MTU Cork Library Catalogue

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The art atlas / edited by John Onians.

Contributor(s): Onians, John, 1942-.
Material type: materialTypeLabelBookPublisher: London : Laurence King Publishing, c2008Description: 352 p. : ill. (chiefly col.), col. maps ; 35 cm. + 1 CD-ROM (4 3/4 in.).ISBN: 9780789209610 ; 0789209616 ; 9780195215830 ; 0195215834 ; 9781856695572.Uniform titles: Atlas of world art. Subject(s): Art -- History | Art -- History -- Maps | Civilization -- History -- MapsDDC classification: 702.23
Contents:
Art, hunting and gathering 40,000-5000 BC / John Onians -- world -- Early Ice Age art 40,000-20,000 BC / Paul Bahn -- Later Ice Age art 20,000-10,000 BC / Paul Bahn -- Postglacial art 10,000-5000 BC / Paul Bahn -- Art, agriculture and urbanization 5000-500 BC / John Onians -- world -- world 10,000-3000 BC / Chris Scarre -- Americas -- Americas 5000-500 BC / Frank Meddens -- Europe -- Europe 7000-2500 BC / Chris Scarre -- Europe 2500-500 BC / Chris Scarre -- Aegean 2000-1000 BC / John Bennet -- Mediterranean 1000-500 BC / John Boardman -- Africa -- Africa 5000-500 BC / Peter Shinnie -- Nile Valley 3000-500 BC / John Boardman -- Asia & the Pacific -- West Asia 3000-2000 BC / Paul Collins -- West Asia 2000-500 BC / Paul Collins -- Central and South Asia 5000-500 BC / Ruth Young -- East Asia and China 5000-500 BC / Wang Tao -- Japan and Korea 5000-500 BC / Simon Kaner -- Pacific and Indonesia 5000-500 BC / Robert Welsch --
Art, war and empire 500 BC-AD 600 / John Onians -- Americas -- North and Central America 500 BC-AD 600 / Jeffrey Blomster -- South America 500 BC-AD 600 / Frank Meddens -- Europe -- Europe 500 BC-AD 300 / Timothy Taylor -- Aegean 500-300 BC / John Onians -- eastern Mediterranean 500-100 BC / Martin Henig -- western Mediterranean 500-100 BC / Martin Henig -- Mediterranean 100 BC-AD 100 / Martin Henig -- Mediterranean AD 100-300 / Martin Henig -- Africa -- Africa 500 BC-AD 600 / Peter Shinnie -- Nile Valley 500 BC-AD 300 / Christian Riggs -- North Africa AD 300-600 / Ruth Leader-Newby -- Asia & the Pacific -- West Asia 500-300 BC / Elspeth Dusinberre -- West Asia 300 BC-AD 600 / Murray Eiland -- Central Asia 500 BC-AD 600 / Burzine Waghmar Ruth Young -- South Asia 500 BC-AD 600 / Naman Ahuja -- China 500 BC-AD 600 / Wang Tao -- Japan and Korea 500 BC-AD 600 / Simon Kaner -- Southeast Asia 500 BC-AD 600 / Robert Welsch -- Pacific 500 BC-AD 600 / Robert Welsch --
Art religion and the ruler 600-1500 / John Onians -- Americas -- North America 600-1500 / Norman Bancroft-Hunt -- Central America 600-1500 / Jeffrey Blomster -- South America 600-1500 / Frank Meddens -- Europe 600-800 / Lawrence Nees -- Europe 800-1000 / Lawrence Nees -- Eastern Europe and Southwest Asia 600-1500 / Barbara Zeitler -- Northern Europe 1000-1200 / Alexandra Gajewsky -- Southern Europe 1000-1200 / Alexandra Gajewsky -- Northern Europe 1200-1200 / Benjamin Withers -- Southern Europe 1200-1300 / Benjamin Withers -- Northern Europe 1300-1500 / Thomas Tolley -- Southern Europe 1300-1500 / Thomas Tolley -- Italy 1300-1400 / Mary Hollingsworth -- Italy 1400-1500 / Mary Hollingsworth -- Africa -- North Africa 600-1500 / Sheila Blair Jonathan Bloom -- Sub-Saharan Africa 600-1500 / Herbert Cole -- Asia & the Pacific -- West Asia and Egypt 600-1500 / Shelia Blair Jonathan Bloom -- West Asia 1000-1500 / Sheila Blair Jonathan Bloom -- Central Asia 600-1500 / Sheila Blair Jonathan Bloom -- South Asia 600-1500 / Daud Ali -- China 600-1300 / Martin Powers -- China and Tibet 1300-1500 / Jennifer Purtle -- Japan and Korea 600-1500 / Bruce Coats -- Southeast Asia 600-1500 / Robert Welsch -- Pacific 600-1500 / Robert Welsch --
