works of art presented.

The text would be quite accessible for undergraduate college or university students. The concepts discussed are adequately introduced and the terms are well defined. The style of writing is quite clear and straightforward.

The text is quite internally consistent, without notable contradictions in its key propositions and theses.

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 "flows" from basic to more complex concepts. The text approaches the critical analysis of visual art from distinct perspectives that are clearly signaled by chapter headings.

The display features employed in this text are its beautiful illustrations, which bring to life the adjacent verbal analysis.

The grammar and sentence structure utilized in this text are impeccable.

The text examines visual art from a wide variety of cultures over a range of geographical sites, but is somewhat Eurocentric. More emphasis on African, Asian, South Asian, Native American and Oceanic art would have diversified its approaches and content.

Because of its logical structure and clear writing style, this text would provide an accessible introduction to the highly complex field of visual art for undergraduate community college, college, or university students.

Reviewed by Meridyth Espindola, Adjunct Professor, Bunker Hill Community College on 6/26/20

This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples. read more

This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples.

This book presents information in an accurate way, although it includes a very limited perspective on art by BIPOC. While this is characteristic of traditional art and design history texts, it is important to be aware of and address in the classroom.

The text focuses mainly on historical art history, and will not quickly become obsolete.

The text is well-written, easy to read, and follows a natural hierarchy of information. Visually, the page formatting is digestible, easy to follow, and well organized. This text is more inviting than other digital resources because of the visual design system in place.

Consistent tone of text and organization of information.

The division of content into small, clearly labeled and organized sections makes it easy to approach, navigate, and understand.

Well organized, clear structure and easy to follow. Both the written text and the visual design facilitate a clear hierarchy of information and digestible content.

Easy to use interface.

(Did not find any grammatical errors.)

The text is not directly insensitive or offensive, but examples of artwork by BIPOC are limited and presented from colonial perspectives. This is not a problem stemming from this book alone, rather the traditional Western perspective of recorded art history, theory, and criticism. However, this text also misses the opportunity to address cultural appropriation. In a section titled and devoted to "Appropriation" (Chapter 11), the only perspective offered is that appropriation is a "legitimate way" for artists to "re-contextualize" images. The singular artist example is photographer Sherrie Levine. To devote a section to appropriation, and yet leave out cultural conflicts entirely, misses an incredibly problematic aspect of appropriation in both the historical and contemporary landscapes of art and design. This is a critical discussion that belongs in the classroom, and a disappointing absence in this text.

The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate.

Reviewed by Talicia Honkola, Art Instructor, Mesabi Range College on 6/25/20

The textbook is comprehensive, offering topics on elements and principles covered in my course. In my opinion the first half would work better to introduce students to visual art. The book is arranged well and is easy to comprehend. read more

Reviewed by Marla Sweeney, Adjunct Instrcutor, Middlesex Community College on 6/17/20

The text is a good introduction to art and art history . It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art. read more

The text is a good introduction to art and art history . It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art.

The text is well researched and unbiased.

Although examples of art from many periods are addressed the final chapter on Ethics includes the most contemporary art examples. The text is arranged in a format that would allow updates to be easily implemented.

The text is written in clear understandable prose. Each chapter ends with an overview of key concepts, vocabulary and good test questions on the material.

The text is consistent in framework and terminology.

The text is organized in consistent module format. 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.

The text is organized logically and the chapters are based on clear topics.

There are no navigation issues with the text or the display of image examples.

The text gives examples of varied types of art from diverse cultures. There are good visual examples from historical to contemporary.

This is a good introductory text to art. I feel it would be a good accompaniment to a chronological art history text. It addresses topics that may not be covered in other art texts as fully including a definition of art, the distinction between fine art and craft, art and identity and ethics in art .

Reviewed by Julia May, Assistant Professor, University of Virginia on 5/7/20

My only concern is that there is no index, nor is there a bibliography (unless I missed them).

Reviewed by WangLing Chou, Associate Professor of Art, Louisiana College on 4/30/20

The text is comprehensive, offering a wide range of material on the subject. Several of the chapters--mostly the latter ones--are more conceptual and/or philosophical and while they would be excellent for Art majors or upper level students, they would not be as useful for a general education Art Appreciation course. Still, many of the other chapters are more than sufficient in terms of comprehensiveness. In terms of an index or glossary, neither are present at the end of the book; however, at the conclusion of each chapter, all vocabulary from that chapter are listed and defined. An index and the end of the text would be helpful.

No inaccuracies were detected in the text. The book is unbiased except that is obviously favors a greater understanding of art, such as at the end of section 1.3.2. Chapter 11 briefly deviates from the text's usual objective tone, calling on the need for both society and artists to have a particular understanding of one another.

Even with the later chapters that touch on more recent phenomena in the art world such as identity and ethics, the material in the text is written in a way that it will be relevant for an indefinite period of time. Updating content should present no problems in terms of ease of implementation.

The text is easy to read and would be accessible to college students. All specialized terminology are conveniently in boldface type and are defined both in-chapter as well as in a section at the end of the chapter. The prose is not clinical and dry but is often inviting, making use of an inclusive third person perspective and sometimes directly addressing the readers with "you."

The text is largely consistent. One area to improve might be in the learning outcomes at the beginning of each chapter. While many of verbs are measurable such as identify, name, analyze, distinguish, explain, etc., the verb "understand" is used frequently in the outcomes and is not measurable based on Bloom's Taxonomy of educational objectives.

All chapters are divided into smaller, easily identifiable sections, ranging from anywhere to 5 up to 12. Most sections within chapters are only a couple of pages. Understandably, some sections are significantly longer, but multiple images can be a contributing factor to the increased length. The text does reference itself (i.e. "this text," etc.) on occasion, but such references are minimal.

The text is well organized, both in terms of the arrangement of chapters, as well as the divisions within the chapters. The text begins generally, moves to historical, practical, and knowledge-based content, and finishes with conceptual/philosophical content.

Interface rating: 3

One issue of concern is that in Chapter 11, every other page is incorrectly labeled at the top as "CHAPTER 10: ART AND RITUAL LIFE." Such a mislabelling could confuse readers. Also, the justified text is generally not a problem, but the inconsistency in spacing between characters is sometimes problematic. For example, the first line of the last paragraph on page 19 includes no spacing between any of the characters, making the sentence almost unreadable. Finally, while the images graphics are relevant and helpful, the text as a whole feels cramped and could use some negative space--more white space around images and graphics.

Few grammatical errors were detected. It should be noted that the writers employ all three points of view--often writing in first person. Such an approach likely makes the text more accessible to college readers. However, a small issue that arises is when the writer first mentions "the viewer," singular, but subsequently uses the pronoun "we" (plural). This agreement error was only noted a couple of times on page 14 and may or may not occur in other places. A simple fix is to change "the viewer" to "viewers."

The text does an excellent job on covering a broad spectrum of cultures, ethnicities, and backgrounds. At no point could any content be misconstrued as culturally inoffensive, as the writers did a good job in remaining objective in presenting the facts. For example, the section on The Dome of the Rock in Chapter Six is a sensitive topic, but the writers treated it with historical accuracy and cultural and religious sensitivity.

Even though several chapters are above and beyond what I need for my gen. ed. Art Appreciation course, I would still find this text useful.

Reviewed by Alexis Rusch, Adjunct Instructor, Oakland City University on 3/30/20

This book is easy to comprehend. I do think the first half is better than the second. There is no index which I do find useful. In the area of visual elements and principles of design, I do wish they went more into depth. read more

I find the information presented to be accurate.

The contemporary art could easily be updated to keep this as a current and relevant text especially since links are used.

I do think the first half of the book is a bit more clear than the second half. When teaching, I find it useful to have just 1-2 examples of art for each idea/concept I am discussing. The second half almost gives too many examples of some ideas and becomes confusing for students.

The book has an overall good and consistent structure. The terms being given at the end of each chapter are good and easy for students to find and study.

The organization of the chapters and subheadings is logical and makes sense. This book is easy to break up into small sections of readings for students.

I would consider the organization the best thing about this book!

All the links worked! The quality of images and text for those links varied from website to website.

No grammatical errors observed.

Examples of artwork are given from all over the world. Although the examples and content is heavy on Western Art, there is some reference to Non-Western Art. I did not find anything culturally offensive.

Closest thing you will find that is free to use for an art appreciation course. I would not use this as my only book for the course but would use it and have some online resources to supplement areas such as visual elements and principles of design. I do feel like this book relies heavily on European art as examples.

Reviewed by Kimberly Jones, Associate Professor, Sweet Briar College on 1/29/20

While the text is relatively comprehensive, I wish that it would have cast the net wider in terms of art forms to include a more extensive coverage of film, video games, textiles, typography, etc. Nonwestern art is included, but I would have like... read more

I do wish the authors would have expanded their discussions a bit more. In their attempt to be succinct, a choice, I imagine, made to keep the reader engaged, I'm afraid some important content is lost.

Additional information in the captions is also needed. Important facts, such as year, medium, size, etc., are not included.

I did not identify any errors. It appears to be unbiased.

I appreciate that the text stresses, right from the beginning, the importance of images in contemporary society. Asking the question -- how does Bouguereau's work relate to today -- is a good way to connect past art to the present. I do wish it would have given more examples though of new media art. I thought this was a lost opportunity to add relevancy.

I believe the text is organized in a way so as to easily implement updated material.

The style of writing is much more readable than other textbooks I've used. I believe today's students will find this style more accessible and will therefore be more likely to actually read the text. While the authors acknowledge art history's (and presumably their own) use of jargon, which they argue is "unavoidable" in any discipline, they avoid the use of unnecessary jargon. Key vocabulary words (jargon if you like) relating to art and art history are clearly and concisely defined.

I found the tone and style to be consistent throughout.

I very much like the way the text is organized. I appreciate that blocks of text are short. 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. The text is easily customizable, in my opinion.

Overall the interface is fine, but it is pretty basic. Extra features, like allowing users to zoom in on pieces, or adding arrows to specific parts of images under discussion might make this more accessible and interactive.

I did not identify any grammatical errors.

I did not find the text to be culturally insensitive.

I was surprised that the text did not take advantage of its online format to include links to videos, especially when discussing various techniques. The different printmaking methods, for instance, are much more easily understood when demonstrated. It could also have included actual videos in its discussion of video art and performance art, rather than a link to a photograph.

While I do see room for improvement, I appreciate what this text has to offer. I may even consider adopting it for my introductory course.

Reviewed by Mary Shira, Instructor, James Madison University on 1/8/20

This is not a book I feel I could adapt in its present form in my course, Art in the General Culture, a general education course designed to introduce students with little or no background in art. While it contains a wealth of information that I can adapt within my course, it is not laid out in such a way as to communicate new concepts, such as the elements and principles of design and the history of art following a timeline that is easily followed by novice students hoping to grasp the major concepts and apply them to their lives in a meaningful way. My biggest concern is with the layout of the content as it is. In broad terms it does introduce a wide range of cultures and artforms which is wonderful but would be overwhelming to my population. Early chapters contain media spanning history and techniques (architecture, photography, craft and fine art) that need defining before the more complex concepts such as aesthetics and criticism can be attempted

I found only two minor errors while reading the text: Page 123, in the hypertext notes mid page Beckmann has an “r”, Breckmann before the link. And in the discussion of the Palette of Narmer on page 239 it states the image on the back of the palette shows Narmer with the crown of Lower Egypt, when in fact he displays both Upper and Lower Egypt’s symbols as he is “The Great Unifier”.

The inclusion of contemporary art is well placed throughout. I do feel the inclusion of so many art forms and cultures throughout most chapters is confusing however. For example, Chapter 2 attempts too many media such as painting, printmaking, sculpture plus the elements and principles of design making it hard to absorb in a meaningful way.

Most of the technical information is well presented with good visuals to back it up. I particularly appreciated the inclusion of definitions for artist made prints versus reproductions to be helpful for students to understand the difference. As an artist and college instructor myself, I can easily follow all the information but my students would be challenged to absorb much of the technical aspects of the art presented as it jumps around in application from selfies and digital art to Renaissance to ancient works. The chapter on architecture, often student’s favorite section, is too broad and yet has little nineteenth and twentieth century urban examples such as the significance of The Crystal Palace and the contribution of Le Corbusier.

Yes, the text is consistent throughout in terminology and framework. It is as I have stated however the framework that doesn’t work for me in my class setting. I believe the user would be better served by grouping less broad concepts within chapters, for example, photography. By discussing its history from the Camera Obscura to the iphone, students could see how it affected the history of artmaking while understanding also the development of criteria for judging it as an artform in the twentieth century. It is something students today will need to develop for computer generated art in their lifetime.

Modularity rating: 3

I don’t agree that the text can be easily absorbed or supplanted into an existing course as it is initially challenging in the early chapters to define art without giving students the tools to make these decisions and injects historical imagery again without a way for placing it in a useful framework. Chapter One in particular, is heavy on theory and would lose many of my students at the outset. Discussions of labyrinths and terms such as circumambulate would be off putting and unnecessarily confusing. Chapter Two is too ambitious and would serve students better if it followed a thread beginning with Gestalt and following up with two-dimensional media and only later addressing three-dimensional media such as sculpture and pottery.

Organization/Structure/Flow rating: 2

Here is the rub, I am confused by the organization here. I would like to adapt portions of the text but the way topics are presented makes it challenging. The text contains a wealth of information but the format and general layout of the chapters makes it a daunting task to absorb it into my course. I do really feel that a timeline of some sort coming later in the text is essential for students to place work in its social, political and historical context. All art can only be appreciated fully beyond its formal aspects when the viewer has access to the context in which it was created. The format of this text confuses that by jumping around culturally and historically too much.

I do feel the inclusion of maps to place the art in the world would greatly advance comprehension. I don’t think students will likely access links referenced within the text though I appreciate the concept so that can create a navigational problem if the art is essential to understanding the concept. I also found the diagram used to explain the Lost Wax method of casting to be poor.

Only the one I mentioned previously. All in all the writing is engaging and easy to follow

If anything, I think the effort to be inclusive of cultures is overdone. Women could be better represented, though again within the framework of the text it is more challenging since their contribution has historically been ignored until the modern era.

I really enjoyed the text. I made copious notes and underlined passages on many of the pages that I will absorb into my own course as the information expands topics I touch on throughout the semester. I do feel it would be a monumental task to adapt this book to my course, given the population I deal with in an introductory course on art history and culture. In addition, my course concentrates on Western culture, and so references world art only in so much as it has influenced that aspect of our culture. I am not quite sure what sort of student your text would address in so much as it is technical and expansive while not really addressing the needs of the novice in art history. I think it would be better suited for an aesthetics course than my introductory one. The class I teach is designed to help students develop a cultural understanding and appreciation of the visual arts, such as architecture, painting, sculpture and design. Lectures, videos, projects and discussions focus on issues related to the practice and techniques of creating and valuing visual imagery. Special emphasis is given to developing an understanding of the language of visual art and design, learning the basics of art criticism method, and gaining an overview of the history of the visual arts with a priority given to contemporary works of art. .

Reviewed by Billi London-Gray, Adjunct Assistant Professor, University of Texas at Arlington on 12/30/19

The text is comprehensive, providing an introduction to design concepts and terminology as well as an historical survey of (mostly Western-centric) ideas around the production and interpretation of art. Topics like ethical considerations in art, originality, meaning and materiality, and community purposes for art are given thoughtful treatment, encouraging multiple viewpoints for class discussions. The book lacks back matter — no comprehensive glossary, index, image list, or bibliography. As an e-book, this can be solved with a CTRL + F search. If printed, it’s a limitation for users.

I did not find any factual errors in the text, but I did find some errors in image captions (ex: Figures 7.5 and 7.36) and spellings. I encountered some variation from conventional transliterations of artist’s names (ex: Do Ho Suh is spelled Do Ho Su, page 92, and Wassily Kandinsky is spelled Vasily Kandinsky, page 106). I also encountered numerous broken or misdirected hyperlinks. These broken links were especially disappointing when they failed to show works by underrepresented artists, such as Jaune Quick-to-See Smith (page 168).

This text offers a lot of relevant material, especially given that it’s free for students to access. The content could be more up to date, with examples by new media, performance, and social-practice artists. I would also find examples by contemporary mid-career and emerging artists instructive and relevant.

The bolded key terms and glossary in each chapter are very useful. The prose is clear but drifts between accessible and academically clunky. I wish the images of artworks were captioned with the date completed and, where applicable, an indication that the artist is unknown rather than omitting artist information. For most images, the date was provided in the running text, but this requires re-reading and could confuse context for students who don’t know what to look for.

The text is internally consistent with respect to terminology used and the framework of each chapter. There is some inconsistency with including locations of architectural sites in image captions.

The text is divided into chapters that can be digested in one reading assignment or broken into shorter assignments. The divisions are clear and logical. This makes the text scalable for classes that meet multiple times per week, once per week, or on accelerated schedules. Individual chapters (for example, Chapter 2 on form and composition, or Chapter 4 on formal and critical analysis) could also be assigned as stand-alone readings, in lieu of adopting the entire textbook for a course, especially given the inclusion of a glossary within each chapter.

The organization of this text builds progressively on concepts chapter by chapter, but is not self-referential in a way that requires reading the book from cover to cover. The structure of each chapter, with learning objectives followed by content followed by a recap, comprehension questions, and key terms, provides a clear framework for students to prioritize information and test themselves. It is also conducive to reflective and indirect instructional activities in class or online.

The interface is clean but has some leading issues in the text, where letters are slightly stretched, slightly squished, or cut off below the baseline. The multi-decimal section numbering system is visually noisy and, in my opinion, no more useful than section titles and page numbers in helping students find reading assignments or refer to passages. In general, page layouts are tight, with minimal margins between images and text. This seems like a decision driven by printing concerns (minimizing page count), but additional white space would improve readability. The text worked well with the text-to-speech reader in Google Chrome.

I encountered numerous typos and grammatical errors, mostly in the form of missing punctuation, missing words, missing letters, and awkward sentence constructions. None of these obscured the author’s meaning, but it could use another round of proofreading.

This text presents more than the usual suspects found in introductory art appreciation and visual literacy books. Images by pre-modern American and European women artists are refreshing and demonstrate efforts to go outside the traditional canon. That being said, it could still be much more representative and inclusive. For example, the first chapter addresses the definition of art but approaches the debate through the ideas of notable white men without acknowledging the hegemony around this question. No examples in this chapter are truly contemporary, with Maya Lin’s Vietnam Memorial, completed a generation before today’s students were born, being the most recent image example. This trend continues throughout the book, where the vast majority of text and images are devoted to long-dead Western artists (mostly white European and American men) and static forms of art (mostly painting and traditional sculpture), with good representation for Ancient Near East art traditions, less for Eastern traditions, and little consideration for new media or performance art, artists of color, and global south art and artists. Good opportunities are missed: while there’s more than a page of text devoted to Kehinde Wiley, the image of his work is accessed via hyperlink rather than embedded (pages 221-222) for effective appreciation of his art-historical reference. In the section “11.5 Ethical Considerations in the Collecting and Display of Art,” Nazi looting is criticized but there’s no mention of the colonial plunder that still resides in American and European institutions. It would be great to see a more inclusive second edition of this book.

While I have listed specific areas that need improvement, I am thrilled that this book exists as an accessible, free, and user-friendly resource for students and instructors. Its shortcomings are far less than other texts I’ve used, and its virtues are numerous, especially given the flexibility to make immediate improvements using the Creative Commons Attribution-ShareAlike license. Many thanks to the authors, editor, and publisher who have generously shared this work.

Reviewed by Rick Lostutter, Associate Professor of Art and Design, Hanover College on 12/20/19

This textbook is a fairly comprehensive primer on art from the approach of purpose, materials, structure and meaning. It provides readers with the foundational tools of understanding how to more formally assess art and the creation of many different kinds of visual representation. Having the "test yourself" and key terms sections at the end of each chapter allows the reader to develop a language and vocabulary that applies across the breadth of the nature and definition of visual art and helps solidify the elements presented within each area of art exploration. There are plenty of cultural references to the context of historical examples as well as the impact that art and design has had on society and the importance of art as a timeless reflection of the world. The structure of the book is an easy introduction into many different aspects of the study of art. I really enjoyed the inclusion and focused chapter on architecture within the greater context on art.

Having read through this text several times, I find it to be very accurate from an art perspective, technical reference and grammatical work. Statements made throughout the book are presented in a way that is supported with referenced examples and well agreed-upon art and design principles. The evaluation of art is traditionally an objective process, yet this text allows for expert opinion and fact to reside together in a way that allows for appropriate and open evaluation by the reader. So many art texts try to push specific agendas pertaining to narrow views of what art is or is supposed to be and this book avoids that in a very skillful manner.

The references and visual material presented in this book are of generally-accepted and representative examples of historic art. I would have liked to have seen some more contemporary art and artists represented as a comparison to art that has traditionally been used to illustrate the principles of art and conceptual design work. Given that this is a digital text that can easily be updated, it seems to provide a platform for having up-to-date and even current artists and their work represented. Students need to see that current work is being created that adheres to the traditional standards of the historical works referenced through the ages of art instruction. Having said that, the works used do not represent an obsolete view on art evaluation and instruction.

The reading acuity and age-appropriateness of the terminology, vocabulary and description are adequate and what I would expect for a college-level resource material. Again, the terms at the end of each chapter provide an easy reference tool for any language that a reader might not be familiar. It not only helps in the reading and retention of the material, but creates a great study guide for review after the reading of each section.

Having read many co-authored texts on specific subjects, the voice of the work is consistent and reads as though one author was the source for the entirety of the book. This is important, especially for a subject such as art, so the reader can begin to develop their own assessment of the topic without struggling through many different styles of evaluation.

The sections and chapters of this book are appropriately divided in a way that makes the subject digestible. The pacing of each chapter is segmented so that the ideas and concepts are easily incorporated into the overall topic of that chapter. This makes it a much better tool for grouping concepts from several different chapters into a lesson that requires many different elements to work together as a conceptual theme. Some chapters or sections may not be as relevant at particular times within a structured curriculum segment and the format allows for easy coordination of those individual concepts that will seamlessly integrate a cohesive lesson plan.

