/#'J»l|»t // m' :^ .^^ u\ ^HPHHMi'lf' i'}huJ|L kBhP |RI|| II 1 mmW\\mM — Generous, genuine, exacting, insightful, stimulating a\\ these words describe Frederick Hartt's classic introduction to art history, ABT: A HISTORY OFPAINTING•SCULPTURE-ARCHI- TECTURE. Now in its fourth edition, this book sparkles with an infectiousenergygeneratedovertheauthor'slifetimeofteaching, scholarship,andpersonaldelightintheworld'sart.ARTshowsus howtoseein the broadest, mostenduringsense oftheword. Completelyredesigned, thisneweditionisthemostthoroughly illustrated art historysurveyavailable today, including 102 more color illustrations than the previous edition. More than ever before, the text integrates art history with parallel cultural, sociohistorical, and scientific developments and includes more womenartists—35 inall—thananyothersurvey.Whole sections have been thoroughly revised: tribal art, pre-Columbian art, Islamicart, Michelangeloasboth a Renaissanceand a Mannerist artist,andMannerisminItaly.PartSeven,TheModernWorld,has been entirely revised by Nan Rosenthal, former Curator of Twentieth-Century Art at the National Gallery of Art in Wash- ington,D.C.Terminologyishighlighted inthetextand referenced to the glossary, which now includes terms from Far Eastern art; time lines are expanded and reorganized; the bibliography is thoroughlv updated, with 20 percent of the citations new. ART: AHISTORYOFPAINTING•SCULPTURE-ARCHITECTUREis the mostcohesiveand teachable survevavailable todav. VOLUME ONE opens with a wise, foregrounding Introduction, "The NatureofArt,"and tracesthecourseofWesternartfrom the Stone Age into the early fourteenth century. The arts of India. China, and Japan are now included in Volume One to better integrate these great traditions in time. In all, the arts of 30 differentculturesaresurveyed,amongthem BlackAfrican; North American Indian; Oceanian; Mesoamerican and Andean; and Islamic. A final chapter, "The Dawn of Individualism in Italian Art—The Thirteenth and Fourteenth Centuries," wraps up pre- Renaissance traditions and sets the stage for Western art of the nextfive hundredyears. 749illustrations, including 182platesin fullcolor;15maps;9time lines;glossary;bibliography VOLUME TWO begins with the Introduction, followed by the bridge chapter, "The Dawn of Individualism in Italian Art—The Thirteenthand Fourteenth Centuries." Parts Five, Six, and Seven —TheRenaissance,TheBaroque,andTheModernWorld—carry the story of art, architecture, and photography in the Western tradition upto the presentmoment, includingstrongrepresenta- tionofwomen painters, sculptors, architects, and photographers. Leonardo, Michelangelo, Bramante, Raphael, Jan van Eyck, Ber- nini, Rubens, Rembrandt, Velazquez, Cezanne, Matisse, Picasso, andtheAbstractExpressionistsallreceivespecial,extendedtreat- ment.Anewsection onwomenartistsofnorthern Italyhas been added to the chapter on Mannerism. Most significantly. Chapter 38. "The Spread of Modernism," has been rethoughtand reorga- nized, adding26 newartistsand 48 new illustrations ofthework of such diverse artists as Frida Kahlo, Agnes Martin, Romare Bearden,EdRuscha,IsamuNoguchi,MartinPuryear,andMiriam Schapiro. 718illustrations, including 307plates in fullcolor; 6maps; 7time lines;glossary;bibliography ART A HISTORY OF PAINTING SCULPTURE ARCHITECTURE • • - 5- >^ /• J v^^ ,aL - -^^v ^r*- ^ -— Ji^M. .'»'«.- - -j^^ ff v:a.