Art, exploitation and display 1500-1800 / John Onians -- Americas -- North America 1500-1800 / Norman Bancroft-Hunt -- Central America 1500-1800 / Norman Bancroft-Hunt -- South America 1500-1800 / Thomas DaCosta Kaufmann -- Europe -- Europe 1500-1600 / Mark Lindholm -- Scandinavia and the Baltic 1500-1800 / Kristoffer Neville -- Poland and Lithuania 1500-1800 / Katarzyna Murawska-Muthesius -- Russia 1500-1800 / Alison Hilton -- Britain 1500-1666 / Tim Barringer Morna O\'Neill -- Britain 1666-1800 / Tim Barringer Morna O\'Neill -- north Netherlands 1500-1800 / Elisabeth de Bièvre -- south Netherlands 1500-1800 / Susan Koslow -- German and Switzerland 1500-1650 / Kristoffer Neville -- Germany and Switzerland 1650-1800 / Kristoffer Neville -- France 1500-1650 / David Thomson -- Spain and Portugal 1500-1800 / John Moffitt -- Italy 1500-1600 / Mary Hollingsworth -- Italy 1600-1800 / Carole Paul -- Southeast Europe 1500-1800 / Stefan Muthesius -- Europe 1600-1800 / Thomas DaCosta Kaufmann -- Africa -- North Africa 1500-1800 / Stephen Vernoit -- Sub-Saharan Africa 1500-1800 / Herbert Cole -- Asia & the Pacific -- Asia 1500-1800 / Sheila Blair Jonathan Bloom -- West Asia 1500-1800 / Sheila Blair Jonathan Bloom -- Central Asia 1500--1800 / Sheila Blair Jonathan Bloom -- South Asia 1500-1800 / Daud Ali -- China and Tibet 1500-1650 / Jennifer Purtle -- China and Tibet 1650-1800 / Jennifer Purtle -- Japan and Korea 1500-1800 / Bruce Coats -- Southeast Asia 1500-1800 / Miranda Bruce-Mitford -- Pacific 1500-1800 / Anne d\'Alleva --
Art, industry and science 1800-1900 / John Onians -- Americas -- North America 1800-1860 / Peter Kalb -- North America 1860-1900 / Monathan Meuli Peter Kalb -- Central America and the Caribbean 1800-1900 / Norman Bancroft-Hunt -- South America 1800-1900 / Laura Malosetti Costa -- Europe -- Europe 1800-1900 / Claire O\'Mahony -- Scandinavia and the Baltic 1800-1900 / Kristoffer Neville -- Russia 1800-1900 / Alison Hilton -- Britain 1800-1900 / Time Barringer Morna O\'Neill -- Netherlands and Belgium 1800-1900 / Jane Beckett -- German and Switzerland 1800-1900 / Stefan Muthesius -- France 1800-1900 / Claire O\'Mahony -- Spain and Portugal 1800-1900 / John Moffitt -- Italy 1800-1900 / Claire O\'Mahony -- Austria-Hungary and Southeast Europe 1800-1900 / Stefan Muthesius -- Africa -- North Africa 1800-1900 / Stephen Vernoit -- Sub-Saharan Africa 1800-1900 / Herbert Cole -- Asia & the Pacific -- West Asia 1800-1900 / Sheila Blair Jonathan Bloom -- Central Asia 1800-1900 / Sheila Blair Jonathan Bloom -- South Asia 1800-1900 / Marcella Sirhandi -- China and Tibet 1800-1900 / Jennifer Purtle -- Japan and Korea 1800-1900 / Bruce Coats -- Southeast Asia 1800-1900 / Miranda Bruce-Mitford -- Pacific 1800-1900 / Jocelyne Dudding -- Australia and New Zealand 1800-1900 / Anita Callaway --
Art, ideas and technology 1900-2000 / John Onians -- Americas -- North America 1900-1950 / Peter Kalb -- North America 1950-2000 / Peter Kalb -- Central America and the Caribbean 1900-2000 / Norman Bancroft-Hunt -- South America 1900-2000 / Isobel Whitelegg -- Europe -- Europe 1900-2000 / Mike O\'Mahony -- Scandinavia and the Baltic States 1900-2000 / Anna Brodow -- Russia 1900-2000 / Alison Hilton -- Britain and Ireland 1900-20000 / Tim Barringer Morna O\'Neill -- Netherlands and Belgium 1900-2000 / Jane Beckett -- Germany, Switzerland, Austria 1900-2000 / Mike O\'Mahony -- Eastern Europe 1900-2000 / Myroslava Mudrak -- France 1900-2000 / Stephen Eskilson -- Spain and Portugal 1900-2000 / John Moffitt -- Italy 1900-2000 / Mike O\'Mahony -- Africa -- North Africa 1900-2000 / Stephen Vernoit -- East and Central Africa 1900-2000 / Herbert Cole -- Southern Africa 1900-2000 / Michael Godby -- Asia & the Pacific -- Asia 1900-2000 / Sheila Blair Jonathan Bloom -- West Asia 1900-2000 / Stephen Vernoit -- Central Asia 1900-2000 / Min Mao -- South Asia 1900-2000 / Marcella Sirhandi -- China 1900-2000 / Michael Sullivan -- Japan and Korea 1900-2000 / Bruce Coats -- Southeast Asia 1900-2000 / Miranda Bruce-Mitford -- Pacific 1900-2000 / Robert Welsch -- Australia and New Zealand 1900--2000 / Anita Callaway -- world -- Art institutions worldwide 2000 / Rodney Palmer -- Bibliography -- Picture credits and locations/note on spellings and place names -- Index.
List(s) this item appears in: Norman Young Collection
Holdings
Item type Current library Call number Copy number Status Date due Barcode Item holds
General Lending MTU Crawford College of Art and Design Library Lending 702.23 (Browse shelf(Opens below)) 1 Available 00193379
General Lending MTU Crawford College of Art and Design Library CD 702.23 (Browse shelf(Opens below)) 1 Available 00193377
General Lending MTU Crawford College of Art and Design Library Lib Office 702.23 (Browse shelf(Opens below)) 1 Available 00193586
Reference MTU Crawford College of Art and Design Library Reference 702.23 (Browse shelf(Opens below)) 1 Reference 00193540
Total holds: 0