The organization of the topics in this book are clearly stated and work as a logical progression from one theme and area of art to another. Having said that, the topics can stand alone as needed for any given presentation within a class lesson.

The interface of this book is very clear and easy to use. Locating relevant topics from the table of contents and then quickly finding those topics within the text was thoughtfully accommodated with the section titles at the top of each page.

I have not found any grammatical errors in my assessment of each segment of this book.

Art is a discipline that has traditionally focused on the western culture and therefore has not been a very inclusive, historical representation af all cultures and races. This text does an adequate job in presenting examples that bleed outside of the traditional western historical examples of other texts. I would have liked to see more diversity which could have come from more contemporary examples of art. Given that, I did not find anything that I felt was culturally insensitive or inappropriate.

I would highly recommend this book as a great introductory supplement to any foundational art course that is meant to provide students with a base-level understanding of the complexities of art and design as a visual exploration. This should be incorporated as an essential text for students who are beginning their journey of the study of the creation of art and design. I could see this as a supplement to an introductory art history course as well.

Reviewed by Mike Morelli, Director Entertainment Management, University of Montana - Missoula on 12/19/19

This book provides a nice broad survey of styles, periods, artists' and types of art. read more

This book provides a nice broad survey of styles, periods, artists' and types of art.

The content is accurate for the vast majority of the book with few technical and grammatical errors. That being said, the errors (which appear in the second half of the book) have drawn notice from some of my students.

As an introduction, this book provides an excellent basis for discussion with students. The chapters and content are relevant, presented in a clear concise manner, and are supported by facts.

I appreciate the clarity of the material and the structure of chapters as well as the tone of the book. Color images with good labels and attribution make it easy to discuss and research further for students.

The text consistently presents concepts with supporting images and documentation in a logical and straightforward manner.

Good modularity for the most part. Given the way in which artists'/styles/concepts are presented in chapters, by necessity some ideas can only be examined contextually, and require a broader framework for understanding. The authors to a great degree provide that background and break down segments through titling with numbers to show flow while creating "bite sized pieces".

Excellent organization. Well laid out.

A logical combination of text, images, and titles delivered in a visually pleasing way.

As noted previously, few grammatical errors although enough to draw comment from students.

This text explores art as expressed by a wide variety of artist's with differing races, ethnicities, and backgrounds in inclusive and thoughtful ways. While I have had students react strongly to images or concepts in the book, (i.e. Hindu Swastika) it is not an objection to the manner in which the material is presented but often a strong initial personal reaction to a specific image, which is then discussed contextually in a manner that is both sensitive and dispassionate.

This book has worked well in several first semester Introduction to Art courses. It's clear, concise, and well written with logical and consistent organization.

Reviewed by David Riep, Associate Professor, Colorado State University on 12/10/19

I found this textbook to be very comprehensive. As one can quickly grasp from the table of contents, this book covers all of the major introductory topics for approaching and discussing art and visual culture (as well as some focused topics that are not typically found in "Intro to Art" texts). The authors organize the information in a manner that effectively builds upon previous sections, while also maintaining the ability to assign specific chapters and sections independently. Although this is not meant to be an art history text, I was impressed at how the content engages with numerous art historical methodologies (formalism, semiotics, social art history, feminist art history, iconography, connoisseurship, and even some key points coming from Hegel’s theories) without becoming cumbersome. The images of techniques and processes are also helpful (i.e. relief wood carving), as are the detailed explanations of media (i.e. what is egg tempera?). The key terms found throughout the text are also very helpful and are perhaps more useful at the end of each chapter, rather than a comprehensive glossary at the end of the book.

While it can be difficult to address global art production with an unbiased voice, I found the overall content to be thoughtful and generally balanced. I appreciated the broad questions posed to the reader, and found them to be very interesting and engaging (i.e. Why do we make art?, What defines an artist? What is the difference between Art V Craft?) as they provided the reader with the opportunity to further explore such topics. I also appreciated the authors’ openness regarding the strengths and limits of various perspectives and explanations throughout the text. While the discussion of some specific works are at times perhaps too narrow, and draw upon singular, declarative statements in order to support a point, the authors generally promote critical thinking and exploration of broad concepts. It is perhaps noteworthy to mention that some chapters were more effective in presenting a global perspective than others, although this is addressed in more detail below. Overall, I found the content to be accurate and well-researched.

One of the strengths of this text centers on the timely content, which references modern technology and concepts, as well as popular culture. I also really like the ability to pull up supplementary images throughout the text by clicking on imbedded links, although I found several of them in need of updates. I appreciated the inclusion kinetic art and new media within the comprehensive list of formal elements for 2D, 3D, 4D art, and found the overview of Aesthetics to be intentionally geared toward contemporary readers. There were many sections of the text that seemed to be specifically aimed at addressing current trends in art production and interpretation. For example, I enjoyed the dialog regarding architecture’s response to changing social development and advances, as well as the discussion in Chapter 8 which ties visual content to contemporary culture (popular media and activities such as genealogical websites, etc.). Chapter 9 equally engaged with the role of visual culture in contemporary societies by addressing Art and Power (propaganda, both symbolic and documentary), and offered an interesting dialog on building visual literacy. This chapter addresses the role and limits of media in recording or presenting images of power, and also addresses how imagery can appear “objective,” but can often contain specific messages. I found this to be extremely relevant, especially given the role of visual imagery in popular culture and social media. The chapter on Ethics is also quite relevant, and highlights the perception of visual culture and how it changes over time. Finally, the discussion on appropriation is very timely, as is the component that addresses museums. The questions posed regarding collecting and display practices are often left out of introductory texts, but are extremely relevant in contemporary times.

Overall, the text is approachable and clear in tone, and effectively guides the reader on how to best use this resource (i.e. explaining how the book will present content, and where the reader can expect to find various components). I found it to be a very useful text that presents complex concepts in a manner that non-specialists will easily understand. I also found the various case studies that are used to guide the reader in applying theories and methods to be very effective. The text presents content in a clear and concise manner, and I found the “Test Yourself” questions to be well constructed, approachable, and effectively open ended (when appropriate).

Another strength of this text is its consistency in presenting and disseminating content. The authors developed a number of components that are found in each chapter which draw the reader's attention to recognizing and applying key concepts. I found each chapter to be clearly and effectively structured, with appropriate subheadings and use of bold text to highlight important ideas and terms. This made the text very easy to navigate. I also found that the overall content maintained a consistency in tone, in spite of the fact that multiple contributors were working on any given chapter. The text is very clear and approachable, yet engages with complex theories and concepts.

It would be very easy to assign portions of this textbook throughout a teaching term, as most chapters can function as independent units, while also effectively engaging with other sections. I like the overarching themes of each chapter, which could easily be realigned as needed, and the fact that the subunits are of a manageable length. This book offers instructors a great amount of flexibility.

The book’s overall organization is clear and concise, with each chapter presenting measurable learning outcomes and ending with practical applications of concepts. I also found the subheadings to be very thoughtful in expounding upon the overall topic in each respective chapter. It is very easy to navigate through the various subunits, and the overall content is very appropriate in building an effective discussion of the various topics at hand.

While I really like the use of imbedded links to view images and expound upon concepts, some of the links did not work and need to be updated. Regardless, I like the fact that the use of links allows for the text to remain current, and to highlight contemporary content, developments, and artists.

I did not find any grammatical errors.

The text offers a sound explanation of artistic concepts, and makes an effort to present a global perspective. I appreciated the attempt to use both recognizable images from the Western canon as well as lesser known works, although some chapters were more effective in presenting a global perspective than others. For example, I was intrigued by the in-depth discussion / case study in Chapter 3 covering media in the eras of Constantine through the Ottonian Empire, although it could have been balanced by non-Western case studies (for example, the use and significance of metals in African cultures). Chapter 4 addresses formal analysis, although the overall discussion is largely focused on degrees of representation in the arts. This seemed to present a very "Western" perspective of artistic development, and could perhaps benefit by highlighting western and non-western objects, as well as naturalistic and abstract pieces. I especially liked the focus on “Interpretation” and highlighting how meaning is formed from multiple perspectives (the individual, society, and the impact of time), although I found the section on “Evaluation” to be rather narrow and perhaps unnecessary (what, for example, is the “verdict of history” that determines great art? Who / what determines this "verdict"? Why are museums placed at the center of this discussion, along with the suggestion that a work’s presence in a museum determines its artistic value? What do the authors mean by the phrase “best art”?). I appreciated the discussion of conventions in Chapter 4, and how the text traces them across cultures. However, when addressing cultural style, it might be helpful in some cases to note the role of "time" (the Western examples were presented according to how various artistic conventions developed over time, while many of the the non-Western examples, such as the Ancient Near East, are not given this same treatment). In a similar manner, the topic of individual artistic style could also benefit from exploring non-Western “anonymous” artists through a brief discussion of the history of collecting, and how one can trace the hands of unknown artists in the same way that Western artists have an identifiable style. I appreciate the inclusion of female artists such as Lilly Martin Spencer and Frances Palmer in Chapter 5, as well as the addition of a few non-Western pieces, but the chapter is still quite heavily Western, as is Chapter 6, which maintains a Judeo-Christian focus. This chapter could perhaps be broadened by engaging with diverse belief systems. This seemed to be rectified in numerous other chapters. For example, Chapter 7, which focused on architecture, was more intentional toward representing global perspectives and works of art, which I found to be very helpful in understanding global art production. Along the same lines, I found Chapter 8 to be very effective and inclusive in presenting concise notions of "the self" within expanding social spheres, and in discussing individual identity/gender, and external influences such as economics and class. I also appreciated how Chapter 10 highlighted global engagement with sacred structures, sites, rituals, and performances, as well as their significance.

The open source text "Introduction to Art: Design, Context, and Meaning" is an impressive resource that addresses the foundations of approaching, discussing, and understanding art through both historical and contemporary lenses. The authors took on an impressive amount of work to create a textbook that engages with contemporary topics, while laying the foundations for effective visual literacy.

Reviewed by Elizabeth Morton, Associate Professor, Wabash College on 11/6/19

This text covers almost all of the bases one would expect for an introductory class. Its biggest problem is the lack of inclusion of non-western examples in its presentation. The European art tradition dominates the discussion, with some allowance for Chinese and Japanese. You look in vain for references to African, Latin American, Oceanic, or indigenous art, even when they would be an obvious choice given the ongoing discussion.

This text has been written and edited carefully by veteran teachers. I did not see any errors or the use of suspect research

I believe the thematic approach to the material is far more relevant to today’s student than the classic approach based on historical progression. The chapters are judiciously chosen and are placed in a logical order. Again, the only thing old-fashioned here are the relentless insistence on using the western canon as the basis of discussion.

This text has been carefully written and has been painstakingly edited. I particularly thought Ch 2 was a standout in the way it presented the basic categories of art. At many points I berated myself for failing to present material so clearly in my own classes!

Once again, it is worth stating that the editing is of admirable quality. A lot of thought has gone into maintaining similar terminology and reference points as the chapters progress, even though they have different sets of authors. The use of keywords is also a strong feature, since many of them recur as the book progresses.

A definite strength of the text. Very easy to divide up the text by week, class, group, etc.

The editor is to be commended as the text flows smoothly from on section to another.

I liked the yellow bars on the right side which assist in moving between chapters. The “find” feature works well, and overall it was easy to use the extext. This is very user-friendly.

Once again, the editing here has been thorough and painstaking

Chapters 8-10 in particular are disappointing in that they offered a chance to move away from a traditional, Eurocentric approach. While the authors do include some non-western examples as they proceed, they still rely too much on European art. Chapter 11 is also disappointing—with non-western art having been plundered systematically for a long time and its placement in First World museums being increasingly problematic, it is not even mentioned.

Well done on a very user-friendly text. However, some extra work in terms of broadening the geographical base of examples is definitely in order

Reviewed by Jade Hoyer, Assistant Professor of Art, Metropolitan State University of Denver on 10/25/19

As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art. It’s a lot for a work to cover, and is generally successful, if sweeping, in doing this. I didn't note an index. The... read more

The exception to this for me is Chapter 2, which is essentially a studio class in a chapter (a rapid-fire discussion of all artistic media, design elements, design principles, and color theory for good measure. This chapter contains no less than 150 "Key Terms!"

I found the content to be generally accurate.

It was frustrating that most of the work’s contemporary examples were hyperlinked instead of embedded as images and potentially impermanent. Though likely a result of copyright issues, to present most contemporary accounts as a block of black text visually diminishes their importance. (It’s also likely that students won’t bother clicking the links.) Would like to see links changed to more persistent format.

With regard to writing, the work is generally clearly written, and approachable to beginning students. The tone of the writing is quite generous- the first chapter explains how art is ultimately about the viewer’s interpretation and adds “but we do have help if we want it. People who have made a disciplined study of art can offer ideas about what art is important and why.”

With regard to imagery, I thought that no dates, media, or sizes were listed for the works to be a big miss.

The work also had a tendency to bounce around. I felt many sections leapt centuries and continents (and often both centuries and continents) within a single page with transitions akin to “meanwhile in Russia…,” or “a few hundred years later.” I appreciate that many of these about faces were connected to efforts to be inclusive, but it presented a dizzying narrative, that was made more confusing for lack of timelines or context (like dates!) provided in the imagery.

Writing seemed consistent throughout. However, I found instances of sloppy formatting: definitions were often in bold a few letters or even a word beyond the word being defined. Beyond this, I could imagine this formatting being confusing for students as words that were in bold indicated definitions and sometimes, but not always, were designated as Key Words at the end of each chapter. For example, on p 63, four terms are defined in one paragraph (unity, variety, conceptual, interval, scale, proportion), but only two words (interval, scale) are designated as Key Words. I find using a different formatting technique in this case, such as color, would be helpful in assisting students in identifying Key Words earlier at the beginning of the chapter.

I enjoyed this aspect of the work! I would especially use the final chapters for my classes (such as Art and Power, Art and Ethics). I found these chapters to be thoughtful and relevant to students, and especially appreciated their being structured around case-studies.

I appreciated the general flow of the work beginning from simple definitions “what is art?,” “who is an artist?” to contemplating identity, power, ethics, and controversies in artmaking, though some sections seemed redundant. Good summaries and questions to accompany the readings, especially later in the text.

Worked great for me! I also appreciated how the Hyperlinks took me to new works, and that I could return to my spot on the page when I clicked the back button. Please note Relevance section regarding links.

I found limited grammatical errors.

I appreciated the interweaving of Western and Non-Western narratives, though found that, especially if one were focusing on the imagery, that the works presented felt skewed Western.

Great resource- will definitely utilize sections in my teaching.

Reviewed by Maria Guzman, Instructor - Art & Art History , Peralta Community College District on 9/26/19

I found this book to be a good "skeleton" text for a variety of courses. I liked that it had chapters dedicated to both formal analysis (Chapters Two, Four, and Five) but also managed to include global perspectives (Chapter Eleven: Art and Ethics was especially thought-provoking). The themed chapters (Chapter Eight: Art and Identity and Chapter Nine: Art and Power) are relevant for any Art History course, and I use them for all courses, including World Art, Art 1, 2, and 3 (these cover the prehistoric to contemporary periods, collectively). The addition of Key Terms at the end of chapters was also helpful.

When I decided to use this text, my main concern was regarding whether the content would be easy to connect to my prior courses' designs. I used Henry M. Sayre's "A World of Art" and the Marilyn Stokstad "Art History" textbooks. Thanks to the chapter that discussed the general theories about what art "is" (Chapter One), and the clear language that mirrored Sayre's creative drives (found in Chapter 6, mainly), I easily transitioned to using this book for my course. Most recently, I have adopted it for Art 101: Western Art History and ART 103: History of Modern Art.

Inclusivity is consistent in the discussion of works from different cultures and geographic areas. I was impressed by the mention of postcolonial topics, and even the addition of 4-D in relation to formal descriptions. This is a text that has incorporated recent scholarly perspectives and new genres in art. I had fun adding OER readings about identity, especially, in order to complement the chapter in this text.

I have had feedback from students regarding the easy-to-follow format and text used in this book. I also find it easy to get through in a short amount of time.

Overall, the terminology was clear and consistent.

Yes. I usually remix the chapter order, based on what type/periods I am addressing in a course. Chapters One, and Two are great for the first few weeks. I save Chapter Four for the middle of most classes, in which we are beginning to do more art descriptions as a group. I use Chapter Six towards the end of the courses, where the class begins to conduct research and observe more creative drives and themes. I apply Chapters Eight and Nine based on the time periods, and how relevant they are the subject matter or styles covered in the course. I have thought about inserting Chapters Eight and Nine right after Chapter One in order to address the modern period and the growing individualism in modern art.

Chapter Ten is especially good for any ART 1, 2, or World Art course, especially (ART 101 or 102 as well).

I will be teaching a short-term course about Architecture this semester, and am excited to use Chapter Seven: Form in Architecture.

Excellent -- these are short, include many genres, mediums, and cultural styles in a sensible way. Usually, the chapters include a variety, and this enhances the global perspectives that the authors encourage. It also makes it easier to select works of art to focus on, if you are covering particularly modern or World Art, for example.

No issues with interface. The format is easy to navigate, and my only suggestion is to create hyperlinked headings for chapters in the Table of Contents, so that you could jump to the chapters a little sooner. Small suggestion, though. It's very well formatted and designed.

As stated in the Relevance section, this book offered good topics that were easy to connect to contemporary or recent studies in non-Western art (Global Art perspectives). See pages 5, 8, and 9 for a few points made about this text's open format and my review of The Met Museum's OER text, "Art in Africa". It was a compatible text and I would recommend "Introduction to Art" for its culturally-sensitive and unbiased perspectives, especially if building a course about global approaches to art. Read my summary here: https://docs.google.com/document/d/1cSG4MWFta-nE9yTgSC__QP22D2dHpYjsg9evVysBQFg/edit?usp=sharing

No additional comments.

Reviewed by Mara Pierce, Assistant Professor of Art Education, TRAILS on 9/16/19

This text covers several, if not all, the bases needed to fully appreciate art making processes, historical perspectives, variations, time periods, methods, criticism, purposes, associations, and artists. Each chapter opens with objectives and concludes with an evaluative activity. The authors present varied perspectives that are appropriate to understanding the diversities that are encompassed in the art world. The images included are also significant and comprehensively representative. However, many of the images also depict the same imagery found in other books. Students reading this material need to also see work from a more balanced sampling of artist genders. The topic is discussed in Chapter 8, but not visual samples of women’s or other-gendered artists included there. I applaud the discussion of the Nazi art theft.

The text contains mostly accurate information, but could use further clarity. For example, if using Indigenous names, use tribal identifiers, such as Piikani for those who identify as Blackfeet. A piece of dance regalia is referred to as a “costume,” which elucidates the author’s limited understanding of the role of garb in ritual. While appropriation, as covered in Chapter 11, is an integral part of the contemporary artworld, it is also presented as acceptable and normalized. It should also be included that appropriation is not universally accepted and is fought by several artists today. For example, there was recently a court case by Ai Weiwei brought against Volkswagen for copyright infringement based on appropriation of his work used in an ad.

For a General Education class, there is no doubt that this text would work toward appreciation of art making, art history, criticism, and aesthetics. There is a great deal of insightful information that would be relevant to undergraduate students’ first exposure to the art world. Additionally, some points would be relevant to students who have been practicing in the art field already, as well as those who plan on teaching art at the K-12 level.

The authors have written using clear language and vocabulary that are appropriate and relevant to the early college student. However, it would be more effective to have the vocabulary listed at the onset of the chapter, as opposed to the end. In doing so, the students can reinforce learned words and make connections throughout the reading. It also acts as an introductory feature.

The flow and voice are consistent. Level of difficulty is upheld and relevant throughout, as well.

Each chapter in this text can work independently of each other. However, in being able to comprehend and apply information in some of the latter chapters, one would have needed to cover material, specifically, in Chapter 1 and 3-5.

The text is excellently organized. The authors began with the foundation of defining art through discussions of contemporary diverse purviews held. The organization is logical and would be in a manner that I would present in my course.

The text file is easy to access and navigate. The URL links are clear, as well. However, it would be helpful in supporting the learning to provide links on the images to their sources, as well.

There are no perceivable grammatical mistakes.

I found the cultural aspects of the text to be limiting. The authors touch on the fact that art is not viewed identically throughout the world, which I applaud given that this is a tremendous part of the art perspective today. However, there is also a need for greater underrepresented Indigenous discussion/examples. Between Chapter 1 & 2, for example, there is only one image of Aboriginal origin. Ch. 7 includes three architectural pieces. Consider Anasazi examples, such as Pueblo Pintado or Mesa Verde as part of early architecture. Chapter 10 discusses masks, but only examples one. There are thousands of cultural groups across the globe that use masks for purposes from theater to holidays.

The text is a good resource for basic understandings. It may be best served for an online course given that much of the relevant information is laid out in the text.

Reviewed by Stephanie Newton, Professor, Aims Community College on 7/26/19

The book could spend more time with processes of creating--the different types of paint, printmaking, etc. It seems to be very brief in introducing the elements and principles of art as well. Although each chapter has a glossary, it does not have an index, which I usually find to be helpful in textbooks. The images also lack some key information that is standard in other art textbooks--no dates, no dimensions, no media. I truly disliked that about the text.

While I appreciate the gender-neutral language of the text (craftsperson), I do not feel that it is totally error free and accurate. For example, the authors use the dated notion of "sympathetic magic" when discussing cave paintings, which is a theory, but is not widely accepted any longer. They also refer to cherubs or putti as cupids. Cupid is a specific deity. One really glaring problem is the use of "Eskimo" on page 270. They need to reframe the use of that term to indicate it is not an acceptable way of describing the Inuit or Yupik cultures.

The text has a nice mixture of old and new art, and examples of contemporary art could easily be updated. My one issue with the relevancy is that many of the contemporary works of art (and other examples they employ) are not pictured, but given as hyperlinks. Those links could easily be broken in the future. I understand that obtaining copyrights to those works could be prohibitive, but it's a distraction from reading the text to send students to a website to look for the example provided.

