This textbook, designed specifically for C-ID ARTH 110 and produced by a team of art historians working within the CCC system, curates Smarthistory and other scholarly resources into a coherent textbook by providing chapter introductions, a comprehensive glossary, and explanatory editors’ notes. Throughout, it acknowledges and explores the historiography of art history and brings in global connections to provide a broader, more diverse, and more inclusive survey of art history from the Paleolithic through Gothic periods.

Herkimer Community College

Short Description:
History of Art Survey course covering from prehistoric art to the Italian Renaissance. Cover image Lascaux Cave_France

Word Count: 88398

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

The “Beginner’s guide” introduces foundational concepts, such as the chronology of Byzantine history, sacred imagery, and wearable objects. Subsequent sections are arranged chronologically, covering the Early Byzantine period (c. 330–700), the Iconoclastic Controversy (c. 700s–843), the Middle Byzantine period (843–1204), the Latin Empire (c. 1204–1261), and the Late Byzantine period (c. 1261–1453) and beyond.

These sections include thematic essays on Byzantine art and architecture, essays that focus on key works (subtitled artworks in focus or architecture in focus), and essays that explore Byzantium’s relationships with other cultures (subtitled cross-cultural perspectives). Finally, we have included questions for study or discussion to encourage teachers, students, and other readers to engage with videos and other content on the Smarthistory website which could not be included in this book format but which we believe richly compliments what is presented here.

This book aims to act as your map through the world of African art. As such, it will help you define the competencies you need to develop–visual analysis, research, noting what information is critical, asking questions, and writing down your observations–and provide opportunities for you to practice these skills until you are proficient. It will also expose you to new art forms and the worlds that produced them, enriching your understanding and appreciation.

Short Description:
Understanding New Media Art is an OER for introductory college art and art history courses that builds on scholarship in the field to propose a long historical context for the technologies and ideas related to New Media Art in the 21st century.

Long Description:
Understanding New Media Art is an OER for introductory college art and art history courses. The book builds on scholarship in the field to propose a long historical context for the technologies and ideas related to New Media Art in the 21st century. This OER is a work in progress and will be updated and expanded periodically as technologies change, new creative approaches and voices develop, and new historical and theoretical frameworks are proposed in the evolving field of New Media Art.

Word Count: 80895

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

“An OER text to cover world art on a timeline from prehistoric to modern times with an emphasis on female artists.”Reviewer’s note: this text focuses much more on a chronological, art historical approach than other texts that divide the course into thirds, with the first third covering visual elements and principles of design, the second third covering two- and three-dimensional media, and only the final third giving a brief overview of art history.

This text explores the visual and performing arts (art, music, dance, theatre).
Chapter 1: Elements, Vocabulary, and Iconography of Visual Art
Chapter 2: Mediums in Visual Art
Chapter 3: Ancient Arts (Prehistoric, Ancient Near East, Egyptian)
Chapter 4: Classical Period to Middle Ages
Chapter 5: Renaissance to Realism
Chapter 6: Impressionism to Modern
Chapter 7: An Introduction to the Theater and its Elements
Chapter 8: The Greek Origins of Western Theater
Chapter 9: Technical Theater
Chapter 10: The Actor's Craft
Chapter 11: Other Theater Traditions
Chapter 12: Introduction to Music
Chapter 13: Music in the Middle Ages and the Renaissance
Chapter 14: Baroque and Classical Music
Chapter 15: Music of the Romantic Era
Chapter 16: Music of the 20th Century
Chapter 17: Introduction to Dance
Chapter 18: Elements of Dance
Chapter 19: Dance History and Styles

Short Description:
Foundation Drawing for Art 1100 serves as the primary text for the course of the same name at the UNO School of the Arts.

Word Count: 13003

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Word Count: 117601

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

American Encounters provides a narrative of the history of American art that focuses on historical encounters among diverse cultures, upon broad structural transformations such as the rise of the middle classes and the emergence of consumer and mass culture, and on the fluid conversations between "high" art and vernacular expressions. The text emphasizes the intersections among cultures and populations, as well as the exchanges, borrowings, and appropriations that have enriched and vitalized our collective cultural heritage.

Short Histories of Major Art Movements and Select Artists from ART 305

Short Description:
Part textbook, part shared knowledge, this book is the co-creation of the instructor and students of Red Deer Polytechnic's ART 305, 19th Century European Art History class.