Enhanced descriptions from Syndetics:

The Art Atlas is the first work to present the art of the entire world from ancient to modern times through extensive use of specially commissioned maps. Covering painting, sculpture, and architecture as well as other arts and artifacts, the volume provides an entirely new vision of the history of the world's art by showing how physical and political geography has shaped its developments.



Over 350 pages in scope, Atlas compares countries separated by thousands of miles and many centuries, demonstrating how the art of each is affected by opportunities and constraints dictated by location or culture. Here, for the first time, readers can appreciate the art of prehistoric Oceania and the Nile Valley of the Pharaohs alongside that of nineteenth-century Russia and the twentieth-century United States. In addition to showing where and when great artists lived and worked, Atlas explains how major styles developed and the ways in which art has been influenced by religion, trade, travel, war, and other historical factors. The volume also provides the first comprehensive picture of the impact of the natural world on the development of art, charting the sources of fibers for weaving, pigments for coloring, wood for carving, paper for printing, and stone for use in sculpture and architecture.



With its combination of enormous breadth and constant clarity of focus, abundant illustrations and a user-friendly, searchable CD, Art Atlas provides exceptional insight into what unites art and what makes it so varied. Organized into seven chronological periods and including contributions from 68 internationally renowned art historians, The Art Atlas is an original, comprehensive and up-to-date reference work that will be a benchmark for many years to come.

Originally published: Atlas of world art.