On page 208, paragraph three, the authors are referring to a conceptual artist, but they omit the word artist, and don't define what a conceptual artist is. They also often refer to historical styles of art without defining what that means. How are my students supposed to know what Beaux Arts or Art Nouveau are without some sort of explanation (p. 193)? On page 203, they mention the Franks, but don't explain who the Franks are. On page 205, they mention a tympanum, but don't define what a tympanum is, nor is it in bold (to indicate that it is in the glossary), although it is defined in the glossary. There are also some areas that are not very clearly written, such as paragraph 2 on page 202. On page 256, while discussing Chichen Itza, they discuss Quetzalcoatl but don't tie it to the pyramid in anyway at all.

Consistency rating: 3

I found the beginning of the text to be much more clearly written and compelling than the second half of the book. It provides almost too many examples of art to discuss an idea.

You could fairly easily rearrange the order of chapters or omit a chapter without needing the others to support the content. This for my class would be necessary in chapter 2, where bizarrely, they discuss processes before elements and principles.

It seems to be organized fairly well, although chapter 2 does have me a bit confused. It would also be good of them to introduce abstract vs. naturalistic earlier, perhaps in chapter 2.

Again, I worry about using so many hyperlinks in a text such as this. They could easily become dated or broken, leaving the reader frustrated. Some of the images are low quality, and some of the diagrams are very hard to see, so I am concerned about students with vision issues.

Grammatical Errors rating: 1

Oh boy! Again, I didn't start seeing major problems here until around page 200. Page 178, Fig 7.5, Skara Brae is misspelled as Sjara Brae Page 218, the word artist is missing after conceptual Page 235, Persepolis is spelled Persepholis Page 246: Iconoclasm is spelled as iconoclas Page 250: Bamiyan is spelled as Bamyan

I felt that it was very culturally inclusive, using artistic examples from around the globe, but perhaps focused too much energy on Christianity. Again, framing the use of the word Eskimo would be worthwhile.

There were some things I thought were really unique and wonderful about this textbook. The first four chapters had me very excited about the possibility of a OER book for my students. I especially thought chapter 3 had some valuable and unique ideas that would be super fun to share with my students. Chapter 5 is where it started to lose me. They discuss how important iconography is, but don't really give any analysis of specific symbols in a deep and meaningful way. They could have used the Merode Altarpiece as a platform to really dive deep into Christian symbolism, but only mention a few of the icons that are present. I know these are things that can be done in the classroom, but I was a little disappointed by the vagueness of their analyses and the overabundance of examples.

Reviewed by Michael Takemoto, Associate Professor, University of Hawaii Maui College on 5/24/19

This is a review of the hard copy, purchased from Amazon. Overall, for an art appreciation / introduction to visual art text, it is fairly comprehensive. However, compared to other books of a similar nature, it lacks in some aspects: it doesn’t include a glossary, many significant 20th and 21st century artists and their works are not included. A more in-depth exploration of the elements of design (or visual elements), the principles of design, as well as the deeper exploration of various art mediums and techniques would be helpful.

Each chapter begins with learning outcomes and ends with review questions and key term definitions, this is definitely helpful for students to understand the basic concepts of the text.

The book has accurate historical and cultural facts, and includes the correct titles of works and artists. However, most of the printed images have no dates, mediums, and dimensions.

The text is relevant for our times, as it introduces a wide range of Western and non-Western, multicultural artforms and traditions. It also includes sections on the role of politics, economics, and ethics in the visual arts.

The writing is clear and concise, it is easy to follow and understand. The Key Terms at the end of each chapter serve as a good review of the introduced vocabulary.

There is good internal consistency in the text, as each section follows a similar format.

Each chapter is broken up into smaller sections, so readers can proceed at their own pace and know what to expect is each subsequent chapter.

The text is organized in a logical, but not historical manner. The concepts presented flow smoothly from one postulation into the next.

Iʻm somewhat neutral on this, since Iʻm reviewing the hard copy. However, when exploring the PDF version, the links throughout the text are a great asset. Some links took a while to download, I’m sure this part will need constant updating.

The text is clearly written and grammatically correct. Readers are able to comprehend and understand the concepts and ideas presented.

While the content is dominated with Western Art concepts and examples, it still includes a number of diverse cultural works and traditions from different historical eras and locations.

Iʻve used this text for one semester so far, and plan to continue its usage. As a basic introductory book, it is more than adequate. Instructors can definitely pick and choose the parts they find useful and add their own additional content when needed. Students will understand the content and like its cost, even if they decide to order a hard copy.

Reviewed by Leila Armstrong, Visiting Faculty, Metropolitan State University of Denver on 5/9/19

The text covers a broad array of art movements both geographically, and temporally, though I think the non-Western selections are a bit slim. There are a number of mentions of modern/contemporary art, but the authors often provide links to images rather than embedding them. I imagine it has to do with copywright issues, but I think our student body would skip clicking on the links. The learning outcomes, key concepts, test yourself, and key terms sections provide a nice loop for students to reinforce material learned, and to give quick but accurate definitions of key terms that appear throughout the text.

The setup is different from most textbooks I've used, and some of the terminology is different (e.g. elements of design instead of visual elements). There are also some terms I've never seen used before (e.g. psychic line). I found some visual elements and some principles of design commonly found in other texts either missing or placed in categories that aren't where I'd put them (light//value, pattern, motion, isometric perspective), but overall the information is presented in an unbiased manner and the content is accurate.

The content is up to date and there's not much that will change in the historical sections of the textbook (particularly at this level), and making additions of new artworks, or updating the images used would be relatviely simple.

Again, the key terms, definitions etc will help students with new terminology, and I found the writing straight-forward, concise, and conrete. The explanation of terms are clear, and the authors have a number of good charts, diagrams and the like to help students understand the terms better and how they can be applied to different media.

The authors are consistent in their use of terminology throughout and each chapter is set up the same.

Each chapter and the text within each chapter follows a similar format, and the authors have made a number of subdivisions of the text with numbes which makes breaking the chapters up into modules very easy. The information is parsed in readable sections, but each subunit aligns with the ones before and after it.

The organization is logical, beginning with the the basic questions, moving into formal analysis and then into thematic units. Overall the text flows easily from one topic to the next.

The images, diagrams, etc. are all clear. I tested a number of the links (but not all) and they worked, but I've found links are one of the most problematic additions to course content, because the links often break. Furthermore, depending on whether the student is reading the text in Adobe or online, the link will take them out of one program and into another, which isn't a seamless reader experience, or in the case of online, if the link isn't right-clicked, you go straight to the web page and lose you spot in the text.

The text didn't contain any grammatical errors that I could see.

Although I found the non-Western selections slim, the book was inclusive of a variety of works from different cultures and time periods. I didn't come across any information that I would consider insenstitive or offensive, but since art often deals with subjects that can be considered controversial, there are there certainly sections that may offend (nude bodies, or looking at past representations of race that are unacceptable today). The book does have a nice section that covers some of the controversies of art.

Reviewed by Anthony Marchetti, Full-Time Faculty, Minnesota State on 5/4/19

This textbook is an impressive guide to the introduction of art and visual literacy. It is not an art history textbook. There is room for further examples of artwork or at least links to more visual resources. Also, more contemporary image examples would only strengthen this title. The Learning Outcomes provide a solid reference for the main themes presented in each chapter. The Key Terms, however, are less developed and seem more like an after thought. The text is organized thematically, but there is room for chronology to play a larger role, perhaps in individual topics/chapters or with an appendix that can trace back to image examples throughout the textbook.

The text is accurate, error-free and also unbiased. The shortcoming is one of omission - there should be more information presented with the images. Title, artist, scale/size, medium, current location, and any other pertinent information about process should be included.

Aside from the need for more contemporary examples (or links to contemporary work outside of the text), the information presented is relevant. Much of the text is historical so will remain so for as long as the text is available. The arrangement of content is easily modifiable for future editions. More contemporary work could be added, making the content even more up-to-date.

he text is written in a style that is easy to understand. Simple repeated visual devices (differences in color or size of text, bold text for important terms, etc.) organize the text. Topics and subtopics are broken up into manageable blocks of text that should retain student interest. As mentioned previously, more information is needed about the individual sample images.

The organizational template used and the writing style are consistent throughout the text.

The division of topics and subtopics is supportive of student comprehension. The organization of the text would allow for multiple class formats - one class session per week, multiple classes per week, or an online Art Appreciation/Intro to Art.

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 PDF interface was a strength of this work - links to outside content supplement the text. Still, there is room for more of this type of content in this text. Images in the text are high quality reproductions. I found no navigational problems.

I did not detect any grammatical errors in the text.

In general, the text draws from different cultures to connect main concepts and themes throughout - this is an important distinction from some art appreciation texts that place the majority of non-Western cultural/artistic traditions into a single chapter. More contemporary examples are needed in this text.

Reviewed by Jeff Brown, Associate Professor of Art, Nicholls State University on 4/29/19

In its 11 chapters, the book covers the essentials for the overall subject. I appreciate how it is divided up, especially in the beginning where it starts with basic ideas and concepts of what is art. It can seem elementary to discuss this, but is so important to establish this with students who may not have had any or much interaction with fine art. The book includes learning outcomes for each chapter, which works well for instructors who use learning outcomes within their syllabus and for assessment purposes. I feel the selection of images are a good choice and diverse, using the traditional images found in just about all the other hardcover textbooks. A nice addition is the use of images of process and where artists are working. The inclusion of key words and meanings at the end of the end chapter is a useful tool for students utilize. One item that could use more attention would be to include dates and materials used for the chosen artworks.

Accuracy of content was error free and unbiased.

The content is current information about a historical event or current event as we know to this day. Updates can easily be made without much restructuring of the textbook.

The book was written in an easy read way with lots of imagery to match concepts. Key terms placed in bold text makes it possible for readers to easily locate if going back and forth from text to key term definitions, located at the end of each chapter.

The book is full of terms and its consistency to the concept or subject. Terms that may not seem clear to the reader are defined at the end of each chapter. This would allow the reader a more user-friendly way of referencing a term then the typical glossary at the end of the book.

The framework of the book that remained consistent from chapter one to the final chapter. An overall good structure to the textbook.

This is probably the toughest part to putting a book together in my view. Choosing what to include or how much to include of one topic or concept can truly make or break it for a textbook. This book is setup in a conventional way, such as chapters with subheadings. This way does work for the textbook, but is nice is that within each chapter the subheadings do not linger on and on when it could have been much shorter.

Organization of the chapters and subheadings work well. Easy to work through

I give the interface a low rating due to its setup of links and workings as a PDF. I like the fact that the textbook utilizes web links. This can be exciting for the reader to potentially experience other useful visuals or resources to help relate to a topic. Some web links within the text of the subheadings are sometimes often just images with no actual source listed and lack further information. This part could be revisited for better interfacing. One thing I noticed and hope it can be remedied, are the workings of the table of contents. Many dead jump links existed in the table of contents page. Some worked great, allowing you to jump to a chapter or subheading with the press of button. Frustrating when it did not.

It would be nice to be able to easily return to the table of contents from anywhere, rather than having to scroll back up to the table of contents page.

The text of book seemed to have no grammatical errors.

No cultural insensitivity stood out.

A useful online textbook. Images are of a choice and quality. However, more information is needed for each image used, such as dates, materials, and dimensions.

Reviewed by Michelle Dean, Assistant Professor, Thomas Nelson Community College on 3/27/19

Introduction to Art: Design, Context and Meaning is an appropriate title for this text. The 11 chapters explore structure, materials, meaning and context of artistic production in a somewhat comprehensive manner. It certainly provides a solid foundation for visual literacy and aligns with content in standard art history courses. This text is also well organized. Learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter. This text, however lacks a comprehensive index or glossary.

The content of this text is accurate and essentially unbiased and error-free. Key terms are often defined in a universal manner and therefore aligns with terminology in standard art history texts. The text does not display any particular bias and appears error- free. The main criticism I have in this area is the information provided for images does not align with the standards. Title, artist, medium, size, and location for each image should be provided for the reader not just a reference to where the image was obtained.

The bulk of the content in this text will remain relevant for an extended period of time. Topics such as structure, materials, meaning and context of artistic production leading up to the modern age do not change significantly over time. The one criticism I have in this area is that there is not much contemporary art and that fact may lead to the text feeling out dated over time. Additional chapters would be perhaps the easiest way to update the content however this text in not arranged in chronological sequence and integrating contemporary example in previous chapter will be challenging.

This text is written for students who are new to art. It is an introduction to art. It presents information in an accessible manner and clearly defines most terms. Although the learning outcomes are stated in perhaps on overly cumbersome manner. The main criticism I have in this area is that the history of art and perhaps more importantly the evolution of art is difficult to ascertain when works of are referenced without regard to chronological sequencing. To talk about classical and modern examples in a section can be challenging for a new student in art to compare and comprehend.

The framework of this text is very consistent. The content of each chapter is organized in the same manner. As previously stated, learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter. Key terms are in bold type in the chapter and also included in the list of key terms at the end of the chapters. Terms are used consistently throughout the text.

The chapters of this text are divided into sub-sections. For example Chapter 3 on materials is divided into 11 sub-sections which include sections on learning outcomes and introduction at the beginning and self-tests and key terms at the end. And although there are numerous sub-divisions in this chapter it is still reads as large blocks of text. Text boxes might be a more effective manner to present the content in a more accessible manner for our current student populations.

The overall organization of the content is presented in a clear a logical fashion. The first chapter asks the appropriate question ... What Is Art? Chapters 2-4 discuss the structures of art, the materials used in art and describing art. Chapters 5 and 6 discuss meaning in art and connecting with art. Chapter 7 is specifically focuses on architecture. And chapters 8-11 address art as related to special topics such as identity, power, ritual and ethics. A concern here is that architecture is not fully integrated into broader discussions.

The images and diagrams in this text were clear and of good quality. The inclusion of various links in the body of the text were well placed and on topic. But I could not open all the links.

I did not notice any significant grammatical errors.

This text is somewhat unbiased. I did not notice any culturally insensitive or offensive content. However, the content is primarily a discussion of the western tradition. Although, Eurocentric approaches are common in art education it is perhaps more appropriate to intentionally be inclusive of non-western traditions.

Reviewed by Mandy Keathley, part time professor, Linn-Benton Community College on 1/28/19

Considering how entry level and accessible the text is, it is also fairly comprehensive. I wish there were more contemporary art examples, but I was able to fill in as needed. I found it sufficient as an outline, and did a lot to fill in the gaps. read more

No errors noticed.

The book feels a bit out of date as it is, though not in danger of becoming more so over time.

The text is great on clarity and accessibility, written in a way that most entry-level students could understand. If anything, it errs on the side of over-simplification.

Very consistent

The modularity was one of the strongest aspects of this book which made it easy to teach in a course. Each unit feels contained and leads into the next. However, I think that some modules could be expanded.

The book is organized well. It is not in chronological order like might be expected, but this can be used effectively. I found it helpful to teach chapter 5 & 6 first, to get students to think about the meaning in art as a way to get them interested.

The interface was adequate. The design could be improved, including the sub-headings and organization of images.

no errors noticed

The book does a decent job of touching on a few global art examples, but could do better.

Reviewed by Bob Casper, Adjunct Faculty, Boise State University on 1/9/19

I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students. read more

I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students.

When it really comes down to it, some issues of toughness may have come up here and there, but, all in it was acceptable for my student's level.

Seemed to work well and present ideas and concepts that were relevant to for my students.

My students were a novice level and some details were not too in-depth.

Elements of the book followed a framework that as easily followed.

The book was presented in chapters that worked well in the course and for what I needed.

Each area was well put to together and bridged nicely.

Simple read, clear text.

Did not notice any errors.

Presented historical and cultural ideas and issues without calling out marginalised students.

Seemed to meet ADA standards.

Reviewed by Lori Parks, Visiting Assistant Professor, Art History, Miami University on 8/2/18

The focus and organization of this text is similar to a number of other Art Appreciation textbooks currently available. For example, there are a number of texts that present Art Appreciation through a thematic structure. The material is introductory which is positive in that it is very accessible to readers and thus would not be too intimidating to students new to this subject. The text also does a good job with listing and creating Learning Outcomes for each chapter along with a wide variety of mostly good quality open sourced images. While there are lists of Key Terms included in each chapter, they are minimal at best and there does not seem to be enough cross connection with the terms and their use within the body of the text. There is also some problems with being too simplistic with terms and concepts, one example being the use of icon which is very much dependent on both the historic and cultural context. Although the text is organized somewhat thematically, it would help to have chronology play a part within each chapter/topic as well as some form of an appendix or place where an overview of the history of art might be placed. This is often the problem with Art Appreciation texts and the reason why so many of them have a very condensed overview/history of the various periods. It is difficult to provide any depth without the context.

There are a number of issues with accuracy, which could also overlap with other subsections of this review. For example, the terminology is often overly simplified and inaccurate. While readability is important, it is equally important for a student to expand their vocabulary and become familiar with the language of the discipline. Simplification also comes in the form of analysis and description of the works of art without connecting it to formal elements and historical and cultural context. There are also assumptions being made in the analysis (e.g. students knowing what Prairie Style is and how that might influence another artist/movement). Another problem area are the huge leaps in time and generalizations made in content, for example, in connecting the ancient Greeks to Jackson Pollock on page 4. Another area of concern is the labeling and citations. The labels for the images give weight to the open sourced “author” rather than the information that is important to the work of art (artist, title, date, medium, dimensions, and museum/collection), this could be better by creating a reference page at the end of the text for the open sourced images. More examples of non-western art would also be important.

Overall good, I would have liked to see more contemporary art and topics/themes including areas like performance. The images chosen generally follow the typical works of art found within the canon of Western Art History.

Generally clear and readable, although as mentioned elsewhere in this review, at times overly simplistic and rambling and repetitive. And, as mentioned earlier, the labels for the works of art are in need of correction with emphasis placed on the artwork rather than open source.

The template used is consistent through the chapters. There are issues with consistency in use of terms, and citations/websites etc. This should be strengthened more. I also wonder about the sources and context with regards to the discussion of historical development of art.

Each chapter is organized into topic/theme and subsections that are meant to connect back to the theme of the chapter. While this is a good way to allow for quick access there is room for further development both by the authors and also within the classroom setting and by the teacher.

While the thematic approach is important, the chapters read as disjointed and the text is at places overly general and at times repetitious. There should be more focus on an overarching question of “what is art” which would allow the various themes explored in each chapter to read as more cohesive. The chapter on Art and Ethics could be strengthened more.

While there is a really good attempt at organizing the text, there are a number of issues that make it difficult. For example, the placement of the imagery and discussion becomes somewhat confusing when there are also a number of images that are discussed but not shown the body of the text. The reader is instead supposed to go to the link and toggle back and forth. Such long links in the body of the text are distracting and confusing. A better way to organize this might be creating case studies which would allow for more in depth focus on the particular artist/artwork. The lack of continuity would be confusing for a student who is new to the topic of art and art history. Overall the clarity of the images are okay with only a few that could be improved upon in quality.

While there are some typos, the formatting and use of citation is more distracting. As mentioned, the inclusion of large links in the midst of the text is frustrating as well as the lack of period to enclose this before beginning a new sentence. There are also things like the indentation in the footnotes that can be easily fixed.

Overall there is an attempt to draw from different cultures to connect to the themes and concepts without being overly biased. As mentioned earlier, more examples of non-western art might be helpful. Also, more contemporary examples and connecting them to issues that are currently relevant like identity and protest etc.

Overall an impressive project and a good foundation to build upon. This text is best for Art Appreciation or potentially studio classes (supplement).

Reviewed by Peter Spooner, Instructor, Lake Superior College on 5/21/18

With eleven chapters in just under 300 pages, the text provides a comprehensive framework with which to explore the topic of art appreciation. It does not (nor does it claim to) offer a complete art historical survey, but rather uses examples of visual imagery from a variety of cultures, time periods and genres to make larger points about how we actually use art. Its chapter and sub headings suggest a view where art is fully relational to its users, whether they are individuals, communities or nations. Rather than a comprehensive glossary, the authors place key terms at the end of each chapter. The text is searchable, making an index unnecessary. The text successfully presents art as both an individual and collective enterprise, appropriately offering a variety of ways to explore its multiple functions, from self-identity and spirituality to commerce and communication. It makes an attempt to compare artworks from different time periods and cultures in terms of their function in life, and looks specifically at the viewer’s role in the process. To its credit, the text concludes with a chapter devoted to ethics and art.

The text seems to be free of any overt bias, and authors attempt to bring a variety of viewpoints to bear on the art and ideas they present. The text is well balanced between the authors’ assertions and well-documented quotes and information from a variety of sources.

The text is organized thematically and in terms of large ideas, thus guaranteeing a degree of longevity and future relevance. With so many web links in the text, it will be important to check regularly to make sure they are active. While this text is not based only on contemporary art, it uses many examples of current art throughout. For this reason, longevity is always a concern in art appreciation and introductory art texts. Since by definition contemporary art is a moving target, and at times local or regional in its relevance, instructors may want to supplement the text with their own references to contemporary art.

The text is clear and accessible, written to encourage understanding, not to prove points or advance opinions. It is appropriately written for students who are introducing themselves to art, and contains a minimum of jargon and hyperbole. Relevant key words and technical terms are defined at the end of each chapter, as befits any introduction to a subject.

The organization of the text and its components is consistent throughout, as is tone and flow of the text. Care is given throughout to maintain a consistent tone, level of detail, and depth in the text. Each chapter contains the same useful sequence: Learning Outcomes, Introduction, “Before You Move On” and Key Terms. Generally, students find such consistent organization reassuring and helpful.

