- Hardcover: 792 pages
- Publisher: Harper; First Edition edition (September 30, 2003)
- Language: English
- ISBN-10: 9780060530754
- ISBN-13: 978-0060530754
- ASIN: 0060530758
- Product Dimensions: 7.6 x 2 x 10.5 inches
- Shipping Weight: 4.9 pounds (View shipping rates and policies)
- Average Customer Review: 32 customer reviews
- Amazon Best Sellers Rank: #388,839 in Books (See Top 100 in Books)
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Art: A New History Hardcover – September 30, 2003
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From Publishers Weekly
Having produced in a fairly short span equally weighty histories of the Jewish diaspora, the modern world and America, as well as a number of smaller books and a stream of articles, near-septuagenarian Johnson, historian, journalist, conservative gadfly and Sunday painter, has produced a massive and contentious history of art. Johnson (Intellectuals) is a product not of the cloistered academy but of the rough-and-tumble world of British journalism (before his conversion to Toryism he edited the left weekly New Statesman). While his narrative is for the most part a conventional journey through the canon, his headlong pace, quirky views and pungent prose make it anything but dull. The quick, forceful judgments Johnson makes on the art and artists he encounters are always amusing and sometimes enlightening, particularly his attention to the undervalued "regional" realist traditions of the 19th century. But the tone of constant bluff provocation can become wearying, and the book's putative polemical mission-to help develop an appreciation of art that would help "society defend itself against cultural breakdown"-doesn't really make itself felt until the book's last and weakest section, a rather scanty section on modernism and postmodernism that is pure New Criterion-style cultural conservatism. All writers of single volume art histories must contend with the rightly ubiquitous and magisterial Janson and Gombrich, and despite its wealth of free-flowing ideas and 300 handsome reproductions, Johnson's book (which also lacks a bibliography and footnotes) simply cannot compete. But as a passionate amateur's personal survey, the first seven-eighths of Johnson's history bring a refreshing sense of bluntness to an often staid tradition.
Copyright 2003 Reed Business Information, Inc.
*Starred Review* Johnson, an eminent, versatile, and opinionated historian, is also a successful painter, and he now indulges his lifelong passion for art in a gorgeously illustrated and provocative interpretation of the evolution of Western art. Johnson believes that art is essential to humankind's well-being, and he begins his great trek by marveling over the sophistication of cave paintings and the continuity of vision over many generations required for the building of Stonehenge and Europe's magnificent medieval cathedrals. As he summarizes the worldview, aesthetics, and technologies of each culture he so fluently analyzes, from the ancient Egyptians, Greeks, and Romans, to the Normans and on to individual European and American artists, he traces the artist's "struggle between the canonical and the innovatory," the swing between elaboration and simplicity, and the contrast and overlap of religious and secular, public and private art, discussing with great expertise painting, sculpture, architecture, gardening, and modern commercial art. A traditionalist, Johnson nonetheless loves resurrecting forgotten and overlooked individuals and movements and making provocative pronouncements, and however debatable select assertions may be, this volume is thrilling in its scope, fluency, and zest. Donna Seaman
Copyright © American Library Association. All rights reserved
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So Paul decided to become a writer, and made a terrific success at it, from The Birth of the Modern: World Society 1815-1830 through Modern Times Revised Edition: The World from the Twenties to the Nineties (Perennial Classics).
Yet I suspect that his original passion for art never left him, and he has written an enthralling book on the subject ("No one has surpassed the Egyptians for style").
This wonderful book will make a great companion to The Story of Art.
Johnson's writing is remarkable for his ability to condense into a single sentence, with clarity, an idea which would take others a paragraph to state. As an historian, he is better able than most art critics to place art in its historical context. In order fully to understand and appreciate art, one must see it in relation to culture, history, and ideas.
Johnson is an excellent writer: his prose is lively, compact, and he makes it easy - and a pleasure - to read.
The selection of illustrations is good, with the pictures placed in the text for easy association with the discussion. The trade-off is that the pictures are not large and glossy, and the reader may feel moved to visit a library to see reproductions at higher-resolution.
By today's standards, the book - an education in one volume - is a bargain for its price.
IT IS MORE INTERESTING THAN MOST WORKS ON ART AND HE EASILY DISPLAYS A VAST KNOWLEDGE.
IT IS EXTREMELY INTERESTING TO BEGIN WITH HIS "PREFACE" IN WHICH HE STATES THAT HIS FATHER HAD DISCOURAGED HIM FROM TRYING TO BECOME A PAINTER BECAUSE "FRAUDS LIKE PICASSO WILL RULE THE ROOST FOR THE NEXT HALF- CENTURY".
SO I SKIPPED AHEAD AND HE FINALLY DOES HAVE SOMETHING TO SAY ON PICASSO- BUT IT IS RATHER DISMISSIVE;-- HE TERMS IT "FASHION ART "
HOWEVER- ONE CAN BE INDIFFERENT TO HIS PREJUDICES AND DESPITE THIS, TO ME, AMUSING INTERLUDE IT IS AN EXCELLENT VOLUM;E- COMP;LETE- KNOWLEDGABLE; AND INFORMATIVE .
You will learn so much with this book and love the learning process as paul johnson takes you on a voyage making the new ancient and the ancient relevant.