Includes bibliographical references (p. 318-321) and index.

pt. 1. Art, hunting and gathering 40,000-5000 BC / John Onians -- The world -- Early Ice Age art 40,000-20,000 BC / Paul Bahn -- Later Ice Age art 20,000-10,000 BC / Paul Bahn -- Postglacial art 10,000-5000 BC / Paul Bahn -- pt. 2. Art, agriculture and urbanization 5000-500 BC / John Onians -- The world -- The world 10,000-3000 BC / Chris Scarre -- The Americas -- The Americas 5000-500 BC / Frank Meddens -- Europe -- Europe 7000-2500 BC / Chris Scarre -- Europe 2500-500 BC / Chris Scarre -- The Aegean 2000-1000 BC / John Bennet -- The Mediterranean 1000-500 BC / John Boardman -- Africa -- Africa 5000-500 BC / Peter Shinnie -- The Nile Valley 3000-500 BC / John Boardman -- Asia & the Pacific -- West Asia 3000-2000 BC / Paul Collins -- West Asia 2000-500 BC / Paul Collins -- Central and South Asia 5000-500 BC / Ruth Young -- East Asia and China 5000-500 BC / Wang Tao -- Japan and Korea 5000-500 BC / Simon Kaner -- The Pacific and Indonesia 5000-500 BC / Robert Welsch --

pt. 3. Art, war and empire 500 BC-AD 600 / John Onians -- The Americas -- North and Central America 500 BC-AD 600 / Jeffrey Blomster -- South America 500 BC-AD 600 / Frank Meddens -- Europe -- Europe 500 BC-AD 300 / Timothy Taylor -- The Aegean 500-300 BC / John Onians -- The eastern Mediterranean 500-100 BC / Martin Henig -- The western Mediterranean 500-100 BC / Martin Henig -- The Mediterranean 100 BC-AD 100 / Martin Henig -- The Mediterranean AD 100-300 / Martin Henig -- Africa -- Africa 500 BC-AD 600 / Peter Shinnie -- The Nile Valley 500 BC-AD 300 / Christian Riggs -- North Africa AD 300-600 / Ruth Leader-Newby -- Asia & the Pacific -- West Asia 500-300 BC / Elspeth Dusinberre -- West Asia 300 BC-AD 600 / Murray Eiland -- Central Asia 500 BC-AD 600 / Burzine Waghmar and Ruth Young -- South Asia 500 BC-AD 600 / Naman Ahuja -- China 500 BC-AD 600 / Wang Tao -- Japan and Korea 500 BC-AD 600 / Simon Kaner -- Southeast Asia 500 BC-AD 600 / Robert Welsch -- The Pacific 500 BC-AD 600 / Robert Welsch --

pt. 4. Art religion and the ruler 600-1500 / John Onians -- The Americas -- North America 600-1500 / Norman Bancroft-Hunt -- Central America 600-1500 / Jeffrey Blomster -- South America 600-1500 / Frank Meddens -- Europe -- Europe 600-800 / Lawrence Nees -- Europe 800-1000 / Lawrence Nees -- Eastern Europe and Southwest Asia 600-1500 / Barbara Zeitler -- Northern Europe 1000-1200 / Alexandra Gajewsky -- Southern Europe 1000-1200 / Alexandra Gajewsky -- Northern Europe 1200-1200 / Benjamin Withers -- Southern Europe 1200-1300 / Benjamin Withers -- Northern Europe 1300-1500 / Thomas Tolley -- Southern Europe 1300-1500 / Thomas Tolley -- Italy 1300-1400 / Mary Hollingsworth -- Italy 1400-1500 / Mary Hollingsworth -- Africa -- North Africa 600-1500 / Sheila Blair and Jonathan Bloom -- Sub-Saharan Africa 600-1500 / Herbert Cole -- Asia & the Pacific -- West Asia and Egypt 600-1500 / Shelia Blair and Jonathan Bloom -- West Asia 1000-1500 / Sheila Blair and Jonathan Bloom -- Central Asia 600-1500 / Sheila Blair and Jonathan Bloom -- South Asia 600-1500 / Daud Ali -- China 600-1300 / Martin Powers -- China and Tibet 1300-1500 / Jennifer Purtle -- Japan and Korea 600-1500 / Bruce Coats -- Southeast Asia 600-1500 / Robert Welsch -- The Pacific 600-1500 / Robert Welsch --

