Cover image for Art history
Art history
Stokstad, Marilyn, 1929-2016.
Revised edition.
Publication Information:
New York : H.N. Abrams, 1999.
Physical Description:
2 volumes (various pagings) : illustrations (some color), maps (some color) ; 30 cm
Subject Term:



Format :


Call Number
Material Type
Home Location
Item Holds
N5300 .S923 1999 V.2 Adult Non-Fiction Non-Fiction Area-Oversize
N5300 .S923 1999 V.1 Adult Non-Fiction Non-Fiction Area-Oversize
N5300 .S923 1999 V.1 Adult Non-Fiction Open Shelf
N5300 .S923 1999 V.2 Adult Non-Fiction Open Shelf
N5300 .S923 1999 V.1 Adult Non-Fiction Open Shelf
N5300 .S923 1999 V.2 Adult Non-Fiction Open Shelf

On Order



New edition of a two-volume text that balances formalist traditions with the newer interests of contextual art history. Reaching beyond the West to include a critical examination of the arts of other regions and cultures, it covers not only paintings and sculpture but also architecture, drawings, photographs, works in metal and ceramics, textiles, and jewelry. Attractively designed and illustrated with about 1,350 color and bandw white photographs, as well as hundreds of line drawings that include architectural plans and cutaways. Oversize: 9x12". Annotation copyrighted by Book News, Inc., Portland, OR

Author Notes

Marilyn Stokstad was born in Lansing, Michigan on February 16, 1929. She received an MA from Michigan State University and a Ph.D from the University of Michigan. She taught art history at Kansas University from 1958 until her retirement in 2002. She wrote several textbooks including Art History and Medieval Art. She died on March 4, 2016 at the age of 87.

(Bowker Author Biography)

Reviews 3

Booklist Review

Stokstad's landmark publication will join the ranks of long-cherished standards in the field by Janson and Hartt even though it radically alters our approach to the history of art. Scholar and professor Stokstad is a humanistic art historian, training her penetrating eye not only on works of art but also on artists, patrons, audiences, and places of display. She is inclusive and contextual, drawing parallels between the art of Africa, India, Europe, Asia, and the Americas, finding common ground, and celebrating uniqueness. Stokstad eschews "schools" and writes, instead, of styles, their iconography, and how and why they change. Her lucid and stimulating analysis is contemporary without being trendy and takes into account both physical and spiritual beauty, culture at large and individual geniuses, and all the political, religious, and technological factors that affect the creation and appreciation of art. A spectacular design, great wealth of color illustrations, and Stokstad's sense of the grand continuity of art through time and across oceans make this an exceptional, thoroughly enjoyable survey. --Donna Seaman

Publisher's Weekly Review

Destined to establish itself as a modern classic, this hugely informative, wholly enjoyable global history of art from prehistoric times to the present views art as a fundamental, inextricable vehicle for the human spirit. Although Western visual art and architecture receive the most attention, there is also extensive coverage of India, China, Japan, Africa, Islamic art and Pacific cultures. Few texts so wide-rangingly connect the artistic output of each period to the artists' lives, sources of funding and historical, social and political context. The 1625 stunning illustrations (761 in color) are unrivaled in their adventurous selection and quality by any book of this type. Time lines chart parallel developments across cultures and civilizations; inserts spotlight literary and intellectual trends and artists' techniques. Stokstad, art history professor at the University of Kansas, has produced both a college text and a layperson's guide that is more fun than H.W. Janson's standard History of Art, and more multicultural. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

This newly expanded edition of a major art history survey continues to fulfill the function of the original (LJ 4/15/96), which was written as a classroom tool. Stokstad and Cateforis (art history, Univ. of Kansas, Lawrence) here include additional media such as textiles, jewelry, furniture, and photography thereby enlarging the scope and approach to the study of art history as well as recognizing the social, cultural, and political aspects of the arts throughout the world. Arranged topically, each section opens with a color illustration and a vignette on a work representing the period covered. The numerous color illustrations, text boxes, and varying page designs are aimed at making this a more interesting and user-friendly research tool. Much of the text described as "the cumulative efforts of a distinguished group of scholars and educators" has been rewritten to include newly recovered or restored works of art, themes of controversy and debate, and changes in scholarship and attribution. Each volume includes an appropriate glossary, bibliography, and index. Designed to make the introduction to art history intellectually stimulating and visually exciting, this accessible, attractive edition is recommended for the reference shelves of students and teachers alike. Paula Frosch, Metropolitan Museum of Art Lib., NY (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



