Table Of ContentA World of Art encourages students to think critically
about the world of art around them. The cover for the
new 7th edition is an extension of that critical-thinking
message. Students encounter a relatively blank canvas.
How are they going to treat this canvas? Will they protect
the white page and keep it pristine? Or will they think
critically and design a work of art?
Many schools around the country have embraced this
impromptu art project and have run student art contests.
The winning artwork is selected for the school-specific
custom cover. To run your own student art contest for an
A World of Art custom cover, please contact your Pearson
representative. We would also love to see the submissions!
Email scanned covers to [email protected].
Example of a custom 6th edition cover.
SEVENTH EDITION
HENRY M. SAYRE
Oregon State University–Cascades Campus
Prentice Hall
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Frontispiece: © 2012 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS),
New York
Credits and acknowledgments borrowed from other sources and reproduced, with permission,
in this textbook appear on the appropriate page within text or on the credit pages in the back
of this book.
Copyright © 2013, 2010, 2007 by Pearson Education, Inc.
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Library of Congress Cataloging-in-Publication Data
Sayre, Henry M.
A world of art / Henry M. Sayre, Oregon State
University-Cascades Campus. —Seventh Edition.
pages cm
Includes bibliographical references and index.
ISBN 978-0-205-88757-6 (alk. paper)
1. Art—Textbooks. I. Title.
N7425.S29 2012
700—dc23
2012017292
10 9 8 7 6 5 4 3 2 1
Student Edition
ISBN 10: 0-205-88757-0
ISBN 13: 978-0-205-88757-6
Instructor’s Review Copy
ISBN 10: 0-205-90522-6
ISBN 13: 978-0-205-90522-5
Books à la carte
ISBN 10: 0-205-89887-4
ISBN 13: 978-0-205-89887-9
As always, for my boys,
Rob and John, and for Sandy
Brief Contents
Preface xi
Faculty and Student Resources xiv
Student Toolkit xviii
Part 1 The Visual World
1 A World of Art xxii
2 Developing Visual Literacy 20
3 Seeing the Value in Art 42
Part 2 The Formal Elements and Their Design
4 Line 58
5 Space 78
6 Light and Color 100
7 Other Formal Elements 132
8 The Principles of Design 150
Part 3 The Fine Arts Media
9 Drawing 176
10 Printmaking 198
11 Painting 226
12 Photography and Time-Based Media 260
13 Sculpture 294
14 The Crafts as Fine Art 328
15 Architecture 356
16 The Design Profession 392
Part 4 The Visual Record: Placing the Arts
in Historical Context
17 The Ancient World 416
18 The Age of Faith 438
19 The Renaissance through the Baroque 462
20 The Eighteenth and Nineteenth Centuries 490
21 From 1900 to the Present 512
The Critical Process 544
Glossary 546
Photo Credits 553
Index 557
vi
Contents
Preface xi
Faculty and Student Resources xiv
Student Toolkit xviii
Part 1 The Visual World
CHAPTER 1 A World of Art xxii
THE WORLD AS ARTISTS SEE IT 4
The Creative Process: Pablo Picasso’s Les Demoiselles d’Avignon 12
THE WORLD AS WE PERCEIVE IT 15
THE WORLD AS WE UNDERSTAND IT: THINKING THEMATICALLY 17
The Critical Process: Thinking about Making and Seeing 19
CHAPTER 2 Developing Visual Literacy 20
WORDS AND IMAGES 21
The Creative Process: Lorna Simpson’s The Park 22
DESCRIBING THE WORLD 26
The Creative Process: George Green’s … marooned in
dreaming: a path of song and mind 28
The Critical Process: Thinking about Visual Conventions 40
CHAPTER 3 Seeing the Value in Art 42
ART AND ITS RECEPTION 46
ART, POLITICS, AND PUBLIC SPACE 50
The Creative Process: Guillermo Gómez-Peña’s Temple of Confessions 54
The Critical Process: Thinking about the Value of Art 57
Part 2 The Formal Elements and Their Design
CHAPTER 4 Line 58
VARIETIES OF LINE 59
QUALITIES OF LINE 62
The Creative Process: Vincent van Gogh’s The Sower 66
The Creative Process: Hung Liu’s Three Fujins 72
The Critical Process: Thinking about Line 77