pt. 5. Art, exploitation and display 1500-1800 / John Onians -- The Americas -- North America 1500-1800 / Norman Bancroft-Hunt -- Central America 1500-1800 / Norman Bancroft-Hunt -- South America 1500-1800 / Thomas DaCosta Kaufmann -- Europe -- Europe 1500-1600 / Mark Lindholm -- Scandinavia and the Baltic 1500-1800 / Kristoffer Neville -- Poland and Lithuania 1500-1800 / Katarzyna Murawska-Muthesius -- Russia 1500-1800 / Alison Hilton -- Britain 1500-1666 / Tim Barringer and Morna O\'Neill -- Britain 1666-1800 / Tim Barringer and Morna O\'Neill -- The north Netherlands 1500-1800 / Elisabeth de Bièvre -- The south Netherlands 1500-1800 / Susan Koslow -- German and Switzerland 1500-1650 / Kristoffer Neville -- Germany and Switzerland 1650-1800 / Kristoffer Neville -- France 1500-1650 / David Thomson -- Spain and Portugal 1500-1800 / John Moffitt -- Italy 1500-1600 / Mary Hollingsworth -- Italy 1600-1800 / Carole Paul -- Southeast Europe 1500-1800 / Stefan Muthesius -- Europe 1600-1800 / Thomas DaCosta Kaufmann -- Africa -- North Africa 1500-1800 / Stephen Vernoit -- Sub-Saharan Africa 1500-1800 / Herbert Cole -- Asia & the Pacific -- Asia 1500-1800 / Sheila Blair and Jonathan Bloom -- West Asia 1500-1800 / Sheila Blair and Jonathan Bloom -- Central Asia 1500--1800 / Sheila Blair and Jonathan Bloom -- South Asia 1500-1800 / Daud Ali -- China and Tibet 1500-1650 / Jennifer Purtle -- China and Tibet 1650-1800 / Jennifer Purtle -- Japan and Korea 1500-1800 / Bruce Coats -- Southeast Asia 1500-1800 / Miranda Bruce-Mitford -- The Pacific 1500-1800 / Anne d\'Alleva --

pt. 6. Art, industry and science 1800-1900 / John Onians -- The Americas -- North America 1800-1860 / Peter Kalb -- North America 1860-1900 / Monathan Meuli and Peter Kalb -- Central America and the Caribbean 1800-1900 / Norman Bancroft-Hunt -- South America 1800-1900 / Laura Malosetti Costa -- Europe -- Europe 1800-1900 / Claire O\'Mahony -- Scandinavia and the Baltic 1800-1900 / Kristoffer Neville -- Russia 1800-1900 / Alison Hilton -- Britain 1800-1900 / Time Barringer and Morna O\'Neill -- The Netherlands and Belgium 1800-1900 / Jane Beckett -- German and Switzerland 1800-1900 / Stefan Muthesius -- France 1800-1900 / Claire O\'Mahony -- Spain and Portugal 1800-1900 / John Moffitt -- Italy 1800-1900 / Claire O\'Mahony -- Austria-Hungary and Southeast Europe 1800-1900 / Stefan Muthesius -- Africa -- North Africa 1800-1900 / Stephen Vernoit -- Sub-Saharan Africa 1800-1900 / Herbert Cole -- Asia & the Pacific -- West Asia 1800-1900 / Sheila Blair and Jonathan Bloom -- Central Asia 1800-1900 / Sheila Blair and Jonathan Bloom -- South Asia 1800-1900 / Marcella Sirhandi -- China and Tibet 1800-1900 / Jennifer Purtle -- Japan and Korea 1800-1900 / Bruce Coats -- Southeast Asia 1800-1900 / Miranda Bruce-Mitford -- The Pacific 1800-1900 / Jocelyne Dudding -- Australia and New Zealand 1800-1900 / Anita Callaway --