Each chapter of 25-30 pages is sub-divided into seven or eight subtopics, and these sub-topics are themselves broken down into easily readable paragraphs, were key ideas are evident. These subtopics are well related to chapter themes, but by themselves could be used as lessons or topics for assignments. Beyond the first two chapters, the tone of which is more introductory, it seems as though instructors could and should feel free to present chapter and subtopics in whatever order serves their needs. The text is flexible and relational to the degree that some, but not all, chapters and/or subtopics would need to be used in a course. Given the modular organization of sub-topics within chapters, the text could be efficiently updated, and it is easy to see how instructors could insert their own material into chapters. The sub-topics contain plenty of specific examples, yet it is always possible to trace their connection to the chapter’s larger ideas.

Major topics are presented in a clear fashion that has a logical sense of development. The subtopics within each chapter are also clearly organized. Blocks of text are broken up by copious illustrations, photographs and live links. Each chapter begins with a list of learning outcomes, and ends with a section titled “Before You Move On,” which reviews key concepts, and provides a list of study questions. In addition, key terms are defined at the end of each chapter, as opposed to a single glossary, which makes it likely that students will review terms after reading chapters.

The PDF form with live links to websites and on-line resources was easy to use. 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.

I did not detect any grammatical errors in the text. However, in Chapter Eleven: Art and Ethics, a number of the pages contain the heading Chapter Ten: Art and Ritual Life.

The text makes reference to art from a wide variety of cultures and to the experience of people from diverse backgrounds. It is true that many of the artworks and artists are familiar and part of a standard canon of Western art and its cultural touchstones. However, each chapter also contains references to non-Western art, and a cross-cultural approach is evident throughout the book, not only in isolated chapters.

The inclusion of an entire chapter devoted to “Art and Ethics” is refreshing, and somewhat overdue. The authors discuss and provide examples of art that has provoked controversy in terms of censorship, first amendment rights, copyright, appropriation, and the role of artists and institutions in examining sensitive societal and political issues.

Reviewed by Arianne Fernandez, Full - Time Lecturer, LaGuardia Community College on 5/21/18

The range of topics this book covers provides a great resource for teaching students the basics of visual art and introducing them to various media and techniques as well as the process of art making, from multiple. Since the text covers a wide range of time periods, styles, and works from Western and non-Western cultures - enhanced by good images-it is appropriate for both Introduction to Art and Art in Society courses. Despite the minimal attention in regards to Contemporary Art, the text is well written , with great descriptions of the pieces presented, with accurate explanations of art vocabulary. Overall, a great source for students.

The text appears accurate.

The textbook is arranged in a logical manner that introduces students to important concepts which enable them to understand how to describe a work within its cultural framework and uses a logical sequencing of information. The textbook has many high-quality images of the works discussed within the chapters. A fallacy, however, is that the bulk of art emphasized is predominately pre-1960 art. Thus, the instructor will need to go beyond this book to discuss Contemporary works within a global spectrum.

The language used is appropriate for college-level readers, with sentences easily understood. The ned of chapter glossaries provided, re-enforce the art vocabulary presented in each topic. The images support the content effectively and illustrate beautiful the in depth discussions presented within the chapters of the text.

The writing throughout the text is consistent. Each is well organized: outcomes are highlighted. The vocabulary is written in bold type and the end chapter glossary provided enforces the vocabulary. The summary and review questions provided at the end, are a great way for students to check both comprehension and progress.

The manner in which the text is organized supports teaching visual literacy in a logical sequence with each chapter’s subcategories allowing for the topics discussed to be highlighted. Thus, the reader can approach these topics from various viewpoints. Having more contemporary images / historical information can allow for students to make more meaningful connections with the art of today.

Overall, the chapters are consistently and straight forward which allows students to understand the topics presented clearly, as the book seamlessly weaves introductory concepts – i.e. what art is, its function and various use of media- and makes connections in the way that art shapes society as a whole.

The images provided in the text, are clear and high quality. The chapter sections and subsections are clear. The font is appropriate and easy to read and the inclusion of vocabulary words in bold, allows students to pay closer attention to the material covered.

The textbook contains a few typographical errors but nothing major.

This text provides a solid foundation in the visual arts. By analyzing historical artworks in depth and including works from non-Western cultures – African, Asian cultures- and women -which despite significant contributions are always glossed over In introductory texts- providing a global platform for students. An instructor would need to bring in additional examples to strengthen student understanding. Specially in regard to contemporary art. The text is not culturally insensitive or offensive. The thematic approach instead of a chronological approach makes it reader friendly and not tedious to read.

Overall, this is a great introductory text that discusses important styles, concepts and historical context. Some chapters need expanding, or the instructor can mix and match chapters in this text with other supplementary material in areas that are lacking.

Reviewed by Jonathan Johnson, Associate Professor, Otterbein University on 5/21/18

This textbook is ambitious and covers a lot of ground—both theoretically and historically. The thematic (as opposed to purely chronological or geographical) approach and interface allows the soaring comprehensiveness of this text to take a digestible and highly modular form. The position of the writing seems to be educator and student centric, with pedagogical concerns. Art historical (or disciplinary) outcomes aren’t the main focus here—and that should please those looking for an introductory or non-major textbook. I imagine this would facilitate the outline and planning of a course—where course outcomes could be developed with this text in mind as opposed to developing the course and then searching for an appropriate textbook and supplements.

The themes address in the text are sufficiently supported and explored with ideas and artwork reproductions that flesh out the major social issues contained within the artwork. The process and historical/social conditions of the work’s creation are also covered in each section. In this way, these art works are placed within the time they were made and viewed through a contemporary lens.

Table of contents, key terms and “Test Yourself” sections are comprehensive and helpful from a teaching perspective.

The textbook is accurate and without bias according to my reading.

The overarching “big questions” are up to date, however it could beneficial to have more contemporary examples representing these themes/questions embedded within the pdf version of the book. Are there more recent examples of art that tackle issues of race, history and identity as in the given example of figure8.25, for instance?

As mentioned below in “Clarity”, the writing is clear—but undergraduate students might be more immediately engaged with the material if it was more often connected to a contemporary iteration of the social issue at hand. We are introduced to Maria Luisa of Parma immediately within the Class section (8.3.4)—which I find quite interesting. However, I wonder if an undergraduate or non-major might desire a class reference that they can relate more to? At least at first, and then delve into something more “historical”? I’m thinking a bit of the Oxford University Press’ A Very Short Introduction series here.

With this being said, I did enjoy looking at more historical works and works from the 19th century through the lens of these very contemporary themes. I was also newly introduced to a few engaging works such as Sargent’s Gassed (Fig. 9.10) and Daumier’s The Third Class Carriage (Fig. 8.20). When connected to these larger questions and contextual frameworks, these two pieces (and many others included in the book) seem fresh and imbued with a renewed relevance.

The writing style is very straight-forward and clear of unnecessary jargon. Well suited for non-majors and for building student interest in Art History. Writing style seems to match the audience and outcomes.

Visual and organizational layout is consistent and becomes helpfully predictable as you move through the text.

Thoughtful and relevant groupings and subheadings. The order is logical and terraced to build upon previously presented ideas and themes. Would function well as a “pick and choose” text for a introductory art course or a course designed for non-majors.

Structure, flow, sequencing and logic are amongst the greatest strengths of this text.

Overall, the interface is easy to follow and basic in design. The off-white framing of the images and figures is reminiscent of a Polaroid border, and is a little distracting. Having the date(s) of the artwork underneath each image would be convenient for reference. Having to go between the text body and the image for the date is a little inefficient. Image reproduction is mostly sufficient, but the Nocturne in Black and Gold: The Falling Rocket I (Fig. 1.14) would have benefited from a larger reproduction, especially since the text references technical nuances of the work in its analysis.

I found no grammatical errors in the textbook.

The larger questions and themes are well chosen, sequenced and organized. How do they manifest more directly today? Showcasing the cultural relevance of more established canonical artists is a strength of this text. Pairing up Auguste Clésinger (Fig. 8.17) and Kehinde Wiley (pp. 221-2) in the early portion of the 8.3.3 Sex/Gender Identity section is a great example of answering this question I’ve posed, but I think more of it would add a depth and extend the relevance.

It goes without saying that pursuing a textbook writing project such as this truly serves the greater good and the authors should be commended.

Reviewed by Dina Pizzarello, Adjunct Assistant Professor, LaGuardia Community College on 5/21/18

This textbook would be a wonderful source for any beginner art or art appreciation class. It does not delve too deeply, but that is a plus for the beginner and/or typical non-artist using this resource. An index and glossary would be great... read more

I found this textbook to be accurate and unbiased, although more examples of Non-Western art could have been added. Some of the CH 11 pages and titled CH 10 at the end of the text.

This text is current enough for the average art appreciation class. All of the links I checked worked perfectly. Since it is mostly based on works of the past, it will need little updating.

Clarity rating: 1

This text is written simply, clearly and with brevity. This can be especially helpful to international students and students with cognitive disabilities. Beginners can easily understand definitions and concepts.

The organization and writting are consistent throughout.

The chapter organization and subdivisions wold work really well for classes taught on single or multiple days. This is a big plus for those of us that teach at community colleges.

One strength is that the text is arranged thematically, not chronologically. This format has been proven to work better in art appreciation classes. Each chapter has a comprehensible and logical flow to the breadth of information covered.

I found no interface issues.

I found no grammatical errors.

I found this text to be un-biased and culturally sensitive.

I liked how the text included non-traditional images to explain some concepts. This gave the book a fresher feel that millennials could more easily connect with. Most of the images are of small or medium scale. It would be a nice to incorporate larger image examples of select artworks. This would be more visually impactful.

Reviewed by Eleanor Johnston, Academic Skills Librarian, Staffordshire University on 2/1/18

This texts provides a comprehensive introduction to the world of Art and contains 11 chapters, thematically arranged, to give an overview for beginners to the subject. The text contains enough content and examples to ensure that there in appropriate contextualisation and that the idea of Art as a concept is covered with sufficient depth and clarity. At the end of each chapter, there is a Key Terms list, which acts as a glossary for the readings just completed. There is no index at the end of the book, but this is not a problem as online PDFs can all be searched using the 'find text' function. There are areas where the text is not greatly detailed - any book of under 300 pages could not possibly cover all areas of art without omissions, so there is a greater emphasis on older works when used as examples. There is little on contemporary art, although it is covered in most detail in the final chapter. As there is no index of Artists, it can be tricky to locate movements using the 'find text' function. The outcome to 'build a broader, more comprehensive view of the nature and definition of visual art' (p.1) is impressively achieved.

The content of the book is accurate and I did not detect any particular biases or error. Of course, any Introduction to Art may inherently contain the biases of Western Culture in relation to the choice of themes and narrative, but there has genuinely been an acknowledgement of the importance of all cultures, and there has not simply been one token chapter to shoehorn in all other civilisations. There is one error in the layout - on pages 280, 282, 284, 286, 288, 290 and 292 in Chapter 11, these are titled 'Chapter 10: Art and Ritual Life" on the top right of these pages.

This text is arranged thematically, so this structure does ensure that there will not be any aspect of the contents that would quickly become obsolete or outdated. Any weblinks used within the text would have to be checked and maintained. These are contained throughout the book - I would surmise they were used if no Creative Commons image was available to illustrate a concept or technique. I did click through to a large number of the weblinks and am pleased to report that they not only were, without fail linking through, they also provided further details and areas for discussion that built upon the content of the text.

This area is a real strength of the book. The book explains complex concepts in a very clear and concise way, ensuring that any new or unfamiliar terms are included in the 'Key Terms' pages at the end of each chapter. I was particularly impressed with this in Chapter Seven: Form in Architecture. I think the authors had an intention to provide clear, accessible prose and to ensure that a reader with no knowledge of the areas of design, meaning and context would be able to understand and appreciate them.

Again, with the chapters arranged thematically with the same structure scaffolding each one (learning outcomes, introduction, before you move on and key terms) the text was consistent and the framework extremely clear. I did not find any examples where key terms were overlapping, confusing or contradictory.

As an Introduction to Art with easily digestible sections, these text deserves commendation. Each chapter is approximately 30 pages long, and sections within the chapters are subdivided into smaller sections (e.g. Chapter 8: Art and Identity contains 21 pages and has 5 subsections. The visual aspects of the text -multiple examples, images, photographs, artworks etc, ensure that there are no giant blocks of text, and the book taken as a whole is aesthetically pleasing and a pleasure to consult.

I would suggest that this area could be improved by expanding on descriptions in the contents page - there were sometimes cases of repetition when a concept was discussed across multiple chapters (e.g. the Sacred). This is a hazard of the thematic approach, but I understand that without reverting to a chronological timeline of art, it is very difficult to cover these in one or two paragraphs in one section of a text. The subjects of design, structure and materials provided better scaffolding for chapters.

The text was extremely clear and the images were reproduced at a high definition. Any links taking students through also provided clear images, although these were sometimes rather small. There was no confusion with the image labelling or creative commons attributions, and I found the single column view easy to read.

There were no grammatical errors that I was able to detect.

The text provided references to a variety of cultures throughout the pages. Once again it should be highlighted that non-Western cultural artistic traditions were not simply shoehorned into a chapter, but there was a great deal of inclusivity in the whole book. Indeed, the cultural relevance and variety mentioned is of great artistic importance and is refereed to as crucial to the ethics and raison d'etre of many prominent artists (see especially Chapter Eight: Art and Identity).

This Open Textbook is a valuable addition to the canon of texts currently recommended as an introduction to art. The thematic chapters provide a perfect platform to commence a discussion on a topic (for example, meaning in art). Students would be advised to read the chapter in advance of lectures / tutorials and to use this as a starting point for their research.

Reviewed by Victoria Hutson, Art Faculty, Lake Superior College on 2/1/18

This book covers a broad range of areas that are typically included in a college level art appreciation book. Because it covers so many different areas—it doesn’t go into a lot of depth in any one area. However, an instructor could easily provide more depth by providing supplementary material for specific areas. The book is arranged by topics or themes which is typical for most art appreciation books. It is not arranged chronological--which is usually the format for art history books.

The book appears to be accurate, error-free and unbiased--although I did catch one inaccurate statement regarding the Vietnam War Memorial. The memorial is below ground level but the book claims that this reflects “the belief that the Vietnam War was initially conducted ‘beneath the surface,’ that is, unknown to most Americans.” However, in the 1995 documentary, “A Strong Clear Vision” the designer (Maya Lin) explains a totally different reason why it is underground. This conflict between what the artist says and what the book says is worth noting. It did make me a bit concerned that other material may also be inaccurate—but I did not catch any other inaccurate statements.

This book should have relevance for a long time because the material it covers is primarily about past art—which for the most part doesn’t change. While it is possible that new information may become available that changes our understanding of the work—for the most part our educated guesses about the message, meaning, or function of the works will remain the same. In addition, the vast majority of images and information included in this book are also found in most of the standard art appreciation textbooks.

The textbook is written in a style that is clear and easy to understand and follow. Specific terms are written in bold text with their definitions listed at the end of each chapter.

There is a consistency in the way the material is presented in each chapter.

Each of the chapters are divided into smaller sections that make it easy to assign or highlight a specific portion of the text. In addition, each chapter starts with Learning Outcomes and ends with Key Concepts, Test Yourself, and Key Terms sections.

The topics in the text are presented in a fairly logical and clear fashion. It is very similar to other art appreciation textbooks I have used in the past. The book starts with fundamental concepts (what is art, art materials and techniques, describing art, finding the meaning, etc.) and then it proceeds into more advanced topics (connecting art to our lives, identity, power, ritual Life, and ethics). There is a separate chapter on architecture which seems a bit odd since no other area was given a specific chapter of its own.

The pdf interface is very functional to use and easy to navigate and download. While I understand the reasons for including links to copyright protected images I did find having to click on the link cumbersome and somewhat disruptive. In addition, often I felt a bit confused when I started reading about a work of art that did not have a printed picture to accompany it. I found myself glancing around the page trying to find the image that I was reading about only to see that later in the paragraph there was a link. Perhaps having the link at the beginning of the paragraph would have worked better. Plus, it would serve as a notice that the following text is about an image that needs to be viewed via a link. A few of the links brought me to pages that were no longer active.

I did not notice any grammatical errors.

The material in this book does includes examples from a variety of races, ethnicities, and backgrounds—although most of the material is from what is traditional considered the origins and evolution of western civilizations.

This would be a good book for an art appreciation course. Because of its modularity it would be easy for an instructor to assign specific areas to establish a basic foundation and then provide supplementary material for in-depth explorations of chosen topics.

Reviewed by Elizabeth Maynard, Adjunct Professor, Rhode Island College on 2/1/18

This books is not an historical survey, but it offers a wide range of artworks from throughout history and the world to elucidate major themes and concepts. Even while it is non-linear or chronological, the text nonetheless covers terms and ideas specific to historical moments, taking them as case studies to illustrate larger themes. The end of each chapter includes questions to consider and a list of major terms with definitions.

excellent, to my knowledge.

While the book references very contemporary technology, including 3D printing, etc., it contextualizes them in more traditional methods; the themes and of the text remain timeless.

Both the imagery and the phrasing read easily. The images are very detailed and include helpful close ups.

The progression of chapter creates a very readable narrative.

The book is well divided up, and I appreciate the integration of both historical and formal terms throughout, to offer new historical information throughout without becoming dense.

The book lays out a great foundation for material and terms of analysis to get into deeper themes and modes of interpretation.

One thing I would add/change, is for the images to include the dates in the caption, not just in the text. While the text is non-linear, I think it's important for the dates to be readily available to understand the historical breadth of the works.

none that I encountered.

I especially enjoyed the integration of works from throughout the world. Often in more conventional texts, art of the non-western world gets relegated to their own, atemporal chapters. This format allows for thematic comparisons that helps to breakdown the hierarchies of the canon.

Reviewed by Renee Couture, Assistant Professor of Art, Umpqua Community College on 2/1/18

This book covers just about everything needed for teaching students the basics of visual literacy and introducing them to art. This text has a range of images and includes various time periods, styles, and works from Western and non-Western cultures. The textbook, however, lacks significant references to contemporary art. A vast majority of the work presented is pre-1960 and most of the media covered is traditional fine art media (painting, sculpture, drawing). That being said, the authors provide glossaries at the end of each chapter of target vocabulary, a comprehensive index, and write thoughtfully and thoroughly to provide a solid context to the works/images shown within the text.

The text appears to be accurate.

The textbook profiles works from ancient through modern times. The text is arranged in a way that introduces students to important concepts for viewing and considering artwork, and uses a logical sequencing of information. The textbook introduces students to some of the major “movers and shakers” in art history, and has many high-quality images of the works discussed within the chapters. The text, however, largely emphasizes pre-1960 art. In fact, it seems only a handful of post-1960 artists are mentioned and very few supporting images are provided of post-1960 artwork. To be fair, there are links provided, which will require upkeep. An instructor will need to find examples from other sources to expose students to contemporary art (artists, media, themes, and modes of working).

The text’s language is appropriate for college-level readers. Sentences are easily understood and the use of art-specific vocabulary (along with providing a glossary at the end of each chapters) shows students appropriate use of target vocabulary. Chapter topics are presented in clearly, accessibly, and with depth. Images are used effectively in supporting content.

The chapters are uniform in their organization; the writing is consistent. Each chapter starts with outcomes and an introduction. Headings for chapter subsections are clear and specific. Target vocabulary is written in bold type and each chapter has a glossary. Each chapter ends with a summary and review questions to check for student comprehension.

The text is divided in a way that supports teaching a foundation in visual literacy. Each chapter is clearly titled with subsections supporting the chapter’s topic. In some cases, subsections from different chapters could be mixed and matched. One of the strengths is the use of imagery from various time periods within each chapters as opposed to the standard chronological approach to an art history course. This could be further exploited by the addition more contemporary art by the instructor along side more historical examples the text provides.

The chapters are consistently structured. The choice of chapter topics and their flow is appropriate and student-centered. The book starts with basic information (what art is, its structure, media used) and works toward greater complexity (various ways art connects to and shapes our lives).

The supporting images are clear and high quality, allowing the reader to increase the size of the images without losing clarity. Some of the pages feel crowded and a few of the links were nonfunctional. The chapter sections and subsections are clear. The book's font is easy to read with line hierarchy is unmistakable and consistent, and the use of bold lettering indicates target vocabulary for students.

I found no grammatical errors within the text.

The text will provide students with a solid foundation in visual literacy using historical artworks as examples. It includes work and architecture of non-Western cultures and women. However, it (generally) ignores contemporary art (artists, media, modes of working, and thematics) which students will see in today’s world. There are missed opportunities to discuss more recent attitudes & intentions within the arts (for example, in Ch 4: Describing Art, it would seem appropriate to have subsections on Modernism and Post Modernism). It would be helpful if were either more examples of contemporary art along side the more historical examples or if there was final chapter on art post-1960. An instructor will need to find examples of contemporary art (through resources such as Art 21, museum catalogs, artist websites, articles/interviews for arts-related sources) to expose students to contemporary artists and art. Inclusion of more art post-1960 would: 1) present students with more challenging imagery, 2) expose students to themes that are more relevant to them, and 3) further introduce students to the works of more women and minorities. Nonetheless, this book would be an effective tool for an Intro to Art or Art Appreciation course. A strength of the book is its thematic approach instead of the standard chronological approach. I did not find it culturally offensive or insensitive.

This book has enough general information that certain chapters (or parts of chapters) can be used in a Basic Design or Drawing course as well as a general Art Appreciation/Intro to Visual Literacy course..

Reviewed by Nancy Pettigrew, Associate Instructor, Tidewater Community College on 8/15/17

For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective. This textbook does cover some core areas for this discipline: the definition of art; the function of art; elements of art and principles of design; and different media used to make art. I thought that the treatment of the elements and principles and of the media was cursory. Beyond that the textbook is thematic, with the choices of themes being somewhat idiosyncratic.

The treatment of the subject was constrained by the authors' focus primarily on the traditional media associated with fine arts, such as painting, sculpture, and architecture. Other current art appreciation textbooks also include more modern media, such as film and design. The scope was also hampered, in part, by the distinction the authors' drew between art and craft.

The focus of the textbook is mostly on art made before 1960, with most of it produced long before that. There is a dearth of examples of contemporary art being made by artists in the last 20 years. An exception to this is the chapter on Art and Ethics, which addresses recent controversies in the field.