Students ought to enjoy their first course in art history. Only if they do will they want to experience and appreciate the visual arts--for the rest of their lives--as offering connections to the most tangible creations of the human imagination. To this end, we continue to seek ways to make each edition of Art History a more sensitive, engaging, supportive, and accessible learning resource. The characteristics that elicited such a warm welcome when Art History was first published in 1998 remain its hallmarks today in the revised second edition. HALLMARKS OF ART HISTORY Art History is contextual in its approach and object-based in its execution. Throughout the text we treat the visual arts, not in isolation, but within the essential contexts of history, geography, politics, religion, and other humanistic studies, and we carefully define the parameters--social, religious, political, and cultural--that either have constrained or have liberated individual artists. A feature called The Object Speaks explores the role of a work of art within its context by focusing in depth on some of the many things a work of art may have to say. At the same time that we stay grounded in the works of art that make art history distinctive among other humanistic disciplines, we emphasize the significance of the work of art. Art History reflects the excitement and pleasures gained by studying art. In writing about art's history, we try to express our affection for the subject. Each chapter opens with a scene-setting vignette that concentrates on a work of art from that chapter. Set-off text boxes, many illustrated, present interesting, thought-provoking material. A number of them follow the theme of women in the arts--as artists and as patrons. Others give insights into discoveries and controversies. The discipline of art history is many dimensional in its possibilities, and Art History invites a positive sampling of these possibilities. Art History is comprehensive. We reach beyond the Western tradition to examine the arts of other regions and cultures, from their beginnings to the twenty-first century. We cover not only the world's most significant paintings and works of sculpture and architecture but also drawings and prints; photographs; works in metal, ceramic, and glass; textiles; jewelry; furniture and aspects of interior design (things that were once considered only utilitarian); such temporal arts as happenings and performance art; and new mediums such as video art, installation art, and digital art. Acknowledging that the majority of survey courses concentrate on the Western tradition, we have organized the chapters on non-Western arts and cultures so that art can be studied from a global perspective within an integrated sequence of Western and non-Western art. just as smoothly, non-Western material can be skipped over without losing the thread of the western narrative. Art History offers a pedagogical advantage. When first published, Art History was instantly embraced for its groundbreaking use of drawings and diagrams to aid readers in mastering the terminology of art history. The Elements of Architecture and Technique boxes visually explain how buildings are constructed and how artists use materials to do everything from creating cave paintings to decorating armor to making photographs. Maps and timelines guide the reader visually through the narrative. Every chapter has at least one map and a timeline, and the maps identify every site mentioned in the text. Terms specific to art history are printed in boldface type, which indicates their inclusion in the 900 word Glossary. The Bibliography, compiled for the second edition by distinguished art librarian, Susan Craig, has been updated by us for this edition. As much as possible, without distorting the narrative of art history, we have chosen works of art that are in North American museums, galleries, and collections so that readers can most easily experience these works directly. This selection includes works from college and university galleries and museums. Art History has a Companion Website ™that makes it possible to integrate the art history survey course with the vast power of the Internet. For students, the Stokstad Companion Website™features Study Guide, Reference, Communication, and Personalization Modules. For instructors, the Companion Website™has a special Faculty Module and Syllabus Manager™. Art History comes with a complete ancillary package that includes an interactive CD-ROM with hundreds of images from the book, a student Study Guide, and an instructor's Resource Manual with Test Bank. WHAT'S NEW? We responded to your suggestions for making Art History even more teachable. In this revised second edition, we improved the Use Notes and Starter Kit, particularly the definitions of the formal elements, adding new color and diagrams and clarifying