pt. 7. Art, ideas and technology 1900-2000 / John Onians -- The Americas -- North America 1900-1950 / Peter Kalb -- North America 1950-2000 / Peter Kalb -- Central America and the Caribbean 1900-2000 / Norman Bancroft-Hunt -- South America 1900-2000 / Isobel Whitelegg -- Europe -- Europe 1900-2000 / Mike O\'Mahony -- Scandinavia and the Baltic States 1900-2000 / Anna Brodow -- Russia 1900-2000 / Alison Hilton -- Britain and Ireland 1900-20000 / Tim Barringer and Morna O\'Neill -- The Netherlands and Belgium 1900-2000 / Jane Beckett -- Germany, Switzerland, Austria 1900-2000 / Mike O\'Mahony -- Eastern Europe 1900-2000 / Myroslava Mudrak -- France 1900-2000 / Stephen Eskilson -- Spain and Portugal 1900-2000 / John Moffitt -- Italy 1900-2000 / Mike O\'Mahony -- Africa -- North Africa 1900-2000 / Stephen Vernoit -- East and Central Africa 1900-2000 / Herbert Cole -- Southern Africa 1900-2000 / Michael Godby -- Asia & the Pacific -- Asia 1900-2000 / Sheila Blair and Jonathan Bloom -- West Asia 1900-2000 / Stephen Vernoit -- Central Asia 1900-2000 / Min Mao -- South Asia 1900-2000 / Marcella Sirhandi -- China 1900-2000 / Michael Sullivan -- Japan and Korea 1900-2000 / Bruce Coats -- Southeast Asia 1900-2000 / Miranda Bruce-Mitford -- The Pacific 1900-2000 / Robert Welsch -- Australia and New Zealand 1900--2000 / Anita Callaway -- The world -- Art institutions worldwide 2000 / Rodney Palmer -- Bibliography -- Picture credits and locations/note on spellings and place names -- Index.

Excerpt provided by Syndetics

Excerpt from The Art Atlas PART VII Art, Ideas and Technology 1900-2000 Art has always been connected to the worlds of ideas and technology, but in the twentieth century the connections tightened. Indeed for many the 'idea' has been that twentieth century art should directly reflect technology, and this notion lay behind American skyscrapers, Italian Futurism, Russian Constructivism and the International Modernist architecture of the Bauhaus and Le Corbusier before the Second World War, and Jean Tinguely's motorized sculptures, Nam Jun Paik's video installations and Tony Oursler's projections after it. One reason why this convergence occurred was because, thanks to new technologies, ideas could be disseminated much quicker and more effectively than before. Another was that some of these technologies, such as those of the cinema, television and computer screen, are themselves visual. Of the many other ideas that affected twentieth century art, none were more recurrent than those of nationalism and internationalism. The search for visual expressions of national or regional identity, which has roots in tendencies humans share with other animals and has long been important in culture, strengthened in the nineteenth century before further intensifying in the twentieth. For many communities, as in the countries of eastern Europe that acquired independence after 1918, the starting point was a new awareness of vernacular and folk traditions, but in Fascist Italy and National Socialist Germany new political and moral ideologies were also involved. Outside Europe, on the other hand, where the suppression of local artistic traditions had been part of the policy both of colonial powers and of the classes that succeeded them, aesthetic and political ideologies were more likely to be combined in some revival of local cultural traditions, as in the Mexican revival of Aztec and the Indian revival of Hindu imagery. In such movements are was an important way for a people to strengthen its sense of a political identity recovered after Independence. The vigorous new regional and ethnic art forms that emerged after 1950 were ore economically driven, only loosely inspired by earlier traditions that were fostered and marketed, often by just one or two individuals. Prominent examples are the stone sculptures of the Canadian Inuit, of the Shona in present-day Zimbabwe and of the Makonde on the borders between Tanzania and Mozambique. But the most successful, perhaps because painting is always liable to be taken more seriously than sculpture, has been the acrylic paintings of the Australian Aborigines which, since 1970, have allowed male and female members of one of the world's most victimized communities isolated in the desert to become world-famous celebrities. These successes, however, have not been easy. For many ethnic communities the regional arts are much lower in the scale than art that claims to be international, as does that displayed in the great international exhibitions in the tradition of the Venice Biennale. Artists represented in such venues, whose work may consciously betray a background in the savannah of Africa or the jungles of Southeast Asia, often prefer to play down their origins and claim instead to be artists in a sense that corresponds to some transcendent European and US norm. Their overriding idea is that they are not craftsman, but 'artists'. One of the sources of the concept of an 'international' art is the socialist theory of a worldwide human community, and socialism, in its different forms, has been the idea shaping the work of many individuals and movements. Sometimes it has been associated with conservative tendencies, as in the Soviet Union, where, after the brief innovative episode of Constructivism, there was a move to Socialist Realism with its nineteenth-century roots. The same style was then taken up by many other countries in the Russian orbit, and when China became Communist in 1948 it, too, adapter the same mode until after the Cultural Revolution. Sometimes socialism has been associated with more progressive tendencies, as with the worldwide post-Second World War diffusion of architecture in concrete, a material untainted by elitist associations and inherently sharing properties with the 'masses'. Le Corbusier was the leader in this trend but he also had many local followers, such as Oscar Niemeyer in Brasilia. Other types of art driven by socialist political ideas were the more aggressive mural art of the Sandinistas in Nicaragua and the softer, but still threatening, art of Latinos in the United States. Less necessarily political has been the much longer tradition of Black or African-American art, which now has its parallels in Britain and elsewhere and in art of People of Colour by immigrants from Asia and Africa. Another art which may be more or less political is that driven by the idea of feminism, which emerged strongly in the United States in the 1960s and 1970s, before manifesting itself in most other countries in an effort to reclaim an activity from which women have been systematically excluded. Around the world art has now been harnessed to a myriad causes or 'ideas'. Finally, there are categories of art that relate to an idea embedded in art-making itself. Dada set out to smash artistic norms, while Surrealism, taking its cue from Sigmund Freud's writing on dreams, sought to give all forms of creativity a new starting point in the unconscious. These two connected movements were centered on Europe and the United States, the post-Second World War Conceptual Art--which typically argues that art is less about making, and more about an idea--has, from the beginning, engaged artists worldwide. Its success, like that of so-called Post-Modernist art, often depends on the use of different technologies, videos, lights, lasers, and even containers of formaldehyde. As such it illustrates to what extent, by 2000, art was often only an idea embedded in a technology. Excerpted from The Art Atlas 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.