The textbook does not include an index or a comprehensive glossary. Terms are defined at the end of each chapter. The table of contents is not sufficient to function as an index.

The content of the textbook is generally error free. There are some opinions expressed that I do not agree with, but these are debates that are not settled within the art history community. The authors do not seem completely up to date on recent scholarship in some areas. For example, the "Snake Goddess" from Crete is included when modern scholarship has called into question the validity of its heavily reconstructed form.

Since much of the art covered in the textbook was made before 1960, the content is up-to date and will not become obsolete quickly. The exceptions to this are the links to external web pages that will need to be maintained on a regular basis. Without this regular maintenance, these links could become obsolete quickly. This could pose a problem since the links are embedded in the content of the text.

The textbook is written in prose that should be accessible for the average college freshman. Specialized discipline-specific terminology is defined in the text and in a list of terms at the end of each chapter. The text does lack an comprehensive glossary of these terms..

The textbook is internally consistent in organizational framework of each chapter and in the use of terminology.

The textbook is divided into small reading sections with clear headings and subheadings. These could easily be reorganized and realigned.

I found it difficult to follow the organization and structure of the text. There seemed to be no clear logic to much of the distribution of the chapters and the chapter sections. Related content can be found in different chapters of the text. For example, both the chapter on Form in Architecture and on Art and Ritual Life contain extensive sections covering sacred architecture.

Within the chapter sections, there is some organization based on chronology, although this is not consistent. This creates a problem in which chronology is repeated without a larger, cohesive historical narrative. .

The interface of the textbook was effective overall with no significant issues that would distract or confuse the reader. Of necessity, the textbook provides links to works of art that are not reproducible in the textbook due to copyright issues. These links can be clunky and I would be concerned that students will not take the time to click on them all while reading the textbook. Links need to be reviewed. At least one of the links within the text to external images was broken. For the most part the images included in the textbook are high quality, although I find their sourcing odd from random users on Wikimedia.

Overall, the textbook contains no major grammatical errors beyond a few typographical errors.

The textbook draws its examples primarily from Western (European and American) and Asian cultures. There is some inclusion of other cultures, races, and ethnicities, such as Native American or African, although this aspect of the textbook could be strengthened. An instructor would need to bring in additional examples to make a course using this textbook truly inclusive. The text is not culturally insensitive or offensive.

This textbook could be appropriate for usage in an Art Appreciation class, if the instructor of the course was comfortable with the somewhat idiosyncratic thematic choices of the authors. For example, the inclusion of the chapter on the Significance of Materials is not typically included in an art appreciation textbook. The textbook would not work for an Art History course that is taught in a chronological framework. Specific dates are not provided for most of the objects discussed, although birth and death dates of artists are. The historical context and timeline of the works covered by the text are subsumed within the thematic organization.

Reviewed by Samantha Moore, Adjunct Instructor, Art History, Northern Virginia Community College on 6/20/17

The text covers information listed in the table of contents adequately. Content is arranged thematically as is common in art appreciation courses. Each chapter includes a glossary of terms covered at the end of the chapter. It does not include an... read more

The historical information listed in the text was accurate. The text included accurate information regarding styles and movements and theory associated with art. However, the text presents basic and surface level information and lacks in depth views on any one topic.

The content of the text is up-to-date particularly in the discussion of media types. Should updates be necessary it would be easy to implement them.

The text clearly defines bolded terminology. Each chapter is divided into sections and information in each section is related to the theme of that content area. The language is clear and easy to read and follow.

The language used, content presented, and organizational themes are consistent throughout the text.

The text follows a pattern of listing objectives, sectioning off each chapter, and following up with review concepts and terminology. Sections of the text can be assigned at different points within the course.

The text includes eleven chapters divided into sections. While each chapter and subsequent section is rich with information, heading and subheadings do not give a clear sense of what content will be present in a given area. Without an index it is not clear to readers when or where readers will find certain information.

When reading the text online I encountered an issue clicking on links to images. The link would bring me to the image in the same window as the text. I would then have to go back to the text and find my place.

The text was inclusive of a variety of races, ethnicities and backgrounds.

This would be a decent text to use in an art appreciation course but not in a survey art history course. The content is not arranged chronologically or by region. Rather it is divided thematically into broad sections. I was pleasantly surprised with the information listed in several portions of the text. While it does not cover any area in depth it does a fair job of presenting a basic foundation for most of the major topics covered in an art appreciation course. Instructors will find they need to expand on most concepts and should plan on supplementing the text with readings and lectures. Without an index it is difficult to gauge when and where readers will find specific content. Chapter titles and section sub heads are very broad and do not help with pinpointing the location of information.

Reviewed by Isabelle Havet, Faculty, Linn-Benton Community College on 6/20/17

The textbook thoroughly covers the topics of each chapter, and each chapter has enough range that it could easily be supplemented and ideas expanded upon. The "Key Concepts" and "Key Terms" sections after each chapter are very useful and would prove an effective study tool for students, as would the "Test Yourself" study questions. However, the textbook should have a master glossary of terms at the end for ease of reference. This is a large omission, especially for students studying for midterms and finals, or working on papers or larger group projects.

There are a small number of typos and usages of uncommon words when more simple words would suffice that are confusing and obscure meaning. (E.g., the tile for section 5.4.3: "Prohibition and Destruction of Imagery: Iconoclasm" misspells the word "iconoclasm," which is particularly problematic as "iconoclasm" could easily be reenforced as a key vocabulary word.)

The text is relevant, and one of its strengths is the breadth and depth of the visual examples anchoring the chapters.

The text is fluid, and the language accessible in a way that would be suitable for different levels of students.

While the text is generally well-organized, the organization of the chapters is somewhat confusing. The choice of chapter topics is also somewhat confusing. Certain major topics are omitted (for example, a chapter dedicated to a more in-depth survey of major artistic media), for what are some interesting but less necessary topics (e.g., Significance of materials in art). This will pose a challenge for instructors who might have to carefully weigh which chapters to teach. This might be especially problematic for instructors teaching in a 10-week term system, or who would supplement the text with additional lessons focused on the history of art (which is omitted from this volume).

The text would easily be divided, which is a strength as the organization of the chapters as it stands might not work for every instructor.

The topics are generally presented in a logical, clear fashion. The structure of chapters is easy to read and flows well.

The text cleverly utilizes open access images. The images are generally very compelling and of high-resolution, which is a big bonus in a visual arts textbook. There are only a few images that are grainy or fuzzy and would beed to be replaced (e.g., the statue of Menkaure and Queen). The interface is legible and pleasing to navigate.

The text contains no grammar errors.

An array of images from different time periods, geographical locations, and cultures. This is a huge bonus, as visual arts fields are moving to make curricula more inclusive. It would have been useful to include more contemporary art, as this is an important topic to emphasize when teaching about visual culture, and is relevant to students' lives. It is also important for instructors who might be teaching visual arts and studio students.

A unique text with a compelling choice of images and topics, and worthy entry in the expanding but still very limited field of art appreciation/visual culture textbooks. I would have liked to see a glossary of terms at the end of the text. It would also be useful to have a discussion of art history, and if not a chapter or more dedicated to art history, at least a timeline at the end of the text. The students are presented with an overwhelming number of artworks, so a general historical reference at the end of the text would be useful. Finally, there are some omissions of topics in favor of narrowing or less important topics that would necessitate some supplemental teaching materials or lessons.

Reviewed by Hilary Galián, Instructor, Portland Community College on 6/20/17

The text covers a broad survey of art including many art forms. Photography, digital media and relational aesthetics examples are lacking throughout the text. Chapters include examples of Western and non-Western art and architecture. More context could be fleshed out for how works of art were relevant in their own time. The text effectively references images and graphics that are either included in the text or linked on the web. There is no index, and a list of images would benefit the reader by seeing examples listed in chronological order or by medium. Image captions in the text should include mediums, date and location information, which would help with quick reference and to classify a work illustrating an era.

The wrong title is listed in a few image captions. Otherwise, the book appears error-free.

The content of the book spans the ancient world through contemporary art and reflects current art-world values and attitudes in broad terms -- defining art and artists through a contemporary lens and recognizing the omission of women and marginalized groups throughout the canon of art. Though the recognition is valid, more modern and contemporary art examples could be used to reflect the contributions of a broader group of artists. There are many links to outside sources for imagery, and it is unknown how often those may be checked for changes and errors. A safeguard against readers following links to sources that may have changed their content would be to insert those images directly into the text, which would also help the reading flow, particularly when two works are offered for comparison, such as Wiley’s and Clésinger’s "Femme Piquée par un Serpent," in which only Clésinger’s is included in the text.

Text is written clearly using accessible language for students. Adequate context is given for technical terms with minor exception. The questions at the end of each chapter to check for understanding reflect the text, though more attention could be aimed at mirroring the language and terms used in the chapter.

The chapters are subdivided consistently. There are a few instances in which the title of a work in the text narrative does not match the title given in the caption for the image. There are also some terms listed in the glossary that do not appear in the corresponding chapter. Similarly, there are some inconsistencies in the “Test Yourself” questions, in which the corresponding information is missing.

The chapters are clearly defined as are the concise, themed subsections. It could be easily reorganized to fit subunits of a course, though the text is jumbled chronologically due to classification by theme.

The text flows logically by the outlined themes. The book’s organization would benefit from some reference to a chronology. Without this context, a novice student may struggle to follow a somewhat disjointed selection of art and artifacts.

Internal references to images are made sufficiently clear. Over time, the numerous links to other web material may need updating. There is one reference in the text that is missing a link. A few links reveal images and are too small and low-resolution. The handful of formatting mistakes and typos are somewhat distracting, as is the single column layout.

The text appears free of grammatical errors.

The text is inclusive of a variety of races, ethnicities and backgrounds. The balance of art examples still favors a white, male perspective. References to “our” perspective should be made explicit as such. Some general examples given to explain concepts lack universality, such as yoga as an example of art and science.

This book would serve well as primer for beginning art students for its far-reaching historical scope and theme-based approach, though a student would need supplemental material to address contemporary art forms and the contributions of a broader group of artists.

Reviewed by Sasa Miljevich, Adjunct Instructor (Fine Art), Portland Community College on 6/20/17

The text is organized thematically and covers some of the areas of Art. Some of the content is overly simplified , and some important artistic movements are omitted. There is no index, which make it difficult for students to comprehend some key... read more

Content is accurate and error free. Images shown and links to artists are mostly of Western Art/ Artist, very few examples , in comparison, of Non-Western Art/Artist.

The text is current and few sections would need updating.Necessary updates will be relatively easy and straightforward to implement.

The text is written in clear and concise manner.

The text is consistent in terms of terminology and framework.

The text is easily dividable into smaller sections to fit with various topics of discussion throughout a term.

The topics in the text are presented in a logical, clear fashion, but smoother transitions between the different chapters would help.

The text is free of significant interface issues, easy to navigate , with clear images. very easy to download and print.

The text does not have many examples of non-western artist and is not overly inclusive of a variety of races, ethnicities, backgrounds, gender.

Reviewed by James Jewitt, Manager and Instructor, Arts Minor, Virginia Tech on 6/20/17

This text successfully manages the difficult task of synthesizing a plethora of approaches when studying art and its history. It considers numerous ethical, philosophical, and thematic issues typically left out of traditional survey books. While these comprise a robust and welcome conversation about the reception, agency, epistemology, and meaning of art, it comes at the cost of a slightly anemic treatment of major historical developments along conventional lines. No index is present or list of illustrations.

Some problems with Italian language terminology are evident, such as "giornate."

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 prose tends to be clear and readable, though veers towards a somewhat overly conversational and colloquial tone. In places it seems imprecise and too rambling, needing much more concise and to the point verbiage. Also, captions for images are not given information relating to date, medium, or dimensions--a crucial oversight!

The text displays consistency throughout and does a good job of integrating key terms and concepts throughout its chapters. The bolded key terms that appear as a glossary at the close of each chapter is especially helpful, as well as the "test yourself" sections and introductory concepts that start each chapter. Such stand-alone devices are a great boon to students and surely aid with comprehension.

One keen advantage of this text is the authors' clever division of the material into cogent modules that mesh well with poignant themes currently driving the discipline of art history and also the best courses at colleges and universities. In this way, the text serves as an indispensable resources in introductory design and art history courses, as well as upper-level seminars focused on interpretation, methodology, and philosophy of art.

Overall the book is logically organized, particularly chapters 1-5 and 8-11. However, chapters 6-7 are oddly placed and the section on architecture is not well integrated into the rest of the text. It is treated like a separate and outlying practice instead of being carefully woven into the rest of the chapters on form, production, materials, etc. Likewise, chapter 7, though integral and vital, seems out of place. It would perhaps best be placed before the chapter on meaning, since it offers background on socio-cultural behavior as foundation through which to better understand art.

In general, the illustrations and figures are crisp and high resolution. However, they are not expandable or zoomable as is common in other electronic or digital textbook platforms currently available. Likewise, the internet hyperlinks could be replaced with embedded content to better increase the longevity of the text. Some odd spacing around the figures and illustrations is distracting as well.

See comment 4 above. In general, the discussions could be edited to offer a more precise and concise analysis that is less conversational and more direct. Right now it reads as if the authors are pandering a bit to a student audience by invoking memes, selfies, and other ostensibly trendy cultural phenomena.

Another great advantage of this text is its admixture of canonical and popular objects, drawing upon mainstays of art history as well as more of-the-moment visual culture. It is particularly adept at addressing themes that weave together global works in many media from makers of many backgrounds, thereby questioning the entrenched and monolithic canon.

Reviewed by Joe Macca, Adjunct Faculty, Portland Community College on 6/20/17

While the text covers such a vast amount of visual art history, genres, meaning, symbolism, materials, etc., because it's so much, it can only very briefly mention these topics. That said, the glossary of terms is thorough and appropriate. The 'learning outcomes' and 'test yourself' sections are also very well organized. It can help students understand the kinds of questions and testing done in art survey classes.

In terms of studio art though the book can be a supplement only. Textbooks can be excellent but still not substitutes for the instruction of the hands on manipulation of materials.

The book is unbiased (if there is any bias, it's very slightly European. But which comprehensive survey book is?!) and presents its varied historical genres accurately.

The book suffers slightly from not discussing more contemporary artists and genres, especially performance, installation and public- art based works. Mid 20th century and before, the book is quite thorough. Because of this it is perhaps mildly more prone to obsolescence.

The book is excellent in its prose. Very clear, easy to understand, many good images and illustrations.

The book feels consistent overall. As described elsewhere, it may suffer a little from its lack of discussion of contemporary genres, artists, techniques, etc.

The modularity is the book's necessary natural feature since it cover so much. The chapters are quick and concise.

The 'Personal and Communal Need to Create' sections are so important. I appreciate that this was covered at length. Some sections are not elaborated on as much. I believe the isolated discussion of different art materials (a section on oil paint, a section on print, etc.) is clear and organized- I also believe it should be discussed that these techniques and materials are also very interchangeable.

The book is very well organized. Illustrations and pictures are appropriately shown. More images of 'artists at work' could improve the text.

No grammar issues detected.

The book does a good job of being varied and unbiased, especially when describing art made in varying regions by peoples with different ethnic backgrounds.

I believe the book can function very well as an Open Art History/ Survey Textbook.

Reviewed by A.D. Rocha, Fine Arts Advisor and Instructor, Washington State University on 6/20/17

The text presents its themes in an order that is easy to follow. The examples provided are relevant and serve well to illustrate the concept. The prompts at the end of each chapter also present good starting points for class discussion. read more

The content is accurate. The definitions provided are concise.

The content is current. The inclusion of "fourth dimensional" art is particularly helpful in discussing contemporary art.

The terminology used is easy to understand. The "key terms" section is also helpful in its definition of terms that are introduced in that chapter.

The terminology used is consistent and works to expand on the content for proceeding chapters.

The arrangement of sections allow for each to be taken separately as necessary. The chapters can be presented in different order or omitted altogether.

The order of each chapter and its individual sections are easy to follow. 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 images were presented within the appropriate text and were displayed clearly. The size of the PDF makes searching for a specific term or section a bit difficult, but otherwise there are no problems with the interface.

There were no grammatical errors in this version of the text.

A broader cultural range of examples would be more helpful, however, this is something an instructor can easily amend within classroom lecture or discussion.

This is an excellent introductory text to basic art elements and concepts. On its own, it provides a clear overview for students with no art history background. It can also be used to support other texts where more specific art movements are discussed.

Reviewed by Aderonke Adesanya, Associate Professor, James Madison University on 6/20/17

The text is a bold work in terms of content coverage. It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of a foundation class. Although it has semblances of existing studies, this is not your traditional introductory art textbook. Apart from the in-depth discussion of concepts, techniques, and terminologies, the authors have included learning outcomes at the beginning of each chapter, exercises (review questions) at the end plus key terms to help users review and affirm the content of every chapter. I also find very instructive the discussion of ways of looking at and understanding works of art in chapter 4; the distinction between formal and critical analysis, and the distinction in analysis, description, interpretation and evaluation. These comprehensive discussion make the text a great resource. The material is also reader friendly.

I find that there is minimal references to non-western art especially African and African Diaspora Art. This is palpably obvious even under the discussion 4.5.1 Cultural Style in Chapter 4. The illustrations in the text are also geared towards the examination of western art than other categories including Asian and African. In the discussion of two and three dimensional art (with highlights on materials and techniques), almost all illustrations and examples are western art, with some minimal references to Chinese and Japanese preferred materials for art, and their processes.

There are minor typos found in different pages of the text. For instance: i). Introduction: 2.4. Art Forms (cat egories should read categories)

ii). Chapter 8: p. 247 "iconoclas" should read "iconoclasm"'

Additionally, there is issue of consistency when "iconoclasm" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference. Consistency in reference to location: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is correctly referenced in previous pages.

Content is up-to-date. However, it may require updating in the next three years to expands coverage particularly the diversity of the subject matter covered, illustrations, and invariably to bring new content into the chapters.

The text is ready friendly, written in straightforward accessible prose. The definitions of terminologies accurate and simplified for readers to grasp the concepts quickly.

A consistent template runs through the chapters.

However, there is an issue with consistency when "iconoclasm" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference. Consistency issue with the way a culture's location is referenced: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is somewhat appropriately referenced in previous pages.

Consistency issue with the spelling of terracotta (pages 273-4, and 277)

Excellent compartmentalization, though I find the many sub-headings a bit problematic.

The structure of the book is very well organized. The topics are presented in logical sequence.

The interface appears many and a bit distracting. The links interspersed in the text forces the reader to go in and out of the text to check images being compared with those embedded in the text. It would have been more effective if these were readily accessible in the text for immediate comparison. No evidence of overtly distorted images (Perhaps Figure 10.37?). However, some of them could be improved for clarity (Figure 10.48 and 10.49).

No grammatical errors but there are typos.

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.

Nothing beyond the outlined responses to other questions in this review.

Reviewed by Stephanie Wirt, ACA Art History Adjunct Professor, Reynolds Community College on 2/8/17

This text does cover the material its title implies at an introductory level. More depth could be used in some areas. In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to the time period and that is not addressed here by omitting some of the major Art movements like Impressionism, Cubism, Realism, photography and digital imagine.

All external Links work Information is accurate but seems to lack in depth in some areas. The artwork shown is primarily from the western world and the art of dead white men. In choosing which art to include as examples more diversity in artists’ ethnicity and gender should be included for a more balanced and realistic scope of art

The technical content of the text is up – to – date. The information as far as approaches to understanding art in general don’t change. Many of the artworks used to illustrate concepts are well known and appear in many standard art history textbooks. However, the lack of contemporary art examples makes some of the content less relevant to the life of the contemporary student. Art, how and why its made) is changing and this text does not necessarily address how to understand new practices in art

The text is clearly written in an easy to understand format.

The format, vocabulary and tone of writing is consistent throughout the text.

a. Each chapter is broken down into subsection that focus on a specific aspect of the overall chapter theme. b. Sections could be combined for instructional purposes c. Sections are brief enough to allow for quick coverage but also leave room for individual teacher adjustments to focus more time and discussion on specific concepts

a. The topics and objectives of each chapter are clear and flow in a logical format. While there could be an argument for some readjustment of chapter ordering, it progresses in a thoughtful format.

o This is a pdf text that can be downloaded to computer or tablet form the web. This allows students access to the main content without having to have internet for most of the content. o The outside links to artworks are necessary to view significant artwork that is not in the creative commons directly at this point. However over time that will change as the original artist dies and time has passed from the date of its creation.

The book's grammar is written using correct English.

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. This is not unusual for many art survey books but there is a new movement in art education to expand the examples of art to include more people of color and women as well as more diversity in cultural arts within educational texts.

o This book is a good introductory text for a basic art survey class. It doesn’t go into depth in art history or studio practices but it does present a basic knowledgebase for understanding art in general and how to interpret and appreciate a variety of elements of art. o A teacher using this text would want to supplement the reading with practical studio experiences to give students a better understanding of some of the media and techniques presented in the book as well as an opportunity to practice the methods of analyzing artworks with more contemporary artworks.

Reviewed by RADFORD THOMAS, Ph.D., PROFESSOR OF ART, VIRGINIA WESTERN COMMUNITY COLLEGE on 2/8/17

Content adequately covers the subjects it purports to include. However, there is no comprehensive index. A brief list of Key Terms is included within each chapter. These lists are barely adequate and probably confusing to neophyte students with no art background. For instance, in 1.9 KEY TERMS, p.30, Icon is described primarily as often religious. “Icon”, in art, may have multiple meanings according to the culture that produced the artifact and its use by those members of that group. As an example, the image of “Isis” is an icon found throughout Egyptian culture with various “religious” as well as “power” and other cultural meanings. This criticism can be directed to all KEY TERMS lists in the text to some extent.

Illustrations appear to be consistent with the knowledge base of the written text. In other words, illustrations fit the need and are usually of good quality and reference the dialog effectively. Titles are included for each image along with the artist/author and sources where appropriate. Missing are important notes about media, method, size, and date alongside the illustration. Non-art students are wont to go to the trouble of looking up this important information.

