review
There are so many art books. Which are good? Concise and clear or in-depth and well documented. Just about modern art or starting in prehistoric times? In a small pocket size or in a colossal version? Based on my studies and my extensive reading and teaching experience, I have compiled a list of books that can help you further if you want to delve into art history.
Art history in general: HW Janson, World History of Art (De Haan: Houten)
Available in English under History of Art (Harry N. Abrams, Inc .: New York). This has been, since the 1960s, the standard work that students in the Netherlands use at universities, especially for art until 1700. However, it is also used in many other places in the world. It is very extensive, from prehistoric times to the 20th century, and informative with very good and many color illustrations and very clear time tables. The Dutch title is somewhat misleading, because non-Western art is hardly ever discussed. The treatment of the time after 1700 is a lot more superficial than anything before. More than 800 pages.
Art history in general: EH Gombrich, Eternal Beauty (Gaade)
In English it is called The Story of Art (Phaidon: London). Janson is said to have copied almost everything from Gombrich, one of the most prominent post-war art historians. More than 6 million copies of this book have already been sold. His style is more catchy, but he is also more subjective and concise in the information he provides. His illustrations are beautiful, with fold-out pages, but fewer in number than Janson’s. He is also somewhat biased towards modern art, albeit in a very unique and thoughtful way. He reads very well. Nearly 700 pages.
Art History in general: Hugh Honor and John Fleming, General Art History (Meulenhoff: Amsterdam)
In English A World History of Art (Papermac: London). Honor and Fleming are younger than the above gentlemen and offer a very good alternative. They tell well and thoroughly and the interesting thing about their book is that they also deal with the art history of other areas in the world, such as Africa, Asia and South America. Furthermore, in each chapter (from the 6th edition) they explain a work of art in detail within its context and they include in separate boxes long quotations from texts relevant at the time. Their illustrations can now measure themselves in number and quality with those of Janson, so that it has gained a serious competitor. All the more so because their treatment of art from 1700 to now is much more informed than Janson’s. Nearly 900 pages.
Art history in general: Stephen Little, Understanding art. Gain insight into the most important art movements (Librero)
A very handy and concise booklet that divides the entire art history, from 1400 to 2000, into movements. That does not do justice to reality, but fortunately the author explains that well. Any ?? flow ?? is explained in 2 pages and provided with a summary of important keywords, jargon and references to related movements during other moments in art history. The booklet in itself is not enough to get a really good picture of developments and connections in art history, but it does offer a grip in the maze of art expressions of the past 600 years. Exclusively painting, richly illustrated, 160 pages.
Modern Art: HH Arnason, A History of Modern Art (Thames and Hudson: London)
Unfortunately not available in Dutch. A very comprehensive overview of Western art from +1850 to the present day (when that is depends on the pressure you have). General chapters (21 pieces) that give a good picture of what was going on in a certain period are alternated with an almost encyclopedic list of individual artists with brief information about their development and their work. Beautiful color illustrations, in addition to many black and white photos. More than 700 pages.
Modern Art: Charles Harrison and Paul Wood (ed.), Art in Theory 1900-2000. An Anthology of Changing Ideas (Blackwell: Oxford UK & Cambridge USA)
No art history like the above books, but the most extensive overview I know of texts by artists themselves. From Gauguin, Cézanne, Matisse, Klee and Kandinsky to Rothko, Richter, Serra, Judd, Baselitz and Halley. In addition, many texts by thinkers who influenced the arts have been included, such as Freud, Bergson, Lenin, Benjamin, Greenberg, Sartre, Camus, Derrida, Baudrillard, Krauss and Kristeva. Fortunately, the texts are classified by subject and provided with good introductions per text and per period. Very useful as a reference work. Unfortunately, this book is also not available in Dutch. More than 1100 pages, no illustrations.
Modern Art: Edward Lucie-Smith, Kunstnu (Thoth: Bussum)
Originally Art Today. A very good overview of the art that was made between 1960 and 1995, with an emphasis on art after 1980 and the developments in thinking about art after 1980. The text is knowledgeable and well thought-out and sometimes very entertaining. Lots of beautiful color photos from a huge number of artists, including many from outside the West, although the British and Americans are best represented. Interesting detail: no Dutch artists. About 500 pages.
Modern Art: Sandro Bucola, Timelines – The Art of Modernism 1870-2000 (Taschen)
An interesting book in English that unfortunately is only available second-hand. Bucola does not describe a chronological art history with an alternation of movements and styles, as most authors do. He distinguishes four types of art as four ways of looking at reality: realistic, symbolic, structural and romantic. From 1870 to 2000 he follows these four ways of looking and making art (not to be confused with movements) in parallel timelines that are very clearly illustrated in the book. The result is surprising and enlightening. His lyrics are very concise and based on a very detailed work that he previously published. Many illustrations, almost exclusively paintings, 175 pages.
Art appreciation: Ad de Visser, Looking out loud. An introduction to art appreciation, SUN
An excellent, richly illustrated (black and white) booklet in which many elements from art perception are discussed. It is used by art history students. Sometimes it is a bit simple and straightforward, but it is a difficult subject to write about without resorting to abstractions and woolly language. The writer has succeeded in giving a clear introduction to the subject.