the discussions of content, style, and medium. The introduction continues to be organized around a series of questions but has been revised. The section Nature or Art? has been upgraded and includes subsections on Styles of Representation and The Human Body as idea and ideal. The section What Is Art History? includes a subsection on Studying Art Formally and Contextually. We fine-tuned our coverage of Ancient and Medieval art and used the opportunity of a revised edition to make a few organizational changes. The discussions of Greek and Roman art in Chapters 5 and 6 now have greater chronological flow. For example, the Canon of Polykleitos (Chap. 5) has become a text box at the beginning of the section on the Mature Classical period, where it is closer to the discussion of freestanding sculpture in the Early Classical period. The Roman Republic (Chap. 6) is now a separate topic, with Augustan styles treated under the Early Empire, along with architecture, the Roman city and home, and wall painting. Likewise, Imperial Rome is a separate topic encompassing imperial architecture, mosaics, the urban plan, monumental sculpture, and portrait sculpture. In Chapters 7 and 8 we introduce three of the major religions of the Western world in chronological order: Judaism, Christianity, and Islam. In Chapter 7 the discussion of early Jewish art is followed by early Christian art and then moves on to the art of the Western Catholic and the Eastern Orthodox churches. We have also reorganized and added images to Chapter 8, which is dedicated to Islamic art. The new organization and illustrations give readers the opportunity to study and compare the use, meaning, and appearance of such major building types as synagogues, churches, and mosques. Art History has been updated to include the most recent scholarship, scholarly opinion, technical analysis, archaeological discoveries, and controversies.While the text's currency is not always conspicuous, revised opinion has been incorporated into discussions of art works included in previous editions. Examples include revised opinion on who commissioned the Hunt of the Unicorn tapestries and new research on the original ownership of Uccello's Battle of San Romano. We have included a page from the newly purchased Morgan Library Picture Bible with its multilingual commentaries, reevaluated and updated the discussion of Islamic art, and given increased attention to the sixteenth-century masters. We have also brought the text into the twenty-first century, with the inclusion in Chapter 29 of cutting edge contemporary artists Jeff Wall, Jennifer Steinkamp, Matthew Barney, and architect Daniel Libeskind, and with discussions of constructed realities and digital art. More canonical works are included. We have added text and pictures for thirty-seven works of art new to this edition, including a wall painting from the Chauvet cave, the Cathedral of Santiago de Compostela, Bronzino's Allegory with Venus and Cupid, Claude Lorrain's Embarkation of the Queen of Sheba, Rembrandt's Anatomy Lesson of Dr. Tulp, and Courbet's The Stone Breakers, among others. Recently cleaned and/or restored works of art and architecture are now illustrated in their cleaned or restored states. Among the many new images are Polykleitos's Spear Bearer, Cimabue's Virgin and Child Enthroned, Masaccio's Trinity with the Virgin, Saint John the Evangelist, and Donors, and Borromini's San Carlo alle Quattro Fontane. We have enhanced the picture program in several other ways. Many works formerly in black and white are now reproduced in color. We have added plans, details, additional views, or an enlarged viewing area of eleven other key images to permit closer and more accurate analysis of the art. And we have substituted higher-quality images or larger and better views for many others. These changes have appreciably increased the total number of color images. We have strengthened the pedagogy of Art History. We are proud to present a book that is new and also looks new. Working with Sarah Touborg and her team at Prentice Hall, we have tweaked the handsome design of the second edition. The chapter opening essays and the text boxes are now easier to read. We have also revised the timelines to be more inclusive and have redrawn the maps to show topographical detail and to more clearly distinguish political or cultural boundaries. To improve the illustration program without increasing the number of pages (and the weight of the book?), we have dropped the "Parallels" feature. In addition, nine of the "boxes" are either significantly revised or new, including one on church furniture in Chapter 16, one on luxury arts in Chapter 20, and one on digital art in Chapter 29. Excerpted from Art History by Marilyn Stokstad, David Cateforis, Stephen Addiss All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Table of Contents