Long Description:
What happens when a class shares their collective knowledge about their subject, rather than hiding it away and stuffing it down in individual memory? A textbook that is formed by the meeting of the minds!

As part of the ART 305 19th Century European Art History move to online during the pandemic, a collective project was born: creating a digital open-education resource, free to any who choose to access it, and a way for the individuals in class to be part of a greater community in an online learning environment.

With some chapters authored by the instructor of the class and others created by the students as a result of their term’s research, this text is a growing document that will encompass past, present, and future learners as their collective body of knowledge grows.

Within the parameters of 19th Century European Art History this text begins with the influence and beginnings of change during the Rococo era in France and progresses through time until the beginning of the 20th century. Each chapter marks a specific era or a specific artist and chapters are individually authored.

Word Count: 136177

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Word Count: 164886

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Word Count: 85226

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
Who am I? What is beautiful? Where do babies come from? These questions populate our lives and inform our perceptions of the world. Explore these questions according to the expressions of artists from all over the world. Go beyond Western art to consider where art comes from and how it impacts all of us.

Long Description:
Contributors to this open textbook offer relatable descriptions, details, and contexts of artworks from around the world, which have often been relegated to the peripheries of art and social history. Art traditions from Africa, Oceania, South and Southeast Asia, Islamicate regions, East Asia, and the indigenous Americas (before colonization) are prioritized to challenge the long-held view that “real art” only comes from the West. Introductory discussions of the history of art history and geographic conventions set the stage for considering the larger question, “where does art come from,” and other questions such as, “why haven’t I heard much about art from Africa, Oceania, etc.?” This book takes a pluralistic approach, forefronting diversity and interconnectedness. Scholars and students collaborated to produce this book. Student contributions will continue to improve the text and interactivity as it evolves. A scavenger hunt of student-made “easter eggs” builds a thread of engagement and humor throughout the book. Make sure to find them all!

Word Count: 129658

ISBN: 978-1-64816-004-2

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Word Count: 115326

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
Open lab manual workbook for students in Survey of Western Art History I at University of Nebraska Omaha. This project was funded by the Affordable Content Grants program at UNO Libraries.

Word Count: 26623

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Art as a Tool for Creating Change

Short Description:
Students present their reflections on the politics and practice of making. Individually, each essay and letter addressed to a historical artist is full of valuable information and great insights. Collectively, these are also an honest and valuable document of the moment: Us, wrestling with the realignment of past, present, and future of why and how to make objects, how to find freedom within tradition, and how to reimagine a more conscientious making practice for ourselves and a more meaningful life for our objects.

Long Description:
Twenty students from a wide variety of majors, including the sciences, humanities, health and medicine, as well as engineering, architecture, and design comprised our vibrant and engaged learning community. We started the quarter by imaginary visits to two important art schools, the German Bauhaus (1919-1933) and the Black Mountain College, located near Asheville, North Carolina (1933-1957). The students co-created participatory collaborative exercises based on the experiential learning principles developed by and practiced at these schools.

Throughout the course, we considered craft and art not as nouns, but as verbs, related the practiced maker’s hand to the process aided by technological tools, and focused on the language of the materials, and the personal, cultural, historical narratives that they help to reveal. We contemplated how individual threads hold the fabric together and transform that, and how individual narratives coalesce into larger histories that signify and hold together communities. We strived to explore and understand both the historical past and the innovative present and future by specifically focusing on needlework (sewing, embroidery, and quilts) during the 1920 and ‘30s (women suffrage movement), the 1970s and ‘80s (second wave of feminism, LGBTQ rights and HIV/AIDS crisis), and in the present. We also considered how new technologies, such as parametric design and 3D printing, introduce new paradigms for solving problems, designing, producing, and using objects. Of course, the effect of technology was inescapable for us in the class too, as it was for billions around the world during this global pandemic.

We made two projects. One, using needlework techniques and textile processes to tell a personal story of Waiting, and a second one, using Computer Aided Design (CAD) to create a Time Capsule which would be opened one hundred years from now. Throughout the quarter, the students researched a Bauhaus or Black Mountain College artist they had picked with the goal of reflecting on the artist’s work, biography, creative process, and ideas about making by drawing parallels to those of their own.