Some KEY TERMS terminology is lacking in completeness or accuracy. Perhaps it is because the editors wished to make definitions simple, too simple. Bias is toward pleasing everyone while skimming over important iconographic details of the art forms examined. Dialog needs to be aimed at describing the iconographic content of art rather than ancillary historic events.

Content appears to be current in a way that will not make the text out-of-date within a normal time period. Updates, except for items that need immediate attention, should be easy to implement.

This text is actually written in a student-oriented manner that makes a connection between current student populations and information required to cover the subject matter. Applause to the editors.

This text is consistent with overall use of terms and organizational framework. Iconographic statements should be revised so they are accurate and clearly defined to explain the focus, use, and understanding of the art.

This text is divided into eleven rather arbitrary chapters. 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 format does not flow historically but topically.

It is difficult for the novice student to follow these disjointed chapters to a conclusion about what art really is. Each module or chapter is an end in itself and does not develop a cohesive theme about art itself. The Art and Ethics chapter is particularly misguided. This chapter’s content should be placed alongside relevant art objects and discussed in relation to that art.

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. One example is the discussion of “porphyry” in chapter three. 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. It then goes on to explain a "mausolea" for some reason.

In addition, I find reading the book difficult because it does not use two columns as a standard interface. It uses only a single column throughout the text.

I find no essential grammatical errors or problems.

Text is very inclusive and comprehensive in this matter.

In chapter five I found the Key Concepts very well written and useful to students

It is strange that there is a chapter on Architecture alone as an art form. Photography? or Painting? or Sculpture? or Ceramics? or Weaving...

Reviewed by Renee Garris, Adjunct Professor, J Sargent Reynolds Community College on 2/8/17

The text covers Art in a thematic approach. It explains concepts in an easy to understand manner. read more

The text covers Art in a thematic approach. It explains concepts in an easy to understand manner.

The content is accurate and error-free.

The text is current and few sections would need updating.

The text is written is a manner that those who are new to art and art history can easily understand. There are definitions for words that are new for the readers.

The text is consistent in its use of terms and the framework in which it is written.

The text is written with smaller rather than larger sections and is follow throughout the chapters of the book.

There is a logical progression to the text.

It is free of distortion of images and the illustrations are clear.

It is free of grammar errors.

It is culturally sensitive without bias. It could use more examples of art from the non-Western world for some sections to provide better balance.

Enjoyable read and could be used alone or with supplemental material.

Reviewed by Deborah Cibelli, Professor , Nicholls State University on 12/5/16

The text is organized thematically and does not offer a chronological survey of the history of art. Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and power, art and ritual, and art and ethics. These topics are all covered effectively. Chapters include examples of Western and non-Western art and architecture and offer many comparisons of art from different cultures. While there is no index, the reader may refer to the chapter titles and the glossaries found at the end of each chapter.

The factual information provided is accurate, does not contain errors and is sensitive to world views.

The themes that have been selected are well chosen and will remain relevant so that the text will not require constant revision. However, the URLs (Uniform Resource Locators) or web addresses for different web sites may change over time and the authors may want to update the text by adding examples of contemporary art.

The text discusses complex ideas in a clear and concise manner. Terms used in each chapter are clearly defined in the text and in the chapter glossaries.

Each chapter covers material outlined in the table of contents and the introductory chapter. Each chapter also has a summary of key concepts and reinforces the themes developed throughout the text.

The chapters and sections within the chapters are clearly delineated. There are on average, eight sections in every chapter, making it easy to divide the text into discrete units and easy to refer to specific topics.

The themes and ideas covered in the text are clearly delineated. There are clear transitions from section to section and from one idea to the next.

The illustrations are clearly numbered and referenced in the text. The images are from public domain sources on the web and are identified as such. It would be helpful to have dates for the images and references to the museums where the art objects are located either in the text or as additional information added to the labels for the images.

There are few grammatical errors. There are a few typographical errors such as misspellings of memento mori on page 98, of Edgar Allan Poe on page 214, and of iconoclasm on page 246.

The text compares works of art from different cultures and seems inclusive, objective, and balanced in terms of the items included and the content.

The text departs from standard introductory surveys by referring to objects from different cultures and historical periods that have been selected to illustrate the myriad functions of art, that is, art as map, religious work, “secular icon”, etc. Material is organized thematically rather than chronologically using a comparative model. The chapters on forms, materials, description, symbolic interpretation, aesthetics, architectural form, identity, power, ritual, and ethics, also encourage the reader to make connections to contemporary art and culture. Key concepts are reviewed in the chapter summaries and each chapter has a list of questions that can be used by the student to review the material as well as a glossary of key terms. The chapters on forms and materials support the study of art based on media. In the discussion of interpretive methods, the reader also gains insight into the role of the viewer as well as the artist in determining meaning and is asked to consider the continued relevance of artistic expression. The book could be adapted for teaching a more conventional survey of art if sections are assigned based on content. Chapter 10 on art and ritual, for example, largely follows a historical trajectory that begins with Stonehenge and examines architectural forms in Hawaii and Japan before discussing the sacred spaces and art of the medieval period that have been produced in different media. The strength of this work is that students are asked to make comparisons. They are also asked to think contextually about global art.

Chapter One: What is Art?
Chapter Two: The Structure of Art
Chapter Three: Significance of Materials Used in Art
Chapter Four: Describing Art
Chapter Five: Meaning in Art
Chapter Six: Connecting Art to Our Lives
Chapter Seven: Form in Architecture
Chapter Eight: Art and Identity
Chapter Nine: Art and Power
Chapter Ten: Art and Ritual Life
Chapter Eleven: Art and Ethics

Ancillary Material

Ancillary materials are available by contacting the author or publisher .

About the Book

Introduction to Art: Design, Context, and Meaning offers a comprehensive introduction to the world of Art. Authored by four USG faculty members with advance degrees in the arts, this textbooks offers up-to-date original scholarship. It includes over 400 high-quality images illustrating the history of art, its technical applications, and its many uses. Combining the best elements of both a traditional textbook and a reader, it introduces such issues in art as its meaning and purpose; its meaning and purpose; its structure, material, and form; and its diverse effects on our lives. Its digital nature allows students to follow links to applicable sources and videos, expanding the students' educational experiences beyond the textbook. Introduction to Art: Design, Context, and Meaning provides a new and free alternative to traditional textbooks, making it an invaluable resource in our modern age of technology and advancement.

About the Contributors

Pamela Sachant is an art history professor at North Georgia College & State University located in Dahlonega, Georgia.

Peggy Blood is Director of Confucius Institute and Full Professor in the Department of Fine Arts Humanities & Wellness. Prior to SSU she Directed satellite campuses (Fairfield &Travis AFD) for Chapman Universities in California. Her area of specialization is Fine Arts, Higher Education & Administration. She is a Fulbright Specialist & Fulbright Specialist Program Peer Reviewer, and reviewer for other academic fellowships and scholarships. Blood is a visiting scholar at Jiujiang University in Jiujiang, China.

Jeffery A. LeMieux is Professor Emeritus of Art at the College of Coastal Georgia. He is a practicing artist with works in private and public collections including the University System of Georgia Board of Regents and the College of Coastal Georgia. He holds an M.F.A in 2D Studio Art from the University of Wisconsin-Madison, and a B.S. in Philosophy from the University of Wisconsin-Oshkosh. His area of specialization is college level art foundations and art appreciation which he has been teaching for over 20 years.

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Introduction to Art 30,000 years of human creativity

The history of art is a vast story of human creativity, a record of our passions and struggles from before written history through today. Obelisk is a free, online art history textbook, sharing the wild, tragic and inspiring stories of artists and their work from 30,000 BCE through Modern Art. Obelisk is designed for discovery, a cross-linked web of artworks, biographies and writings, a choose-your-own-adventure where every path leads you to something new and interesting.

Meet the artists , discover artwork , or explore the timeline . But if you'd like to learn more about how to look at and understand art, the next few pages describe the visual language of art, the ways we can understand it, and why art is important. So dig in!

Defining ‘Art’

Categorizing Art

Can we make sense of it all?

Is there such a thing as Bad Art?

Yes, but it's complicated

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Writing Guides

Art Essay Writing Guide

Table of Contents

What is the purpose of an art essay?

Generally, an art essay is an essay that talks about art in sculpture, paintings, architecture, music and portraits.

These kinds of essays are used for:

Painting visual pictures: an art essay is an essay that showcases visual arts and creative ideas that people have come up with.
Improving creativity: the whole purpose of art essays is to provide a platform for students to tap into their creative side and vividly paint a picture of a certain image using words.

Art essay topic choice

Like every other essay, there are general tips that should be considered when coming up with an art essay writing topic.

The type of art: this may include a painting, a sculpture or just a simple hand diagram. The type of art is important as it sets out what you are supposed to write about.
What intrigues you about the art: this is the most important part of the essay. The whole art essay is based on what you want others to know about the piece of art.
Personal interests: what you, as a writer, love is very important as it narrows down the topic. It is easier to write on topics that are well-known to you.

There are a number of art essay writing topics to choose from.

Below is a list of topics for an art essay

Differences between Picasso’s concepts and Matisse’s
The history of art in the Netherlands
Differences between Bernini and Borromini
The inspiration behind famous painting
The Mona Lisa
Leonardo Da Vinci
Ancient Roman structures
The sculptures of nude women
Impressionism era of art in Netherlands
The graphics of modern day art
Insinuations behind ‘The Thinker’
The Pieta of Michelangelo
The contribution of Vincent Van Gogh and Piet Mondrian
Flemish Baroque in the 17th century.

The above are some of the good topics for an art essay.

Structure of an art essay

The art essay topics determine the kind of structure to build on. However, most have a standard art essay structure.

Sample of art essay outline

Introduction.

The Mona Lisa is one of the most known paintings in the world. This is the painting of Lisa Gherardini, the wife of Francesco Del Giocondo, believed to have been painted in the 16th century. It is the work of Leonardo da Vinci and it was purchased by King Francis I. The Mona Lisa is currently under the ownership of the French government.

Thesis statement

The Mona Lisa has had a great impact towards the contribution of art in France:

(i) It is one of the most famous paintings in the world. The Mona Lisa is the painting that everyone wants to see. It is so precious that only a copy of it is actually showcased in the museum.

(ii) It has led to the growth of art. The Mona Lisa has inspired artists all over France. There has been a rise of many artists including Camille Pissarro, a painter, and Etienne-Jules Marey, a photographer.

It is clear that the Mona Lisa is the soft spot in France. The French take pride in it and have used it to improve their lives. Besides its contribution to art, it has also placed France among the leading countries that celebrate art. This has therefore created a culture of being drawn to art and it is reflected in their way of life.

The above is a sample of outline for an art essay.

Arts essay tips on writing the introduction

An art essay introduction identifies the art and the artist. Art is diverse, as it could be sculptures, architecture, performing arts or paintings in it. This is where you state why you chose that topic. It also contains a history of the said art and brief details, like who the artist is, the year, the location, etc.

The introduction for an art essay states the thesis. It may be a general statement about the art or a specific aspect of it.

Tips on thesis writing

The thesis statement should be simple and easy to write about. Too complex statements tend to be confusing.

Pick a statement that is closer to your understanding.
Ensure it is as simple as possible.
To avoid irrelevancy, one can have an art essay draft that they can build on.

Tips on the body (transitions, paragraphs, and length)

This is the main part of the essay where you derive analysis based on your point of view. Describe why the art is so appealing to you. Ensure that your defense covers an angle that has not already been covered for uniqueness. For example, one can focus only on the strokes of a portrait. However, ensure that what you describe is relevant to the thesis of your art essay topics.

The essay should not be too long. The sentence construction should also be well done. For this reason, it is advisable to have your points arranged into paragraphs. Ensure that each paragraph is independent and speaks volumes. This ensures that the art essay hooks the reader.

The transition from one paragraph to the next should also be smooth. Using cliché transitions makes the essay boring; therefore, you need to be creative.

Tips on conclusion writing

In an art essay conclusion, one needs to state their opinion. What you think the artists` feelings were and why they decided to paint it the way they did. At this point, you can state the events that contributed to the artist coming up with that art. The conclusion for an art essay requires a lot of research into the background of both the art and the artist(s). For this reason, the references and sources of the information should be cited.

Advice for writers

In art essay writing it is important to first do your research. Art is so diverse and this can be sometimes confusing. The topic to write on should be related to your interests, for example, as a musician, you would find it easier to write about performing arts and music. Besides this, do not plagiarize any work done. Cite and state all sources, making sure that you observe all rules of patent and copyrights.

For you to be a good writer, these art essay tips will be very helpful. The best writer is the one who admits to being in a need of help. The art essay writing guide can also be used to find more about art essay writing steps. Different sources could give different art essay outlines so you need to be careful.

Finalizing the essay

After writing the art essay, it is important to have a clean essay. This calls for proofreading and editing. Proofreading ensures that you do not have any grammatical errors, the art essay outlining is as required, your sentence construction is good and the language used is the required one. Some sites offer art essay writing guide for use when one gets stuck. Proofreading also ensures that the art essay structure is followed. After this is done, ensure that the format used is correct whether APA, MLA or Chicago.

Visual Analysis: How to Analyze a Painting and Write an Essay

A visual analysis essay is an entry-level essay sometimes taught in high school and early university courses. Both communications and art history students use visual analysis to understand art and other visual messages. In our article, we will define the term and give an in-depth guide on how to look at a piece of art and write a visual analysis essay. Stay tuned until the end for a handy visual analysis essay example from our graduate paper writing service .

What Is Visual Analysis?

Visual analysis is the process of looking at a piece of visual art (painting, photography, film, etc.) and dissecting it for the artist’s intended meaning and means of execution. In some cases, works are also analyzed for historical significance and their impact on culture, art, politics, and the social consciousness of the time. This article will teach you how to perform a formal analysis of art.

Need Help With Your Visual Analysis?

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A visual analysis essay is a type of essay written mostly by students majoring in Art History and Communications. The process of visual analysis can be applied to painting, visual art, journalism, photo-journalism, photography, film, and writing. Works in these mediums are often meant to be consumed for entertainment or informative purposes. Visual analysis goes beyond that, focusing on form, themes, execution, and the compositional elements that make up the work.

Classical paintings are a common topic for a visual analysis essay because of their depth and historical significance. Take the famous Raphael painting Transfiguration. At first glance, it is an attractive image showing a famous scene from the Bible. But a more in-depth look reveals practical painting techniques, relationships between figures, heavy symbolism, and a remarkable choice of colors by the talented Raphael. This deeper look at a painting, a photograph, visual or written art is the process of visual analysis.

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Formal Analysis of Art: Who Does It?

Most people who face visual analysis essays are Communication, English, and Art History students. Communications students explore mediums such as theater, print media, news, films, photos — basically anything. Comm is basically a giant, all-encompassing major where visual analysis is synonymous with Tuesday.

Art History students study the world of art to understand how it developed. They do visual analysis with every painting they look it at and discuss it in class.

English Literature students perform visual analysis too. Every writer paints an image in the head of their reader. This image, like a painting, can be clear, or purposefully unclear. It can be factual, to the point, or emotional and abstract like Ulysses, challenging you to search your emotions rather than facts and realities.

How to Conduct Visual Analysis: What to Look For

Whether you study journalism or art, writing a visual analysis essay will be a frequent challenge on your academic journey. The primary principles can be learned and applied to any medium, regardless of whether it’s photography or painting.

For the sake of clarity, we’ve chosen to talk about painting, the most common medium for the formal analysis of art.

In analyzing a painting, there are a few essential points that the writer must know.

Who is the painter, and what era of art did they belong to? Classical painters depict scenes from the Bible, literature, or historical events (like the burning of Rome or the death of Socrates). Modernists, on the other hand, tend to subvert classical themes and offer a different approach to art. Modernism was born as a reaction to classical painting, therefore analyzing modernist art by the standards of classical art would not work.
What was the painter’s purpose? Classical painters like Michelangelo were usually hired by the Vatican or by noble families. Michelangelo didn’t paint the Sistine Chapel just for fun; he was paid to do it.
Who is the audience? Artists like Andy Warhol tried to appeal to the masses. Others like Marcel Duchamp made art for art people, aiming to evolve the art form.
What is the historical context? Research your artist/painting thoroughly before you write. The points of analysis that can be applied to a Renaissance painter cannot be applied to a Surrealist painter. Surrealism is an artistic movement, and understanding its essence is the key to analyzing any surrealist painting.

Familiarizing yourself with these essential points will give you all the information and context, you need to write a good visual analysis essay.

But visual analysis can go deeper than that — especially when dealing with historic pieces of visual art. Students explore different angles of interpretation, the interplay of colors and themes, how the piece was made and various reactions, and critiques of it. Let’s dig deeper.

A Detailed Process of Analyzing Visual Art

Performing a formal analysis of art is a fundamental skill taught at entry-level art history classes. Students who study art or communications further develop this skill through the years. Not all types of analysis apply to every work of art; every art piece is unique. When performing visual analysis, it’s essential to keep in mind why this particular work of art is important in its own way.

Step 1: General Info

To begin, identify the following necessary information on the work of art and the artist.

Subject — who or what does this work represent?
Artist — who is the author of this piece? Refer to them by their last name.
Date and Provenance — when and where this work of art was made. Is it typical to its historical period or geographical location?
Past and Current Locations — where was this work was displayed initially, and where is it now?
Medium and Creation Techniques — what medium was this piece made for and why is it important to that medium? Note which materials were used in its execution and its size.

Step 2: Describe the Painting

Next, describe what the painting depicts or represents. This section will be like an abstract, summarizing all the visible aspects of the piece, painting the image in the reader’s mind. Here are the dominant features to look for in a painting:

Characters or Figures: who they are and what they represent.
If this is a classical painting, identify the story or theme depicted.
If this is an abstract painting, pay attention to shapes and colors.
Lighting and overall mood of the painting.
Identify the setting.

Step 3: Detailed Analysis

The largest chunk of your paper will focus on a detailed visual analysis of the work. This is where you go past the basics and look at the art elements and the principles of design of the work.

Art elements deal mostly with the artist’s intricate painting techniques and basics of composition.

Lines — painters use a variety of lines ranging from straight and horizontal to thick, curved, even implied lines.
Shapes — shapes can be distinct or hidden in plain sight; note all the geometrical patterns of the painting.
Use of Light — identify the source of light, or whether the lighting is flat; see whether the painter chooses contrasting or even colors and explain the significance of their choice in relation to the painting.
Colors — identify how the painter uses color; which colors are primary, which are secondary; what is the tone of the painting (warm or cool?)
Patterns — are there repeating patterns in the painting? These could be figures as well as hidden textural patterns.
Use of Space — what kind of perspective is used in the painting; how does the artist show depth (if they do).
Passage of Time and Motion

Design principles look at the painting from a broader perspective; how the art elements are used to create a rounded experience from an artistic and a thematic perspective.

Variety and Unity - explore how rich and varied the artists’ techniques are and whether they create a sense of unity or chaos.
Symmetry or Asymmetry - identify points of balance in the painting, whether it’s patterns, shapes, or use of colors.
Emphasis - identify the points of focus, both from a thematic and artistic perspective. Does the painter emphasize a particular color or element of architecture?
Proportions - explain how objects and figures work together to provide a sense of scale, mass, and volume to the overall painting.
Use of Rhythm - identify how the artist implies a particular rhythm through their techniques and figures.

Seeing as each work of art is unique, be thoughtful in which art elements and design principles you wish to discuss in your essay. Visual analysis does not limit itself to painting and can also be applied to mediums like photography.

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The Structure: How to Write a Visual Analysis Paper

It’s safe to use the five-paragraph essay structure for your visual analysis essay. If you are looking at a painting, take the most important aspects of it that stand out to you and discuss them in relation to your thesis. Structure it with the simple essay structure:

Introduction: An introduction to a visual analysis essay serves to give basic information on the work of art and briefly summarize the points of discussion.

Give a brief description of the painting: name of artist, year, artistic movement (if necessary), and the artist’s purpose in creating this work.
Briefly describe what is in the painting.
Add interesting facts about the artist, painting, or historical period to give your reader some context.
As in all introductions, don’t forget to include an attention-grabber to get your audience interested in reading your work.

Thesis: In your thesis, state the points of analysis on this work of art which you will discuss in your essay.

Body: Explore the work of art and all of its aspects in detail. Refer to the section above titled “A Detailed Process of Analyzing Visual Art,” which will comprise most of your essay’s body.

Conclusion: After you’ve thoroughly analyzed the painting and the artist’s techniques, give your thoughts and opinions on the work. Your observations should be based on the points of analysis in your essay. Discuss how the art elements and design principles of the artist give the painting meaning and support your observations with facts from your essay.

Citation: Standard citation rules apply to these essays. Use in-text citations when quoting a book, website, journal, or a movie, and include a sources cited page listing your sources. And there’s no need to worry about how to cite a piece of art throughout the text. Explain thoroughly what work of art you’re analyzing in your introduction, and refer to it by name in the body of your essay like this — Transfiguration by Raphael.

If you want a more in-depth look at the classic essay structure, feel free to visit our 5 PARAGRAPH ESSAY blog

Learn From a Visual Analysis Example

Many YouTube videos are analyzing famous paintings like the Death of Socrates, which can be a great art analysis example to go by. But the best way to understand the format and presentation is by looking at a painting analysis essay example done by a scholarly writer. One of our writers has penned an outstanding piece on Leonardo Da Vinci’s La Belle Ferronnière, which you may find below. Use it as a reference point for your visual analysis essay, and you can’t go wrong!

Leonardo da Vinci was an Italian artist born in April 1452 and died in May 1519who lived in the Renaissance era. His fame and popularity were based on his painting sand contribution to the Italian artwork. Leonardo was also an active inventor, a vibrant musician, writer, and scientist as well as a talented sculptor amongst other fields. His various career fields proved that he wanted to know everything about nature. In the book “Leonardo Da Vinci: The Mind of the Renaissance” by Alessandro Vezzosi, it is argued that Leonardo was one of the most successful and versatile artists and anatomists of the Italian renaissance based on his unique artwork and paintings (Vezzosi, p1454). Some of his groundbreaking research in medicine, metal-casting, natural science, architecture, and weaponry amongst other fields have been explored in the book. He was doing all these in the renaissance period in Italy from the 1470s till his death.