Use Notes
Starter Kit
1 Prehistory and Prehistoric Art in Europe
The Paleolithic Period
The Neolithic Period
The Bronze Age
The Iron Age
The Object Speaks: Prehistoric Woman and Man
2 Art of the Ancient Near East
The Fertile Crescent
Early Neolithic Cities
Babylon and Mari
The Object Speaks: The Code of Hammurabi
3 Art of Ancient Egypt
Neolithic And Predynastic Egypt
Early Dynastic Egypt
The Old Kingdom
The Middle Kingdom
The New Kingdom
The Continuing Influence of Egyptian Art
The Object Speaks: The Temples of Rameses II
4 Aegean Art
The Aegean World
The Cycladic Islands in the Bronze Age
Mainland Greece and the Mycenaean Civilization
The Object Speaks: The "Mask of Agamemnon"
5 Art of Ancient Greece
The Emergence of Greek Civilization
The Geometric Period
The Orientalizing Period
The Archaic Period
The Classical Period in Greek Art
The Transitional, or Early Classical, Period
The Fifth-Century Classical Period
Classical Art of the Fourth Century
The Hellenistic Period
The Object Speaks: The Parthenon
6 Etruscan Art and Roman Art
Etruscan Civilization
Roman History
The Republican and Augustan Periods
The Empire
The Roman City and Home
The Late Empire
The Object Speaks: The Unswept Floor
7 Early Christian, Jewish, and Dyzantine Art
Jews And Christians in the Roman Empire
Jewish and Early Christian Art
Imperial Christian Architecture and Art
Early Byzantine Art
Middle Byzantine Art
Late Byzantine Art
The Object Speaks: The Archangel Michael
8 Islamic Art
Islam And Early Islamic Society
Art During the Early Caliphates
Later Islamic Society and Art
9 Art of India before 1100
The Indian Subcontinent
Indus Valley Civilization
The Vedic Period
The Maurya Period
The Period of the Shungas and Early An Dhras
The Kushan and Later Andhra Period
The Gupta Period
The Po St-Gupta Period
The Early Medieval Period
10 Chinese Art before 1280
The Middle Kingdom
Neolithic Cultures
Bronze Age China
The Chinese Empire: Qin Dynasty
Han Dynasty
Six Dynasties
Sui and Tang Dynasties
Song Dynasty
11 Japanese Art before 1392
Prehistoric Japan
Asuka Period
Nara Period
Heian Period
Kamakura Period
The Object Speaks: Monk Sewing
12 Art of the Americas before 1300
The New World
Central America
South America: The Central Andes
North America
13 Art of Ancient Africa
The Lure of Ancient Africa
Saharan Rock Art
Sub-Saharan Civilizations
Other Urban Centers
14 Early Medieval Art in Europe
The Middle Ages
The British Isles and Scandinavia
Christian Spain
Langobard Italy
Carolingian Europe
Scandinavia: The Vikings
Ottonian Europe
The Object Speaks: The Doors of Bishop Bernward
15 Romanesque Art
Romanesque Culture
France and Northern Spain
The North Sea Kingdoms
The Holy Roman Empire
Ancient Rome and Romanesque Italy
The Object Speaks: The Bayeux Tapestry
16 Gothic Art
The Gothic Style
Germany and the Holy Roman Empire
The Object Speaks: Notre-Dame of Paris
17 Early Renaissance Art in Europe
The Renaissance and Humanism
Art of the French Ducal Courts
Art of Flanders
The Spread of the Flemish Style
The Graphic Arts
Art of Italy
The Object Speaks: The Foundling Hospital
18 Renaissance Art in Sixteenth-Century Europe
Europe in the Sixteenth Century
The Classical Phase of the Renaissance In Italy
The Renaissance and Reformation in Germany
Late Renaissance Art in Italy
Renaissance Art in France
Renaissance Art in Spain
Renaissance Painting in the Netherlands
Renaissance Art in England
The Object Speaks: Feast in the House of Levi
19 Baroque Art in Europe and North America
The Baroque Period
Habsburg Germany and Austria
Habsburg Spain
Spanish Colonies in the Americas
The Southern Netherlands/Flanders
The Northern Netherlands/United Dutch Republic
English Colonies in North America
The Object Speaks: Brueghel and Rubens's Sight
20 Art of India after 1100
Late Medieval Period
Mughal Period
The Modern Period
21 Chinese Art after 1280
The Mongol Invasions
Yuan Dynasty
Ming Dynasty
Qing Dynasty
The Modern Period
22 Japanese Art after 1392
Muromachi Period
Momoyama Period
Edo Period
The Meiji and Modern Periods
23 Art of the Americas after 1300
Indigenous American Art
Mexico and South America
North America
Other Contemporary Native American Artists
The Object Speaks: Hamatsa Mask
24 Art of Pacific Cultures
The Peopling of the Pacific
Recent Art in Oceania
25 Art of Africa in the Modern Era
Traditional and Contemporary Africa
Children and the Continuity Of Life
The Spirit World
Death and Ancestors
Contemporary Art
26 Eighteenth-Century Art in Europe and North America
The Enlightenment and Its Revolutions
The Rococo Style in Europe
Art in Italy
Revivals and Romanticism in Britain
Art in France
Art in North America
The Object Speaks: Georgian Silver
27 Nineteenth-Century Art in Europe and the United States
Europe and the United States in the Nineteenth Century
Neoclassicism and Romanticism in France
Romanticism in Spain
Romantic Landscape Painting in Europe
Naturalistic, Romantic, and Neoclassical American Art
Revival Styles in Architecture Before
1850 Early Photography in Europe
New Materials and Technology in Architecture at Midcentury
French Academic Art and Architecture
French Naturalism and Realism and their Spread
Late-Nineteenth-Century Art in Britain
Post Impressionism
Art in the United States
The Object Speaks: Raft of the "Medusa"
28 The Rise of Modernism in Europe and North America
Europe and the United States in the Early Twentieth Century
Early Modernist Tendencies in Europe
Cubism in Europe
Early Modernist Tendencies in the United States
Early Modern Architecture
Modernism in Europe Between the Wars
Art and Architecture in the United States Between the Wars
Early Modern Art in Canada
The Object Speaks: Portrait of a German Officer
29 The International Avant-Garde since 1945
The World Since
1945 Postwar European Art
Abstract Expressionism
Alternatives to Abstract Expressionism
From Modernism to Postmodernism
The Object Speaks: The Dinner Party