Word Count: 50553

(Note: This resource's metadata has been created automatically as part of a bulk import process by reformatting and/or combining the information that the author initially provided. As a result, there may be errors in formatting.)

Word Count: 205139

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

A 25th Anniversary Gift from the Board of the Friends of the Beach Museum of Art

Short Description:
The e-book MARIANNA KISTLER BEACH MUSEUM OF ART: PEOPLE AND SPACES was created by the Board of the Friends of the Beach Museum of Art and published by New Prairie Press of Kansas State University in 2021. The purpose of the book is to celebrate the 25th anniversary of the art museum’s opening on the K-State campus in October 1996. It includes articles about the people who are honored by named spaces in the museum. Their contributions allowed the museum to become a reality, including an addition to the building that opened in 2007. When Jon Wefald became president of K-State in 1986, the university was the only institution in the Big 8 Conference without an art museum. First Lady Ruth Ann Wefald took the lead in obtaining the supporters and funds to establish a home for the institution’s impressive art collection. The most notable contribution came from Ross and Marianna Kistler Beach whose generous financial support made the building possible. In 1991 they provided the lead gift for an art museum that would be named in honor of Marianna to commemorate the couple’s 50th wedding anniversary. After the book’s introduction by Linda Duke, the museum’s executive director, Ruth Ann summarizes the difficult journey to establish an art museum. It is followed by an account of Marianna’s many accomplishments. The remainder of the publication contains 23 articles — written by board members of the Friends of the Beach Museum of Art — devoted to the people for whom spaces in the building are named. Photographs are included of those who are honored and spaces in the building including galleries, educational wing, theater, offices, and work and storage locations. The diverse group of people and their contributions have made the museum what it has become during its 25 years — a vibrant place for the collecting, studying, caring for, and presenting the visual art of Kansas and the region. Editors of the e-book are Anthony R. Crawford, Marla Day, Martha Scott, and Marlene VerBrugge, board members of the Friends of the Beach Museum of Art.

Word Count: 17796

ISBN: 978-1-944548-39-1

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

A Humanities Textbook: Lower Division

Short Description:
An introductory examination of cultural appropriation in the fine arts and popular arts of the United States, with reference to historical, literary, and other cultural developments. The primary focus is the use of cultural appropriation to communicate ideas about racial identity in ways that have served the interests of the dominant culture. Areas of specific concern are voice appropriation, content appropriation, style appropriation, and motif appropriation. The emphasis is on historically significant examples in the visual arts, literature, theater, and music. As expressive communication, the arts are central to cultural identity. Cultural appropriation is wrong when it undermines America's diversity of cultural identities. Generations of American artists have used cultural appropriation as a tool of racial privilege. Despite this history of harmful and wrongful appropriation, cultural appropriation also provides a tactic of response and self-empowerment for non-dominant groups. Appropriation is frequently used by non-dominant groups and subcultures as a tool of active resistance against stereotyping and discrimination.

Word Count: 68176

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Word Count: 135881

Included H5P activities: 52

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Nineteenth-Century Visual Culture

Word Count: 19463

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
A new and annotated translation of the French Prime Minister’s memoir of his friend, the most famous Impressionist painter.

Long Description:
In 1928, the former French Prime Minister Georges Clemenceau published Claude Monet: Les Nymphéas (The Water-Lilies), a memoir of his longtime friend. Bruce Michelson has produced a new English translation, presented here with useful notes and illustrations.

Michelson’s translations of three short essays on art by Clemenceau, originally published by La Justice in the late XIX c., are included as appendices.

Published by Windsor & Downs Press, part of the Illinois Open Publishing Network (IOPN). IOPN is a project of the University Library, University of Illinois at Urbana-Champaign.

Word Count: 40724

ISBN: 978-1-946011-00-8

(Note: This resource's metadata has been created automatically as part of a bulk import process by reformatting and/or combining the information that the author initially provided. As a result, there may be errors in formatting.)

Short Description:
The book examines the work of Terence Grieder, an early pre-Columbian art historian of wide-ranging interests and often provocative stances. His students and other intellectual descendants discuss his major ideas through examples drawn from their own work. The work of those he mentored is in the end the most important testament to his continuing influence in the field.