Visual analysis essays will appear early in your communications and art history degrees. Learning how to formally analyze art is an essential skill, whether you intend to pursue a career in art or communications.

Before diving into analysis, get a solid historical background on the painter and their life. Analyzing a painting isn’t mere entertainment; one must pay attention to intricate details which the painter might have hidden from plain sight.

We live in an environment saturated by digital media. By gaining the skill of visual analysis, you will not only heighten your appreciation of the arts but be able to thoroughly analyze the media messages you face in your daily life.

Also, don't forget to read summary of Lord of the Flies , and the article about Beowulf characters .

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Heilbrunn Timeline of Art History Essays

Introduction to prehistoric art, 20,000–8000 b.c..

Laura Anne Tedesco Independent Scholar

August 2007

To describe the global origins of humans’ artistic achievement, upon which the succeeding history of art may be laid, is an encyclopedic enterprise. The Metropolitan Museum’s Timeline of Art History , covering the period roughly from 20,000 to 8000 B.C., provides a series of introductory essays about particular archaeological sites and artworks that illustrate some of the earliest endeavors in human creativity. The account of the origins of art is a very long one marked less by change than consistency. The first human artistic representations, markings with ground red ocher, seem to have occurred about 100,000 B.C. in African rock art . This chronology may be more an artifact of the limitations of archaeological evidence than a true picture of when humans first created art. However, with new technologies, research methods, and archaeological discoveries, we are able to view the history of human artistic achievement in a greater focus than ever before.

Art, as the product of human creativity and imagination, includes poetry, music, dance, and the material arts such as painting, sculpture, drawing, pottery, and bodily adornment. The objects and archaeological sites presented in the Museum’s Timeline of Art History for the time period 20,000–8000 B.C. illustrate diverse examples of prehistoric art from across the globe. All were created in the period before the invention of formal writing, and when human populations were migrating and expanding across the world. By 20,000 B.C., humans had settled on every continent except Antarctica. The earliest human occupation occurs in Africa, and it is there that we assume art to have originated. African rock art from the Apollo 11 and Wonderwerk Caves contain examples of geometric and animal representations engraved and painted on stone. In Europe, the record of Paleolithic art is beautifully illustrated with the magnificent painted caves of Lascaux and Chauvet , both in France. Scores of painted caves exist in western Europe, mostly in France and Spain, and hundreds of sculptures and engravings depicting humans, animals, and fantastic creatures have been found across Europe and Asia alike. Rock art in Australia represents the longest continuously practiced artistic tradition in the world. The site of Ubirr in northern Australia contains exceptional examples of Aboriginal rock art repainted for millennia beginning perhaps as early as 40,000 B.C. The earliest known rock art in Australia predates European painted caves by as much as 10,000 years.

In Egypt, millennia before the advent of powerful dynasties and wealth-laden tombs, early settlements are known from modest scatters of stone tools and animal bones at such sites as Wadi Kubbaniya . In western Asia after 8,000 B.C., the earliest known writing , monumental art, cities , and complex social systems emerged. Prior to these far-reaching developments of civilization, this area was inhabited by early hunters and farmers. Eynan/Ain Mallaha , a settlement in the Levant along the Mediterranean, was occupied around 10,000–8000 B.C. by a culture named Natufian. This group of settled hunters and gatherers created a rich artistic record of sculpture made from stone and bodily adornment made from shell and bone.

The earliest art of the continent of South Asia is less well documented than that of Europe and western Asia, and some of the extant examples come from painted and engraved cave sites such as Pachmari Hills in India. The caves depict the region’s fauna and hunting practices of the Mesolithic period. In Central and East Asia, a territory almost twice the size of North America, there are outstanding examples of early artistic achievements, such as the expertly and delicately carved female figurine sculpture from Mal’ta . The superbly preserved bone flutes from the site of Jiahu in China, while dated to slightly later than 8000 B.C., are still playable. The tradition of music making may be among the earliest forms of human artistic endeavor. Because many musical instruments were crafted from easily degradable materials like leather, wood, and sinew, they are often lost to archaeologists, but flutes made of bone dating to the Paleolithic period in Europe (ca. 35,000–10,000 B.C.) are richly documented.

North and South America are the most recent continents to be explored and occupied by humans, who likely arrived from Asia. Blackwater Draw in North America and Fell’s Cave in Patagonia, the southernmost area of South America, are two contemporaneous sites where elegant stone tools that helped sustain the hunters who occupied these regions have been found.

Whether the prehistoric artworks illustrated here constitute demonstrations of a unified artistic idiom shared by humankind or, alternatively, are unique to the environments, cultures, and individuals who created them is a question open for consideration. Nonetheless, each work or site superbly characterizes some of the earliest examples of humans’ creative and artistic capacity.

Tedesco, Laura Anne. “Introduction to Prehistoric Art, 20,000–8000 B.C.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/preh/hd_preh.htm (August 2007)

Additional Essays by Laura Anne Tedesco

Tedesco, Laura Anne. “ Blackwater Draw (ca. 9500–3000 B.C.) .” (originally published October 2000, last revised September 2007)
Tedesco, Laura Anne. “ Wadi Kubbaniya (ca. 17,000–15,000 B.C.) .” (October 2000)
Tedesco, Laura Anne. “ Fell’s Cave (9000–8000 B.C.) .” (originally published October 2000, last revised September 2007)
Tedesco, Laura Anne. “ Jiahu (ca. 7000–5700 B.C.) .” (October 2000)
Tedesco, Laura Anne. “ Lascaux (ca. 15,000 B.C.) .” (October 2000)
Tedesco, Laura Anne. “ Mal’ta (ca. 20,000 B.C.) .” (October 2000)
Tedesco, Laura Anne. “ Pachmari Hills (ca. 9000–3000 B.C.) .” (October 2000)
Tedesco, Laura Anne. “ Hasanlu in the Iron Age .” (October 2004)
Tedesco, Laura Anne. “ Eynan/Ain Mallaha (12,500–10,000 B.C.) .” (October 2000; updated February 2024)

Related Essays

African Rock Art
Chauvet Cave (ca. 30,000 B.C.)
Lascaux (ca. 15,000 B.C.)
Neolithic Period in China
Prehistoric Stone Sculpture from New Guinea
African Rock Art: Game Pass
African Rock Art: Tassili-n-Ajjer (?8000 B.C.–?)
African Rock Art: The Coldstream Stone
Apollo 11 (ca. 25,500–23,500 B.C.) and Wonderwerk (ca. 8000 B.C.) Cave Stones
Blackwater Draw (ca. 9500–3000 B.C.)
Cerro Sechín
Cerro Sechín: Stone Sculpture
Eynan/Ain Mallaha (12,500–10,000 B.C.)
Fell’s Cave (9000–8000 B.C.)
Indian Knoll (3000–2000 B.C.)
Jiahu (ca. 7000–5700 B.C.)
Jōmon Culture (ca. 10,500–ca. 300 B.C.)
Mal’ta (ca. 20,000 B.C.)
Pachmari Hills (ca. 9000–3000 B.C.)
Ubirr (ca. 40,000?–present)
Valdivia Figurines
Wadi Kubbaniya (ca. 17,000–15,000 B.C.)
X-ray Style in Arnhem Land Rock Art
8th Millennium B.C.
Agriculture
Archaeology
Central and North Asia
Eastern Mediterranean
Iberian Peninsula
Literature / Poetry
Musical Instrument
Mythical Creature
North Africa
North America
Painted Object
Personal Ornament
Prehistoric Art
Relief Sculpture
Sculpture in the Round
South America
Wall Painting
Wind Instrument

The Writing Place

Resources – how to write an art history paper, introduction to the topic.

There are many different types of assignments you might be asked to do in an art history class. The most common are a formal analysis and a stylistic analysis. Stylistic analyses often involve offering a comparison between two different works. One of the challenges of art history writing is that it requires a vocabulary to describe what you see when you look at a painting, drawing, sculpture or other media. This checklist is designed to explore questions that will help you write these types of art history papers.

Features of An Art History Analysis Paper

Features of a formal analysis paper.

This type of paper involves looking at compositional elements of an object such as color, line, medium, scale, and texture. The goal of this kind of assignment it to demonstrate how these elements work together to produce the whole art object. When writing a formal analysis, ask yourself:

What is the first element of the work that the audience’s eye captures?
What materials were used to create the object?
What colors and textures did the artist employ?
How do these function together to give the object its overall aesthetic look?

Tips on Formal Analysis

Describe the piece as if your audience has not seen it.
Be detailed.
The primary focus should be on description rather than interpretation.

Features of a Stylistic / Comparative Analysis

Similar to a formal analysis, a stylistic analysis asks you to discuss a work in relation to its stylistic period (Impressionism, Fauvism, High Renaissance, etc.). These papers often involve a comparative element (such as comparing a statue from Early Antiquity to Late Antiquity). When writing a stylistic analysis, ask yourself:

How does this work fit the style of its historical period? How does it depart from the typical style?
What is the social and historical context of the work? When was it completed?
Who was the artist? Who commissioned it? What does it depict?
How is this work different from other works of the same subject matter?
How have the conventions (formal elements) for this type of work changed over time?

Tips for Stylistic and Comparative Analysis

In a comparison, make a list of similarities and differences between the two works. Try to establish what changes in the art world may account for the differences.
Integrate discussions of formal elements into your stylistic analysis.
This type of paper can involve more interpretation than a basic formal analysis.
Focus on context and larger trends in art history.

A Quick Practice Exercise...

Practice - what is wrong with these sentences.

The key to writing a good art history paper involves relating the formal elements of a piece to its historical context. Can you spot the errors in these sentences? What would make the sentences better?

“Courbet’s The Stone Breakers is a good painting because he uses texture.”
“Duchamp’s work is in the Dada style while Dali’s is Surrealist.”
“Pope Julius II commissioned the work.”
“Gauguin uses color to draw in the viewer’s eye.”

Answers for Practice Sentences

Better: “Courbet’s The Stone Breakers is a radical painting because the artist used a palette knife to create a rough texture on the surface.”
Better: “The use of everyday objects in Duchamp’s work reflects the Dada style while Dali’s incorporation of absurd images into his work demonstrates a Surrealist style.”
Better: “In 1505, Pope Julius II commissioned the sculpture for his tomb.”
Better: “The first element a viewer notices is the bold blue of the sky in Gauguin’s painting.”

Adapted by Ann Bruton, with the help of Isaac Alpert, From:

The Writing Center at UNC Handouts ( http://writingcenter.unc.edu/handouts/art-history/ )

The Writing Center at Hamilton College ( http://www.hamilton.edu/writing/writing-resources/writing-an-art-history-paper )

Click here to return to the “Writing Place Resources” main page.

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Writing Essays in Art History

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These OWL resources provide guidance on typical genres with the art history discipline that may appear in professional settings or academic assignments, including museum catalog entries, museum title cards, art history analysis, notetaking, and art history exams.

Art History Analysis – Formal Analysis and Stylistic Analysis

Typically in an art history class the main essay students will need to write for a final paper or for an exam is a formal or stylistic analysis.

A formal analysis is just what it sounds like – you need to analyze the form of the artwork. This includes the individual design elements – composition, color, line, texture, scale, contrast, etc. Questions to consider in a formal analysis is how do all these elements come together to create this work of art? Think of formal analysis in relation to literature – authors give descriptions of characters or places through the written word. How does an artist convey this same information?

Organize your information and focus on each feature before moving onto the text – it is not ideal to discuss color and jump from line to then in the conclusion discuss color again. First summarize the overall appearance of the work of art – is this a painting? Does the artist use only dark colors? Why heavy brushstrokes? etc and then discuss details of the object – this specific animal is gray, the sky is missing a moon, etc. Again, it is best to be organized and focused in your writing – if you discuss the animals and then the individuals and go back to the animals you run the risk of making your writing unorganized and hard to read. It is also ideal to discuss the focal of the piece – what is in the center? What stands out the most in the piece or takes up most of the composition?

A stylistic approach can be described as an indicator of unique characteristics that analyzes and uses the formal elements (2-D: Line, color, value, shape and 3-D all of those and mass).The point of style is to see all the commonalities in a person’s works, such as the use of paint and brush strokes in Van Gogh’s work. Style can distinguish an artist’s work from others and within their own timeline, geographical regions, etc.

Methods & Theories To Consider:

Expressionism

Instructuralism

Postmodernism

Social Art History

Biographical Approach

Poststructuralism

Museum Studies

Visual Cultural Studies

Stylistic Analysis Example:

The following is a brief stylistic analysis of two Greek statues, an example of how style has changed because of the “essence of the age.” Over the years, sculptures of women started off as being plain and fully clothed with no distinct features, to the beautiful Venus/Aphrodite figures most people recognize today. In the mid-seventh century to the early fifth, life-sized standing marble statues of young women, often elaborately dress in gaily painted garments were created known as korai. The earliest korai is a Naxian women to Artemis. The statue wears a tight-fitted, belted peplos, giving the body a very plain look. The earliest korai wore the simpler Dorian peplos, which was a heavy woolen garment. From about 530, most wear a thinner, more elaborate, and brightly painted Ionic linen and himation. A largely contrasting Greek statue to the korai is the Venus de Milo. The Venus from head to toe is six feet seven inches tall. Her hips suggest that she has had several children. Though her body shows to be heavy, she still seems to almost be weightless. Viewing the Venus de Milo, she changes from side to side. From her right side she seems almost like a pillar and her leg bears most of the weight. She seems be firmly planted into the earth, and since she is looking at the left, her big features such as her waist define her. The Venus de Milo had a band around her right bicep. She had earrings that were brutally stolen, ripping her ears away. Venus was noted for loving necklaces, so it is very possibly she would have had one. It is also possible she had a tiara and bracelets. Venus was normally defined as “golden,” so her hair would have been painted. Two statues in the same region, have throughout history, changed in their style.

Compare and Contrast Essay

Most introductory art history classes will ask students to write a compare and contrast essay about two pieces – examples include comparing and contrasting a medieval to a renaissance painting. It is always best to start with smaller comparisons between the two works of art such as the medium of the piece. Then the comparison can include attention to detail so use of color, subject matter, or iconography. Do the same for contrasting the two pieces – start small. After the foundation is set move on to the analysis and what these comparisons or contrasting material mean – ‘what is the bigger picture here?’ Consider why one artist would wish to show the same subject matter in a different way, how, when, etc are all questions to ask in the compare and contrast essay. If during an exam it would be best to quickly outline the points to make before tackling writing the essay.

Compare and Contrast Example:

Stele of Hammurabi from Susa (modern Shush, Iran), ca. 1792 – 1750 BCE, Basalt, height of stele approx. 7’ height of relief 28’

Stele, relief sculpture, Art as propaganda – Hammurabi shows that his law code is approved by the gods, depiction of land in background, Hammurabi on the same place of importance as the god, etc.

Top of this stele shows the relief image of Hammurabi receiving the law code from Shamash, god of justice, Code of Babylonian social law, only two figures shown, different area and time period, etc.

Stele of Naram-sin , Sippar Found at Susa c. 2220 - 2184 bce. Limestone, height 6'6"

Stele, relief sculpture, Example of propaganda because the ruler (like the Stele of Hammurabi) shows his power through divine authority, Naramsin is the main character due to his large size, depiction of land in background, etc.

Akkadian art, made of limestone, the stele commemorates a victory of Naramsin, multiple figures are shown specifically soldiers, different area and time period, etc.

Iconography

Regardless of what essay approach you take in class it is absolutely necessary to understand how to analyze the iconography of a work of art and to incorporate into your paper. Iconography is defined as subject matter, what the image means. For example, why do things such as a small dog in a painting in early Northern Renaissance paintings represent sexuality? Additionally, how can an individual perhaps identify these motifs that keep coming up?

The following is a list of symbols and their meaning in Marriage a la Mode by William Hogarth (1743) that is a series of six paintings that show the story of marriage in Hogarth’s eyes.

Man has pockets turned out symbolizing he has lost money and was recently in a fight by the state of his clothes.
Lap dog shows loyalty but sniffs at woman’s hat in the husband’s pocket showing sexual exploits.
Black dot on husband’s neck believed to be symbol of syphilis.
Mantel full of ugly Chinese porcelain statues symbolizing that the couple has no class.
Butler had to go pay bills, you can tell this by the distasteful look on his face and that his pockets are stuffed with bills and papers.
Card game just finished up, women has directions to game under foot, shows her easily cheating nature.
Paintings of saints line a wall of the background room, isolated from the living, shows the couple’s complete disregard to faith and religion.
The dangers of sexual excess are underscored in the Hograth by placing Cupid among ruins, foreshadowing the inevitable ruin of the marriage.
Eventually the series (other five paintings) shows that the woman has an affair, the men duel and die, the woman hangs herself and the father takes her ring off her finger symbolizing the one thing he could salvage from the marriage.

Essays About Art: Top 5 Examples and 9 Prompts

Essays about art inspire beauty and creativity; see our top essay picks and prompts to aid you.

Art is an umbrella term for various activities that use human imagination and talents.

The products from these activities incite powerful feelings as artists convey their ideas, expertise, and experience through art. Examples of art include painting, sculpture, photography, literature, installations, dance, and music.

Art is also a significant part of human history. We learn a lot from the arts regarding what living in a period is like, what events influenced the elements in the artwork, and what led to art’s progress to today.

To help you create an excellent essay about art, we prepared five examples that you can look at:

1. Why Have There Been No Great Women Artists? by Linda Nochlin

2. what is art by writer faith, 3. my art taught me… by christine nishiyama, 4. animals and art by ron padgett, 5. the value of art by anonymous on arthistoryproject.com, 1. art that i won’t forget, 2. unconventional arts, 3. art: past and present, 4. my life as an artist, 5. art histories of different cultures, 6. comparing two art pieces, 7. create a reflection essay on a work of art, 8. conduct a visual analysis of an artwork, 9. art period or artist history.

“But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class, and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education–education understood to include everything that happens to us from the moment we enter this world…”

Nochlin goes in-depth to point out women’s part in art history. She focuses on unjust opportunities presented to women compared to their male peers, labeling it the “Woman Problem.” This problem demands a reinterpretation of the situation’s nature and the need for radical change. She persuades women to see themselves as equal subjects deserving of comparable achievements men receive.

Throughout her essay, she delves into the institutional barriers that prevented women from reaching the heights of famous male art icons.

“Art is the use of skill and imagination in the creation of aesthetic objects that can be shared with others. It involves the arranging of elements in a way that appeals to the senses or emotions and acts as a means of communication with the viewer as it represents the thoughts of the artist.”

The author defines art as a medium to connect with others and an action. She focuses on Jamaican art and the feelings it invokes. She introduces Osmond Watson, whose philosophy includes uplifting the masses and making people aware of their beauty – he explains one of his works, “Peace and Love.”

“But I’ve felt this way before, especially with my art. And my experience with artmaking has taught me how to get through periods of struggle. My art has taught me to accept where I am today… My art has taught me that whatever marks I make on the page are good enough… My art has taught me that the way through struggle is to acknowledge, accept and share my struggle.”

Nishiyama starts her essay by describing how writing makes her feel. She feels pressured to create something “great” after her maternity leave, causing her to struggle. She says she pens essays to process her experiences as an artist and human, learning alongside the reader. She ends her piece by acknowledging her feelings and using her art to accept them.

“I was saying that sometimes I feel sorry for wild animals, out there in the dark, looking for something to eat while in fear of being eaten. And they have no ballet companies or art museums. Animals of course are not aware of their lack of cultural activities, and therefore do not regret their absence.”

Padgett recounts telling his wife how he thinks it’s unfortunate for animals not to have cultural activities, therefore, can’t appreciate art. He shares the genetic mapping of humans being 99% chimpanzees and is curious about the 1% that makes him human and lets him treasure art. His essay piques readers’ minds, making them interested in how art elevates human life through summoning admiration from lines and colors.

“One of the first questions raised when talking about art is simple — why should we care? Art, especially in the contemporary era, is easy to dismiss as a selfish pastime for people who have too much time on their hands. Creating art doesn’t cure disease, build roads, or feed the poor.”

Because art can easily be dismissed as a pastime, the author lists why it’s precious. It includes exercising creativity, materials used, historical connection, and religious value.

Check out our best essay checkers to ensure you have a top-notch essay.

9 Prompts on Essays About Art

After knowing more about art, below are easy prompts you can use for your art essay:

Essays About Art: Art that I won't forget

Is there an art piece that caught your attention because of its origin? First, talk about it and briefly summarize its backstory in your essay. Then, explain why it’s something that made an impact on you. For example, you can write about the Mona Lisa and her mysterious smile – or is she smiling? You can also put theories on what could have happened while Leonardo da Vinci painted the Mona Lisa.

Rather than focusing on mainstream arts like ballet and painting, focus your essay on unconventional art or something that defies usual pieces, such as avant-garde art. Then, share what you think of this type of art and measure it against other mediums.

How did art change over the centuries? Explain the differences between ancient and modern art and include the factors that resulted in these changes.

Are you an artist? Share your creative process and objectives if you draw, sing, dance, etc. How do you plan to be better at your craft? What is your ultimate goal?

To do this prompt, pick two countries or cultures with contrasting art styles. A great example is Chinese versus European arts. Center your essay on a category, such as landscape paintings. Tell your readers the different elements these cultures consider. What is the basis of their art? What influences their art during that specific period?

Like the previous prompt, write an essay about similar pieces, such as books, folktales, or paintings. You can also compare original and remake versions of movies, broadway musicals, etc.

Pick a piece you want to know more about, then share what you learned through your essay. What did the art make you feel? If you followed creating art, like pottery, write about the step-by-step process, from clay to glazing.

Visual analysis is a way to understand art centered around what the eyes can process. It includes elements like texture, color, line, and scale. For this prompt, find a painting or statue and describe what you see in your essay.