CHAPTER 5 Space 78
SHAPE AND TWO-DIMENSIONAL SPACE 79
THREE-DIMENSIONAL SPACE 80
REPRESENTING THREE-DIMENSIONAL SPACE 82
The Creative Process: Beverly Buchanan’s Shackworks 84
MODERN EXPERIMENTS AND NEW DIMENSIONS 93
The Critical Process: Thinking about Space 99
CHAPTER 6 Light and Color 100
LIGHT 101
The Creative Process: Mary Cassatt’s In the Loge 108
COLOR 114
The Creative Process: Chuck Close’s Stanley 122
The Critical Process: Thinking about Light and Color 130
vii
CHAPTER 7 Other Formal Elements 132
TEXTURE 133
PATTERN 137
TIME AND MOTION 140
The Creative Process: Jackson Pollock’s No. 29, 1950 144
The Critical Process: Thinking about the Formal Elements 149
CHAPTER 8 The Principles of Design 150
BALANCE 152
EMPHASIS AND FOCAL POINT 159
The Creative Process: Diego Velázquez’s Las Meninas 162
SCALE AND PROPORTION 164
The Creative Process: Judith F. Baca’s La Memoria de Nuestra Tierra 168
REPETITION AND RHYTHM 170
UNITY AND VARIETY 172
The Critical Process: Thinking about the Principles of Design 175
Part 3 The Fine Arts Media
CHAPTER 9 Drawing 176
FROM PREPARATORY SKETCH TO WORK OF ART 177
DRAWING MATERIALS 180
The Creative Process: Raphael’s Alba Madonna 182
The Critical Process: Thinking about Drawing 197
CHAPTER 10 Printmaking 198
RELIEF PROCESSES 201
The Creative Process: Utamaro’s Studio 204
INTAGLIO PROCESSES 210
The Creative Process: Albrecht Dürer’s Adam and Eve 212
LITHOGRAPHY 217
The Creative Process: June Wayne’s Knockout 220
SILKSCREEN PRINTING 222
MONOTYPES 223
The Critical Process: Thinking about Printmaking 225
CHAPTER 11 Painting 226
ENCAUSTIC 228
FRESCO 229
TEMPERA 233
The Creative Process: Michelangelo’s Libyan Sibyl 234
OIL PAINTING 237
The Creative Process: Milton Resnick’s U + Me 242
WATERCOLOR 244
GOUACHE 247
SYNTHETIC MEDIA 247
MIXED MEDIA 250
The Creative Process: Hannah Höch’s Cut with the Kitchen Knife 252
The Critical Process: Thinking about Painting 258
CHAPTER 12 Photography and Time-Based Media 260
PHOTOGRAPHY 261
The Creative Process: Jerry Uelsmann’s Untitled 272
FILM 279
VIDEO 284
The Creative Process: Bill Viola’s The Greeting 288
COMPUTER- AND INTERNET-BASED ART MEDIA 291
The Critical Process: Thinking about the Camera Arts 292
viii CONTENTS
CHAPTER 13 Sculpture 294
CARVING 299
The Creative Process: Jim Sardonis’s Reverence 302
MODELING 304
CASTING 305
ASSEMBLAGE 309
INSTALLATION AND SITE-SPECIFIC ART 314
EARTHWORKS 318
PERFORMANCE ART AS LIVING SCULPTURE 321
The Creative Process: Goat Island’s How Dear to Me the Hour When Daylight Dies 324
The Critical Process: Thinking about Sculpture 326
CHAPTER 14 The Crafts as Fine Art 328
CERAMICS 330
The Creative Process: Julie Green’s The Last Supper 336
GLASS 338
FIBER 340
The Creative Process: Fred Wilson’s Mining the Museum 342
METAL 350
WOOD 353
The Critical Process: Thinking about the Crafts as Fine Art 355
CHAPTER 15 Architecture 356
ENVIRONMENT 358
TECHNOLOGY 360
CAST-IRON CONSTRUCTION 368
FRAME CONSTRUCTION 369
STEEL-AND-REINFORCED-CONCRETE CONSTRUCTION 371
The Creative Process: Frank Lloyd Wright’s Fallingwater 374
The Creative Process: Frank Gehry’s Guggenheim Museum Bilbao 380
“GREEN” ARCHITECTURE 382
COMMUNITY LIFE 384
The Creative Process: Mierle Laderman Ukeles’s Fresh Kills Landfill Project 388
The Critical Process: Thinking about Architecture 390
CHAPTER 16 The Design Profession 392
THE ARTS AND CRAFTS MOVEMENT 392
ART NOUVEAU 397
ART DECO 399
THE AVANT-GARDES 399
THE BAUHAUS 403
STREAMLINING 404
THE FORTIES AND FIFTIES 408
POSTMODERN DESIGN 410
The Creative Process: April Greiman and Design Technology 412
The Critical Process: Thinking about Design 415
Part 4 The Visual Record: Placing the Arts in Historical Context
CHAPTER 17 The Ancient World 416
THE EARLIEST ART 416
MESOPOTAMIAN CULTURES 419
EGYPTIAN CIVILIZATION 420
RIVER VALLEY SOCIETIES OF INDIA AND CHINA 424
COMPLEX SOCIETIES IN THE AMERICAS 425
AEGEAN CIVILIZATIONS 426
GREEK ART 427
CONTENTS ix