Reviews provided by Syndetics

Library Journal Review

This new version of what Oxford published as the Atlas of World Art in 2004 (LJ 7/04) provides the same content as the original but at a greatly reduced price (the first edition was priced at $160). The accompanying CD-ROM includes the text and maps of the entire book in one PC- and Mac-compatible PDF file with full searching capability, minus the illustrations. Onians (world art, emeritus, Univ. of East Anglia) has assembled the contributions of 68 British and North American specialists into a unique publication. The more than 300 full-color maps illustrate the geographical, environmental, and political factors that have influenced the evolution of art as an expression of human culture, tracing the migrations of artists and art movements across the planet. The book is divided into seven historical sections (e.g., "Art, Hunting and Gathering, 40,000-5000 BC"; "Art, Agriculture and Urbanization, 5000-500 BC"; "Art, Exploitation and Display, 1500-1800"; "Art, Ideas and Technology, 1900-2000"), each introduced by the editor. The broad scope of coverage and the clear attempt to avoid Eurocentricity result in a general overview of art currents by geographical region or country. BOTTOM LINE Libraries unable to afford this handsome atlas when it was originally published by Oxford now have a golden opportunity to acquire it. The searchable CD-ROM offers additional access to the text beyond the already detailed index. [Available in print with CD-ROM only.]--Edward K. Werner, St. Lucie Cty. Lib. Syst., Ft. Pierce, FL (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Richly illustrated and documented with more than 300 color illustrations and over 300 specially commissioned maps, The Art Atlas is organized chronologically and covers the global world of art from 40,000 BCE to 2000 CE. Onians, author of Classical Art and the Culture of Greece and Rome (CH, Jan'00, 37-2571) and founding editor of the journal Art History, introduces each major time period. Expert contributors, including P. Bahn, M. Henig, and J. Boardman, provide double-page entries on smaller geographic areas and shorter temporal divisions. The book covers the effects of war, religion, ideology, and commerce upon painting, drawing, sculpture, carving, architecture, textiles, town planning, decorative arts, and patrons of the arts. Each entry provides an easily understood introduction to a well-defined art historical time period. The CD searches both text and maps, and highlights the search term(s). The bibliography is organized chronologically and includes general art readings, and an index refers readers to main text references, maps, and illustrations. Summing Up: Highly recommended. All libraries; all levels. N. Mactague Aurora University

Author notes provided by Syndetics

John Onians is Professor of Visual Arts at the School of World Art Studies and Museology at the University of East Anglia. He is the author of Art and Thought in the Hellenistic Age: The Greek World View, 350-50 BC (1979), Bearers of Meaning: The Classical Orders in Antiquity, the Middle Ages and the Renaissance (1988) and editor of Sight and Insight: Essays on Art and Culture in Honour of E. H. Gombrich at 85 (1994). He was also the founding editor of the prestigious journal Art History.

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