Word Count: 77114

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Photography can do something that text on its own often cannot – draw the learner in and evoke curiosity about deeper meaning. When connected to storytelling, photographs can release an emotional response, which educators can harness to help students remember content. I whole-heartedly believe images created through the means of photography can be useful for teaching concepts in psychology or management fields that are new to students or tend to be difficult for them to grasp. Furthermore, photos may be especially helpful to demonstrate the meaning and subjective nature of individuals’ experiences as related to these fields due to the emotions they often evoke.

I hope this collection of photographs will serve as a teaching aid for educators and source of learning for students. I thoroughly enjoyed taking all the photos, editing them, writing compelling stories for each, and designing the book. I particularly believe that visual arts such as photography can help students of varying abilities, prior experiences, and backgrounds learn psychological content a bit more easily than traditional text-heavy books and therefore it was a worthwhile endeavor. I expect the book to push students to explore how various fields can meaningfully be integrated to understand the world around us. This book is an example of how visual arts and the sciences can be paired together to break down some of the illusory silos students often perceive between disciplines. As we go about our days, we understand our experiences in numerous ways including what we notice around us beyond written word. Our environment can illuminate understanding if we let it. Let’s help our students do this purposefully through photography.

NOTE: The images in this text are extremely high-quality. As a result, it may take some time to download and open the file.

Short Description:
20 visual artists in conversation about why they make, how they work, and how the creative process unfolds.

Long Description:
This book was created by seniors in the 2020-2021 Art BA Departmental Honors program in the School of Art + Art History + Design, University of Washington, Seattle. The students in the Honors in Art track come from the four concentrations of the Division of Art: 3D4M: Ceramics + Glass + Sculpture, Interdisciplinary Visual Arts, Painting + Drawing, and Photo/Media.

The book presents first-person accounts of the creative process by a diverse group of makers as they develop artwork, consistently question habits, meanings, and inspirations while interfacing the world during uncertain times.

Word Count: 28304

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
Jacob Lawrence (1917-2000) is widely recognized as one of the most important American artists of the 20th century. He is best known for epic multi-panel narratives like the Migration Series (1940-1941) and Struggle: from the History of the American People (1954-56), which he created as a young artist living and working in in New York City. The second half of Lawrence’s career, which he spent in Seattle as a Professor of Art at the University of Washington, has received far less attention. The essays in this volume, researched and written by the participants in the Spring 2021 art history seminar “Art and Seattle: Jacob Lawrence” at the University of Washington School of Art + Art History + Design, fill in this gap. In so doing, we take our lead from the artist’s own framing of the Seattle period as a critical stage in his artistic development, in which conceptual and formal concerns explored across his long career converged and became more of the sum of their parts.

Long Description:
Jacob Lawrence (1917-2000) is widely recognized as one of the most important American artists of the 20th century. He is best known for epic multi-panel narratives like the Migration Series (1940-1941) and Struggle: from the History of the American People (1954-56), which he created as a young artist living and working in in New York City. The second half of Lawrence’s career, which he spent in Seattle as a Professor of Art at the University of Washington, has received far less attention. The essays in this volume, researched and written by the participants in the Spring 2021 art history seminar “Art and Seattle: Jacob Lawrence” at the University of Washington School of Art + Art History + Design, fill in this gap. In so doing, we take our lead from the artist’s own framing of the Seattle period as a critical stage in his artistic development, in which conceptual and formal concerns explored across his long career converged and became more of the sum of their parts.

Word Count: 66080

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

UPEI Arts Review Volume XII

Word Count: 17785

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Reimagining the Canadian Art History Survey

Word Count: 55767

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

This book was written by two artist educators who teach digital art and design studio foundation classes. While teaching classes that take place in software laboratories, we noticed that many of our students expected to learn to use software, but gave little consideration to aesthetics or art and design history. A typical first day question is, "Are we going to learn Photoshop in this class?" This book is a mash-up of the Bauhaus Basic Course and open source software such as Inkscape, Gimp, Firefox, and Processing. We have taken some of the visual principles and exercises from the Bauhaus Basic Course and adapted them into exercises for these applications.

Stained Glass Windows in St. John the Evangelist

Short Description:
This catalogue developed out of the exhibition, Symphony of Lights: An Exploration of Stained Glass Windows in St. John the Evangelist Anglican Church, London, ON, hosted at the Artlab Gallery on the campus of The University of Western Ontario from February 8-19, 2021. The exhibition focused on the visual and aural effects of the art of St. John’s.

