By Laurie Adams

Acceptable for one-semester artwork background surveys or historically-focused artwork appreciation periods, A heritage of Western Art, 5th variation, combines sound scholarship, lavish visuals, and a full of life narrative to supply scholars with an obtainable and fascinating advent to artwork heritage. targeting the Western canon, the textual content offers a compelling chronological narrative from prehistory to the current. A non-Western complement, World perspectives: subject matters in Non-Western Art, addresses particular parts of non-Western paintings and augments the Western chronology through illustrating moments of thematic relationships and cross-cultural touch.

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44 cm) high. Fouilles Lalanne, Musée d’Aquitaine, Bordeaux, France. although there is no evidence as to whom, if anyone, the figurines were meant to represent. They all exaggerate the breasts and hips, suggesting a cultural preoccupation with fertility, on which the survival of the species depends. technique The surviving European Paleolithic paintings are con­ centrated in caves located in northern Spain, especially the Pyrenees Mountains, and the Périgord and Dordogne regions of France. The well-preserved state of these cave paintings when they were first discovered was due mainly to the fact that most of the caves are limestone and had been sealed up for thousands of years.

This union is an important aspect of the sense of space in religious architecture. Gothic cathedrals, such as the one in van Eyck’s picture, contain several references to it. The vast interior spaces of such buildings are awe-inspiring­, making worshipers feel small compared with an all-­encompassing God. The upward movement of the interior space, together with the tall towers and spires on either side of the entrance, echoes the Christian belief that paradise is above, in the heavens. The rounded spaces of certain other places of worship, such as the domed ceilings of some mosques, likewise symbolize the dome of heaven.

5 Pieter Bruegel the Elder, The Tower of Babel, 1563. Tempera on panel, 3 ft. 9 in. × 5 ft. 1 in. 55 m). Kunsthistorisches Museum, Vienna, Austria. Image Magic People in many cultures believe that harm done to an image of someone will hurt the actual person. In sixteenth-­century England, Elizabeth I’s advisers summoned a famous astrologer to counteract witchcraft when they discovered a wax effigy of the queen stuck through with pins. Sometimes, usually in cultures without a strong tradition of figural art, people fear that pictures of themselves may embody—and snatch away—their souls.

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