This attractively packaged two-volume set attempts an almost impossible task: to present the art of the entire world, from vibrant cave paintings dating back 30,000 years to the creative trends of the late 20th century. Though the arts of Europe are the most thoroughly analyzed, respected scholars in several specialized fields cover other cultures with cogent essays. A more unusual feature is the space devoted to art created by women, such as the late-Renaissance painters Sofonisba Anguissola and Lavinia Fontana--the latter was invited in 1560 to be an official painter at the Spanish court. Relationships between the art of different cultures are emphasized and, while each section can stand alone, each is shown to fit meaningfully into the overall development of the world's artistic heritage. Beautiful images grace the production's 1,200 pages, not only well-known icons but a wealth of lesser-known gems are here, carefully chosen to demonstrate the points made in the text. There are many delightful surprises among the illustrations, many of which are in color, printed to high quality standards in Japan. For instance, line drawings explain technical details, from "Lost-wax Bronze-casting" to "Elements of the Skyscraper." A vast amount of information is presented, but it is very well organized and easy to access, and an extensive glossary answers many questions. Marilyn Stokstad's Art History is a true tour de force, and its light and humanistic approach is a refreshing change from previous encyclopedic art-historical studies. --John Stevenson

From Publishers Weekly
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. Copyright 1996 Reed Business Information, Inc.

From Library Journal
A new eight-pound entry in the one-volume history-of-art battle of the titans, this title competes directly with Gardner's Art Through the Ages (1926; 10th ed., 1996), Janson's History of Art (1962; 5th ed., 1995), Hartt's Art: A History (1976; 4th ed. 1993), and Honour and Fleming's The Visual Arts: A History (1982; 4th ed., 1995). Each comes with hundreds of illustrations of wildly varying quality-Stokstad's are mostly color, mostly adequate-and each attempts to combine the factual density requirements of a survey course textbook with attractive writing and narrative. In addition, at least in the recent editions, each aims to be "inclusive," discussing women and minority artists to some degree. Distinguished art historian Stokstad (Univ. of Kansas) and her coauthors, mostly colleagues, have done a creditable job. Acknowledging straight off that students today lack a deep knowledge of cultural history, Stokstad aims to be "user-friendly," and her book comes replete with a computer-like "starter kit" of definitions, explanatory text boxes on techniques, and some very good explicatory line drawings, usually architectural. Of the five competitors, four are published by Abrams and all are priced within five dollars of one another. Gardner is much more column after column of text, with little relief. Hartt, a Renaissance scholar, and Honour and Fleming, specialists in the Baroque, write with personal voices; Stokstad, a medievalist, also has a pleasant style. This reviewer recommends that libraries stock Honour and Fleming for their excellent writing and clear art historical point of view and Stockstad's work, which is well written, achieves a good balance of narrative and facts, and is the most inclusive. One caveat: The review copy of Stokstad had broken from its casing before arrival.Jack Perry Brown, Art Inst. of Chicago Lib.Copyright 1996 Reed Business Information, Inc.

From Booklist
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

From Book News, Inc.
The second of two volumes (V.1 [357500-4], $33.33) providing a delightful, highly visual survey of art history worldwide, reaching beyond the Western canon to include an examination of the arts of other regions and cultures. Volume 2 begins with early Renaissance art in Europe and concludes with art in the US and Europe since WWII. In addition to Europe and the US, the arts of China, Japan, the Pacific, and Africa are covered. Includes maps, timelines, a glossary, and scads of photographs--more than half in color. Suited for an introductory course in art history. Annotation c. by Book News, Inc., Portland, Or.

Midwest Book Review
Any serious art collection or library should consider this an essential "must have" reference providing a global history of art from prehistoric to modern times. The global emphasis incorporates and contrasts developments around the world, including Islamic and Third World cultures, while over 1625 illustrations - over half in color - compliment time lines and surveys of both artists and techniques. The scope and depth of this title are unparalleled.

FROM OUR EDITORS

This slipcased survey of art history covers the masterworks of the Western world and also provides exhaustive coverage of the unique traditions of Asia, Africa, the Middle East, and more, producing a resource that is refreshingly global in scope. The essays, which pay special attention to the context of each artwork, are accompanied by nearly 2,000 illustrations. With a glossary of essential art terms, a special techniques section, and the inclusion of architectural drawings and plans, Stokstad's Art History is an exemplary reference for students and professionals alike.

FROM THE PUBLISHER

Art History covers the Western tradition and the cultures of the Middle East, South Asia, East Asia, Africa, the Pacific Islands, and the Americas - each on its own terms. The world's finest paintings, sculpture, and works of architecture are covered here, as are drawings, photographs, works in metal, ceramics, and textiles. All are discussed within the social, religious, and intellectual contexts of their creation. The authors also address intriguing issues surrounding art: Is art taken as war booty a matter of protection or theft? How does the "title" of an artwork affect our perception of its meaning? What explains the relatively low number of women artists? Special sections on techniques illustrate practical matters of production; for example, how Japanese armor was constructed, the process used to make ancient coins, how a camera works, the steps in the lost-wax casting process, and weaving and embroidery techniques. Architecture receives particular attention in hundreds of clearly labeled drawings and diagrams. All terms - even the most basic - are defined when first introduced and are included in the 900-word glossary.

SYNOPSIS

With spring gift-giving season upon us, what could be more welcome than a revised, slipcased edition of the book that Publishers Weekly described as "destined to establish itself a modern classic"? Most moms, dads, and grads, like the rest of us, know what they like, but how much do we know about art history? Marilyn Stokstad's Art History does a fine job of filling in the gaps in even the most informed aficionado's knowledge. Not content to cover the only usual Western suspects, the lavishly illustrated Art History endeavors to be inclusive of all key world cultures and traditions.

FROM THE CRITICS

Publishers Weekly

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.

Library Journal

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 Copyright 2001 Cahners Business Information.

Library Journal

A new eight-pound entry in the one-volume history-of-art battle of the titans, this title competes directly with Gardner's Art Through the Ages (1926; 10th ed., 1996), Janson's History of Art (1962; 5th ed., 1995), Hartt's Art: A History (1976; 4th ed. 1993), and Honour and Fleming's The Visual Arts: A History (1982; 4th ed., 1995). Each comes with hundreds of illustrations of wildly varying quality-Stokstad's are mostly color, mostly adequate-and each attempts to combine the factual density requirements of a survey course textbook with attractive writing and narrative. In addition, at least in the recent editions, each aims to be "inclusive," discussing women and minority artists to some degree. Distinguished art historian Stokstad (Univ. of Kansas) and her coauthors, mostly colleagues, have done a creditable job. Acknowledging straight off that students today lack a deep knowledge of cultural history, Stokstad aims to be "user-friendly," and her book comes replete with a computer-like "starter kit" of definitions, explanatory text boxes on techniques, and some very good explicatory line drawings, usually architectural. Of the five competitors, four are published by Abrams and all are priced within five dollars of one another. Gardner is much more column after column of text, with little relief. Hartt, a Renaissance scholar, and Honour and Fleming, specialists in the Baroque, write with personal voices; Stokstad, a medievalist, also has a pleasant style. This reviewer recommends that libraries stock Honour and Fleming for their excellent writing and clear art historical point of view and Stockstad's work, which is well written, achieves a good balance of narrative and facts, and is the most inclusive. One caveat: The review copy of Stokstad had broken from its casing before arrival.-Jack Perry Brown, Art Inst. of Chicago Lib.

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