Since art is a broad topic, you can narrow your research by choosing only the most significant moments in art history. For instance, if you pick English art, you can divide each art period by century or by a king’s ruling time. You can also select an artist and discuss their pieces, their art’s backstory, and how it relates to their life at the time.

If you are interested in learning more, check out our essay writing tips !

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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1: Introduction to the Arts

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1.1: What is Art?
1.2.1: The Role of the Viewer
1.3: Content
1.4: Why do We Make Art? Some of the earliest evidence of recognizable human activity includes not only practical things like stone tools and fire pits, but also decorative objects used for personal adornment.
1.5: The Role of the Viewer As the viewer of art, then, we are often aware that we do not have full knowledge of what the artist intended or, at times, even what the artist depicted. Not having that information, however, is not necessarily frustrating nor does it dampen our enjoyment of the piece. Instead, we may find the colors vibrant, or the subject intriguing, or the composition relaxing; in other words, we may simply enjoy looking at the work of art without feeling the need for particulars about it or the artist.
1.6: Reading- Art, Aesthetics, and Beauty
1.7: Reading- Value Judgment
1.8: An Introduction to the Arts and Humanities

Art Essay Examples

Art Essay Examples to Get You Inspired - Top 10 Samples

Published on: May 4, 2023

Last updated on: Jan 30, 2024

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Are you struggling to come up with ideas for your art essay? Or are you looking for examples to help guide you in the right direction?

Look no further, as we have got you covered!

In this blog, we provide a range of art writing examples that cover different art forms, time periods, and themes. Whether you're interested in the classics or contemporary art, we have something for everyone. These examples offer insight into how to structure your essay, analyze art pieces, and write compelling arguments.

So, let's explore our collection of art essay examples and take the first step toward becoming a better art writer!

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Good Art Essay Examples

In the following section, we will examine a selection of art essay examples that are inspiring for various academic levels.

College Art Essay Examples

Letâs take a look at college art essay examples below:

The Intersection of Art and Politics: An Analysis of Picasso's Guernica

The Role of Nature in American Art: A Comparative Study

University Art Essay Examples

University-level art essay assignments often differ in length and complexity. Here are two examples:

Gender and Identity in Contemporary Art: A Comparative Study

Art and Activism: The Role of Street Art in Political Movements

A Level Art Essay Examples

Below are some art paper examples A level. Check out:

The Use Of Color In Wassily Kandinsky's Composition Viii

The Influence of African Art on Pablo Picasso's Les Demoiselles D'avignon

A Level Fine Art Essay Examples

If you're a student of fine arts, these A-level fine arts examples can serve as inspiration for your own work.

The Use Of Texture In Vincent Van Gogh's Starry Night

Exploring Identity Through Portraiture: A Comparative Study

Art Essay Examples IELTS

The Impact of Art on Mental Health

The Effects of Technology on Art And Creativity

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AP Art Essay Examples

A Comparison of Neoclassical and Romantic Art

An Examination Of The Effects Of Globalization On Contemporary Art

Types of Art Essay with Examples

Art essays can be categorized into different types. Let's take a brief look at these types with examples:

Art Criticism Essay : A critical essay analyzing and evaluating an artwork, its elements, and its meaning.

The Persistence of Memory" by Salvador Dali: A Critical Analysis

Art History Essay: A comprehensive essay that examines the historical context, development, and significance of an artwork or art movement.

The Renaissance: A Rebirth of Artistic Expression

Exhibition Review: A review of an art exhibition that evaluates the quality and significance of the artwork on display.

A Review of the Metropolitan Museum of Art's Exhibition

Contemporary Art Essay: An essay that explores and analyzes contemporary art and its cultural and social context.

The Intersection of Technology and Art in Contemporary Society

Modern Art Essay: An essay that examines modern art and its significance in the development of modernism.

Cubism and its Influence on Modern Art [insert pdf]

Art Theory Essay: An essay that analyzes and critiques various theories and approaches to art.

Feminist Art Theory: A Critical Analysis of its Impact on Contemporary Art [insert pdf]

Additional Art Essay Example

Letâs take a brief look at some added art essay samples:

Artwork Essay Example

Artist Essay Example

Advanced Higher Art Essay Example

Common Art Essay Prompts

Here are some common art essay topics that you may encounter during your coursework:

Describe a piece of artwork that has inspired you.
A comparative analysis of Leonardo da Vinci's Mona Lisa and Michelangelo's David.
Analyze the cultural significance of a particular art movement.
Discuss the relationship between art and politics.
Compare and contrast two works of art from different time periods or cultures.
The representation of identity in art
The Evolution of Artists' Paintings:
From Traditional to Contemporary Art
The representation of identity in Frida Kahlo's self-portraits.
The significance of oil on canvas in the history of art.
The significance of the Mona Lisa in the Italian Renaissance

Art Essay Topics IELTS

Here are some art essay topics for IELTS students. Take a look:

The value of art education.
The role of museums in preserving art and culture.
The impact of globalization on contemporary art.
The influence of technology on art and artists.
The significance of public art in urban environments.

Tips For Writing a Successful Art Essay

Here are some tips for writing a stand-out art essay:

Develop a clear thesis statement that guides your essay: Your thesis statement should clearly and concisely state the main argument of your essay.
Conduct thorough research and analysis of the artwork you are writing about : This includes examining the visual elements of the artwork, researching the artist, and considering the historical significance.
Use formal and precise language to discuss the artwork: Avoid using colloquial language and instead focus on using formal language to describe the artwork.
Include specific examples from the artwork to support your arguments: Use specific details from the artwork to back up your analysis.
Avoid personal bias and subjective language: Your essay should be objective and avoid using personal opinions or subjective language.
Consider the historical and cultural context of the artwork: Analyze the artwork in the context of the time period and cultural context in which they were created.
Edit and proofread your essay carefully before submitting it: Ensure your essay is well-organized, coherent, and free of grammatical errors and typos.
Use proper citation format when referencing sources: Follow the appropriate citation style guidelines and give credit to all sources used in your essay.
Be concise and focused in your writing: Stick to your main thesis statement and avoid going off-topic or including irrelevant information.
Read your essay aloud to ensure clarity and coherence: Reading your essay out loud can help you identify inconsistencies or any other mistakes.

The Bottom Line!

We hope that the art essay examples we've explored have provided you with inspiration for your own essay. Art offers endless possibilities for analysis, and your essay is a chance to showcase your unique opinions.

Use these examples as a guide to craft an essay that reflects your personality while demonstrating your knowledge of the subject.

Short on time? Let CollegeEssay.org help you! All you have to do is to ask our experts, " write college essay for me " and they'll help you secure top grades in college.

Don't wait, reach out to our art essay writing service.

Take the first step towards excellence in your art studies with our AI essay writer !

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How to write an essay introduction | 4 steps & examples

How to Write an Essay Introduction | 4 Steps & Examples

Published on February 4, 2019 by Shona McCombes . Revised on July 23, 2023.

A good introduction paragraph is an essential part of any academic essay . It sets up your argument and tells the reader what to expect.

The main goals of an introduction are to:

Catch your reader’s attention.
Give background on your topic.
Present your thesis statement —the central point of your essay.

This introduction example is taken from our interactive essay example on the history of Braille.

The invention of Braille was a major turning point in the history of disability. The writing system of raised dots used by visually impaired people was developed by Louis Braille in nineteenth-century France. In a society that did not value disabled people in general, blindness was particularly stigmatized, and lack of access to reading and writing was a significant barrier to social participation. The idea of tactile reading was not entirely new, but existing methods based on sighted systems were difficult to learn and use. As the first writing system designed for blind people’s needs, Braille was a groundbreaking new accessibility tool. It not only provided practical benefits, but also helped change the cultural status of blindness. This essay begins by discussing the situation of blind people in nineteenth-century Europe. It then describes the invention of Braille and the gradual process of its acceptance within blind education. Subsequently, it explores the wide-ranging effects of this invention on blind people’s social and cultural lives.

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Step 1: hook your reader, step 2: give background information, step 3: present your thesis statement, step 4: map your essay’s structure, step 5: check and revise, more examples of essay introductions, other interesting articles, frequently asked questions about the essay introduction.

Your first sentence sets the tone for the whole essay, so spend some time on writing an effective hook.

Avoid long, dense sentences—start with something clear, concise and catchy that will spark your reader’s curiosity.

The hook should lead the reader into your essay, giving a sense of the topic you’re writing about and why it’s interesting. Avoid overly broad claims or plain statements of fact.

Examples: Writing a good hook

Take a look at these examples of weak hooks and learn how to improve them.

Braille was an extremely important invention.
The invention of Braille was a major turning point in the history of disability.

The first sentence is a dry fact; the second sentence is more interesting, making a bold claim about exactly why the topic is important.

The internet is defined as “a global computer network providing a variety of information and communication facilities.”
The spread of the internet has had a world-changing effect, not least on the world of education.

Avoid using a dictionary definition as your hook, especially if it’s an obvious term that everyone knows. The improved example here is still broad, but it gives us a much clearer sense of what the essay will be about.

Mary Shelley’s Frankenstein is a famous book from the nineteenth century.
Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement.

Instead of just stating a fact that the reader already knows, the improved hook here tells us about the mainstream interpretation of the book, implying that this essay will offer a different interpretation.

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Next, give your reader the context they need to understand your topic and argument. Depending on the subject of your essay, this might include:

Historical, geographical, or social context
An outline of the debate you’re addressing
A summary of relevant theories or research about the topic
Definitions of key terms

The information here should be broad but clearly focused and relevant to your argument. Don’t give too much detail—you can mention points that you will return to later, but save your evidence and interpretation for the main body of the essay.

How much space you need for background depends on your topic and the scope of your essay. In our Braille example, we take a few sentences to introduce the topic and sketch the social context that the essay will address:

Now it’s time to narrow your focus and show exactly what you want to say about the topic. This is your thesis statement —a sentence or two that sums up your overall argument.

This is the most important part of your introduction. A good thesis isn’t just a statement of fact, but a claim that requires evidence and explanation.

The goal is to clearly convey your own position in a debate or your central point about a topic.

Particularly in longer essays, it’s helpful to end the introduction by signposting what will be covered in each part. Keep it concise and give your reader a clear sense of the direction your argument will take.

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Professional editors proofread and edit your paper by focusing on:

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As you research and write, your argument might change focus or direction as you learn more.

For this reason, it’s often a good idea to wait until later in the writing process before you write the introduction paragraph—it can even be the very last thing you write.

When you’ve finished writing the essay body and conclusion , you should return to the introduction and check that it matches the content of the essay.

It’s especially important to make sure your thesis statement accurately represents what you do in the essay. If your argument has gone in a different direction than planned, tweak your thesis statement to match what you actually say.

To polish your writing, you can use something like a paraphrasing tool .

You can use the checklist below to make sure your introduction does everything it’s supposed to.

Checklist: Essay introduction

My first sentence is engaging and relevant.

I have introduced the topic with necessary background information.

I have defined any important terms.

My thesis statement clearly presents my main point or argument.

Everything in the introduction is relevant to the main body of the essay.

You have a strong introduction - now make sure the rest of your essay is just as good.

Argumentative
Literary analysis

This introduction to an argumentative essay sets up the debate about the internet and education, and then clearly states the position the essay will argue for.

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts is on the rise, and its role in learning is hotly debated. For many teachers who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its critical benefits for students and educators—as a uniquely comprehensive and accessible information source; a means of exposure to and engagement with different perspectives; and a highly flexible learning environment.

This introduction to a short expository essay leads into the topic (the invention of the printing press) and states the main point the essay will explain (the effect of this invention on European society).

In many ways, the invention of the printing press marked the end of the Middle Ages. The medieval period in Europe is often remembered as a time of intellectual and political stagnation. Prior to the Renaissance, the average person had very limited access to books and was unlikely to be literate. The invention of the printing press in the 15th century allowed for much less restricted circulation of information in Europe, paving the way for the Reformation.

This introduction to a literary analysis essay , about Mary Shelley’s Frankenstein , starts by describing a simplistic popular view of the story, and then states how the author will give a more complex analysis of the text’s literary devices.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale. Arguably the first science fiction novel, its plot can be read as a warning about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, and in popular culture representations of the character as a “mad scientist”, Victor Frankenstein represents the callous, arrogant ambition of modern science. However, far from providing a stable image of the character, Shelley uses shifting narrative perspectives to gradually transform our impression of Frankenstein, portraying him in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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Appeal to authority fallacy
False cause fallacy
Sunk cost fallacy

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Your essay introduction should include three main things, in this order:

An opening hook to catch the reader’s attention.
Relevant background information that the reader needs to know.
A thesis statement that presents your main point or argument.

The length of each part depends on the length and complexity of your essay .

The “hook” is the first sentence of your essay introduction . It should lead the reader into your essay, giving a sense of why it’s interesting.

To write a good hook, avoid overly broad statements or long, dense sentences. Try to start with something clear, concise and catchy that will spark your reader’s curiosity.

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

It gives your writing direction and focus.
It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

The structure of an essay is divided into an introduction that presents your topic and thesis statement , a body containing your in-depth analysis and arguments, and a conclusion wrapping up your ideas.

The structure of the body is flexible, but you should always spend some time thinking about how you can organize your essay to best serve your ideas.

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

McCombes, S. (2023, July 23). How to Write an Essay Introduction | 4 Steps & Examples. Scribbr. Retrieved April 17, 2024, from https://www.scribbr.com/academic-essay/introduction/

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How To Write An Essay On Art

Introduction to art analysis.

Writing an essay on art is a unique challenge that combines aspects of history, culture, and personal interpretation. Start your essay by defining what aspect of art you will be discussing. This could be an analysis of a specific artwork, an exploration of a particular artist’s style and contributions, or a broader examination of a movement or period in art history. Your introduction should set the stage for your analysis, providing context about the artwork or art movement, and outlining the main points that your essay will cover. Be sure to convey your enthusiasm and interest in the subject, as this will engage your reader from the outset.

Analyzing the Artwork

In the main body of your essay, delve into a detailed analysis of the artwork or art movement. If focusing on a single piece, discuss its visual elements such as color, line, shape, and texture. Explain how these elements contribute to the overall impact and meaning of the work. If you’re discussing an artist or art movement, explore the defining characteristics and how they reflect the cultural and historical context of the time. Include your interpretation of the artwork, but make sure to back up your points with research from credible sources, such as art critics, historians, or the artists themselves.

Connecting Art to Broader Themes

Art often reflects broader themes and issues within society, and your essay should explore these connections. Discuss how the artwork or movement relates to social, political, or cultural themes. For example, how did Renaissance art reflect the philosophical ideas of the time? Or how does contemporary art address modern issues such as globalization or environmentalism? This part of the essay is where you can delve into the deeper meanings and implications of the art, demonstrating its relevance and significance beyond just aesthetics.

Concluding with Personal Reflections and Impact

In your conclusion, bring together the main points of your analysis, summarizing the key aspects of the artwork or art movement you have discussed. Reflect on the personal impact of the art, what you have learned from it, and why it is significant to you or to society in general. Offer a final thought or question for the reader to consider, which might relate to the future of the art form or its ongoing relevance. A thoughtful conclusion will leave your reader with a deeper appreciation of the art and its place in the broader tapestry of human culture and history.

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Introduction to Art

Updated 21 July 2021

Subject Hobby

Downloads 43

Category Art , Life

Topic Art History , Reading Books

Introduction

Art has a significant role it plays in Art history. It has had and it still has an impact in our lives, not only in our immediate environment but also throughout the ages. It is widespread and can be found and experienced everywhere. In the houses we live in which is art in architecture, the theatres and then all the books we read, we can see the work of art there. In old days, art was used by cavemen to record history by drawing on the walls. Because art has a way of describing beliefs and concepts as well as defining and recording people's feelings, it is created and used for specific purposes. This essay is going to focus on three art theories which are futurism, cubism, and fauvism from the book Theories of Modern Art: A Source Book by Artists and Critics (California Studies in the History of Art) by Herschel B. Chipp. I will then compare and contrast them with a current piece of art being exhibited.

Futurism is an Italian art movement that is from the early twentieth century that is focused on capturing the dynamism and energy in the art from the modern world. It was created by an Italian poet Filippo Tommaso Marinetti in the year 1909. Futurism is exceptionally vehement among the modernist movements because of its indictment of the past. The reason as to why it vehemently denounces the past is because Italy their past culture was very oppressive. Futurists are influenced by the problems of representing contemporary experiences and make an effort to have the paintings bring out all kinds of sensations and not just those that are visible (Chipp 639). The best Futurist art will bring to mind the heat, noise, and even the metropolis smell. Futurism is not like many of the other modern art movements like Impressionism and Pointillism because it cannot be easily or immediately identified using a distinctive style. It has borrowed some of its aspects from Post-Impressionism such as Symbolism and Divisionism. The paintings of Futurism have encompassed elements of cubism and neo-impressionism to establish a composition that expresses the perception of dynamism, energy, and the movement of modern life.

Cubism is a revolutionary new approach that makes representations of the realities that were invented between the year 1907- 1908 by artists Georges Braque and Pablo Picasso. They established different perceptions of objects and figures put together in the same picture which resulted in paintings that seemed to be abstracted and fragmented that was different from the traditional portraits, landscapes, and still-lives paintings. The Cubist paintings are not purposed to be realistic or life-like in any way as a matter of fact after looking at the subjects from every angle that is possible the Cubit artist will put together pieces of fragments from different points of view into a single painting (Chipp 618). Cubists examine open form, piercing figures and objects by allowing space to flow through them where it blends the background into the foreground and shows objects from several angles. This was the first part of the movement and is referred to as Analytical Cubism while the second part is known as Synthetic Cubists which explores the use of non-art materials such as abstract signs. It depicted many components of the subjects at one time but viewed from different angles which have been reconstructed into an arrangement of colors, forms, and planes. The whole idea of incorporating space is to reconfigure the front, back, and sides of the objects whereby they become interchangeable elements in the painting.

Fauvism is explained as the work that was produced by a group of artists like Henri Matisse and Andre Derain between the years 1905 to 1910 and is characterized by aggressive brushwork and intense colors. Fauvism is acknowledged as being the first of the avant-garde movements that was successful in France during the early 20th century. The Fauve painters were the first to incorporate both Impressionism and other traditional approaches to perception. The significant contribution to modern art by Fauvism was that it was able to separate color from its explanatory, purpose of representation and enabled it to exist on the canvas as an independent feature (Chipp 547). The color was able to portray a mood and develop a structure within the work of art without having to be the same as the natural world. Fauvism simplifies forms and saturates colors drawing attention to the intrinsic flatness of the canvas inside the space of the picture, and all the elements had a specific role to play. The main impression acquired from Fauvism is strong and unified. Fauvism dramatically values individual expression which is the artist's immediate experience of his emotional response to nature, his subjects, and his instincts which are more important than academic theory or elevated subject matter.

The New Deal and American Regionalism by Philip C. Curtis

This art explores the story of one of Arizona's most historically significant artists from a new point of view which puts the painter's work in the context of the post-Great Depression time in the mid-1930s to the early 1940s. The artwork highlights the work of Philip C. Curtis as a painter and also as a museum administrator and advocate of arts. It is based on the theory American Regionalism that emerged during the Great Depression, and it was one that integrated attitudes of nationalists and isolationists of a nation that wanted to withdraw from the international community which had just fought a world war and was now an economic menace. American Regionalism was a rejection of the things that Americans believed caused the Depression which includes the rapid urbanization and industrialization of the past decades. The images from Curtis's art are nostalgic and reassuring and celebrate the endurance and perseverance of Americans even in the darkest period.

Comparison of Futurism, Cubism, Fauvism, and American Regionalism

All the three art theories and the American Regionalism artwork have one aspect in common that is they all strive to depict the emotions and the rejection of subjects and events that the artists feel are wrong. All of them are a result of the artist expressing their anger and frustrations about the world that they live in. Futurism is an anti-historical, anti-naturalist, and non-anthropocentric movement and is an exaltation of modernity. It admired machines as it tried to eliminate the bourgeois culture and its destructive force that was expressed through aggressive aesthetics of urban life. Futurism believed in universal dynamism as being the artistic principle and foundation for human development. The futuristic paintings are characterized by the specific use of brush strokes to allow better transmission of movements. A futurist expresses their moods, alternating the dynamically drawn outlines with empty spaces. Futurism incorporates bright colors as a way of highlighting the action. They used the influence of cinema and photography to integrate a technique of drawing the same image overlapping several times in different colors. Cubism, on the other hand, an artist creates an image using different viewpoints so the artist does not stay on one side of something but will about the object. Cubism also reduces the image to its essential form which makes it difficult to recognize whatever has been painted. The paintings of Cubism have color contrast and line contrast by utilizing straight, diagonal, and curved lines and also portraits of Cubism are from still life. Fauvism does not use realistically colored sceneries, and it delineates shapes and simple forms. Most of the Fauves tend to paint landscapes or scenes from everyday life within a landscape this is because they are not fussy and demands for large areas of color. They portray the expressionism whereby to brings out the emotions of the artist through heightened colors and pop forms. In American Regionalism the pieces are fiction and focus on characters, customs, dialect, and other elements that make a region exotic. It is a mix of romanticism and realism as the characters in the paintings are usually stereotypical in the story and have minimal individual qualities. The style is straightforward and direct reflects the spirit of Midwest.

All the four types of artwork have a way of depicting the emotions and experiences of the artists from the kinds of color being used to the objects that are incorporated. They all have a story behind them that is trying to be told. Futurism is an anti-historical, anti-naturalist, and non-anthropocentric movement and is an exaltation of modernity. Cubism, an artist, creates an image using different viewpoints so the artist does not stay on one side of something but will move about the object. Fauvism does not use realistically colored sceneries, and it delineates shapes and simple forms. American Regionalism the pieces are fiction and focus on characters, customs, dialect, and other elements that make a region exotic.

Works Cited

Chipp, Herschel B. "Theories of Modern Art. A Source Book by Artists and Critics." Art Education, vol. 22, no. 7, 1969, pp. 538-688., doi:10.2307/3191389.

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