Long Description:
This catalogue developed out of the exhibition, Symphony of Lights: An Exploration of Stained Glass Windows in St. John the Evangelist Anglican Church, London, ON, hosted at the Artlab Gallery on the campus of The University of Western Ontario from February 8-19, 2021. The exhibition focused on the visual and aural effects of the art of St. John’s. In the exhibition, we attempted to reimagine the grandeur of St. John’s artistic features by acknowledging their religious and historical settings, but more importantly, highlighting their artistic merit through a multisensorial experience that furthers those Londoners have enjoyed for over 130 years.

Word Count: 13177

ISBN: 978-0-7714-3164-7

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
This was a collaborative project of stories written by English language learners which were interpreted and illustrated by art students in drawing and painting classes.

Word Count: 7599

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
This was a collaborative project of stories written by English language learners which were interpreted and illustrated by art students in drawing and painting classes.

Word Count: 7443

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
#TheatreAppreciation is a textbook for introductory level lecture classes such as Theatre Appreciation and Introduction to Theatre. It provides insight about the art and craft of theatre, a brief exploration of theatre history, and discussion about the styles and forms of theatre along with an overview of professions in the field.

Word Count: 97105

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Visual Culture and the Racial Matrix in the Premodern World

Long Description:
The capacious visual archive studied in this volume includes a trove of materials such as annotated or illuminated manuscripts, Renaissance costume books and travel books, maps and cartographic volumes produced by Europeans as well as Indigenous peoples, mass-printed pamphlets, jewelry, decorative arts, religious iconography, paintings from around the world, ceremonial objects, festival books, and play texts intended for live performance.

Contributors explore the deployment of what coeditor Noémie Ndiaye calls “the racial matrix” and its interconnected paradigms across the medieval and early modern chronological divide and across vast transnational and multilingual geographies. This volume uses items from the Fall 2023 exhibition “Seeing Race Before Race”— a collaboration between RaceB4Race® and the Newberry Library — as a starting point for an ambitious theoretical conversation between premodern race studies, art history, performance studies, book history, and critical race theory.

Word Count: 115088

ISBN: 9780866988438

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
NewParaColour theory covers a long history from antiquity to modern times. It includes academic and scientific investigations into how we see and understand colour. It also includes practical applications for using colour in creative work.NewParaThis learning resource covers the history of colour theory, how we see colour, and how to use colour systems to mix colour and create colour relationships.NewParaAlso included in this resource are quizzes to test your knowledge, and practical learning activities to guide users in applications of colour theory for art and design. It's useful for anyone working with colour in creative and scientific fields.

Word Count: 51635

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
Frontier Mosaic is Oklahoma State University's premier student-run literary magazine. We are a patchwork of the best undergraduate fiction, nonfiction, poetry, and visual art in Stillwater, Oklahoma. Frontier Mosaic released its inaugural issue spring 2015.

Long Description:
Frontier Mosaic is Oklahoma State University’s premier student-run literary magazine. We are a patchwork of the best undergraduate fiction, nonfiction, poetry, and visual art in Stillwater, Oklahoma. Frontier Mosaic released its inaugural issue spring 2015.

All Oklahoma State University undergraduate student submissions are welcome. Conventional or anarchic, we want your masterpiece. If you’re here to submit, send us your best work; blow our minds, and make the world stop and think. If you’re here to read, strap in, read well, and enjoy. We do rolling submissions for future issues, so send in your work!

Word Count: 17221

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Long Description:
This online book explores multisensory principles for engaged product design, ultimately improving user experiences and emotional responses to product interactions. Each chapter presents a step-by-step discussion of design principles for sensory themes that build toward the final multisensory design chapter. These applied principles integrate traditional iterative approaches to product form and colour and include recent research into multisensory design; they are compatible with current design frameworks.

Our primary audience is industrial design (ID) students and professionals, as well as those in related design disciplines. We have compiled this information as a straightforward resource for novices – both novice designers and design researchers. As a result, illustrations, interactive examples, and evaluations that complement academic learning and design practice are integrated into each chapter and are valuable as teaching and learning tools.

This Creative Commons textbook is a free and shareable tool.

Keywords: multisensory design; art and design; user experience

Word Count: 67270

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)