>. ^wnwi t FREDERICK HARTT ART A HISTORY OF PAINTING SCULPTURE ARCHITECTURE VOLUME ONE FOURTH EDITION PRENTICE HALL, INC., ENGLEWOOD CLIFFS, NEW JERSEY AND HARRY N. ABRAMS, INC., NEW YORK t/A.. To Meyer Schapiro Scholar, teacher, counselor, friend Project Managers: Sheila Franklin Lieber and Julia Moore Editor: Ellyn Childs Allison Designers: Dirk Luykx and Ellen Nygaard Ford Picture Research, Rights and Reproductions: Lauren Boucher assisted by Colin Scott Frontispiece:Bison, cave painting, Altamira, Spain (figure 1-6) LibraryofCongress Cataloging-in-Publication Data Hartt, Frederick. Art : a historyofpainting, sculpture, architecture/Frederick Hartt.-4th ed. p. cm. Includes bibliographical references and indexes. ISBN 0-13-052416-6 (v. 1 : pbk.).-lSBN 0-13-052424-7 (v. 2 ; pbk.) 1.Art-History. I. Title. N5300.H283 1992 709-dc20 92-5809 CIP Fourth Edition 1993 Copyright © 1989, 1993 Harry N. Abrams, Inc. Published in 1993 by HarryN. Abrams, Incorporated, NewYork ATimes Mirror Company All rights reserved. No partofthis book maybe reproduced, in anyform or byanymeans, without the written permission ofthe publisher Printed and bound inJapan V CONTENTS PREFACE 8-9 INTRODUCTION The Nature of Art 10-11 Part One Art Before Writing 34-35 CHAPTER ONE Art in the Stone Age 36-37 PaleolithicArt MesolithicArt NeolithicArt CHAPTER TWO Tribal Art 48-49 Black African Art Oceanic Art North American Indian Art Part Two The Ancient World ee-e? CHAPTER THREE Egyptian Art 70-71 TheArchaic Period and the Old Kingdom TheMiddle Kingdom and the Empire (New Kingdom) CHAPTER FOUR Mesopotamian Art 100-101 Sumer Akkad Neo-Sumer, Babylon, and the Hittites Assyria Neo-Babylonia Persia CHAPTER FIVE Pre-Columbian Art in Mexico, Central America, and South America 120-21 Mesoamerican Art Andean Art CHAPTER SIX Aegean Art, c. 3000-1100 b.c. 134-35 CycladicArt Minoan Art Mycenaean Art CHAPTER SEVEN Greek Art 146-47 The Geometric and Orientalizing Styles TheArchaic Period The Classical Period—The Severe Style andIts Consequences The Classical Period—TheAge ofPericles The ClassicalPeriod—The Fourth Century The Hellenistic Period CHAPTER EIGHT Etruscan Art 216-17 Architecture Sculpture Bronze Implements Tombs CHAPTER NINE Roman Art 226-27 The Republic The Early Empire The Second Century a.d. The Third Century a.d. The End ofthe Pagan Empire Part Three The Middle AgeS 292-93 CHAPTER TEN Early Christian and Byzantine Art 296-97 The Earliest Christian Art TheAge ofConstantine TheAge ofJustinian Middle and LaterByzantineArt CHAPTER ELEVEN Islamic Art 354-55 EarlyArchitecture LaterArchitecture Painting CHAPTER TWELVE Barbarian and Christian Art in Northern Europe 378-79 CelticArt TheAnimalStyle Hiberno-Saxon Art CHAPTER THIRTEEN The Art of the Holy Roman Empire 388-89 Carolingian Art Ottoman Art CHAPTER FOURTEEN RomanesQue Art 410-11 Architecture and Sculpture in France Architecture andSculpture in Italy Vaulting in theRhineland, Lombardy Northumbria, andNormandy PictorialArts CHAPTER FIFTEEN Gothic Art 446-47 TheBeginnings ofGothic Style The French Cathedral French Manuscripts TheLater Gothic in France Germany Spain England Architecture in Italy Part Four The Far East 494-95 CHAPTER SIXTEEN Indian Art 496-97 TheIndus Valley Civilization BuddhistArt Hindu Art LaterHindu Art CHAPTER SEVENTEEN Chinese Art 522-23 Ancient ChineseArt The Classic Periods ofChineseArt Later ChineseArt CHAPTER EIGHTEEN Japanese Art 542-43 EarlyJapanese Art The Classic Periods ofJapaneseArt LaterJapaneseArt CHAPTER NINETEEN Epilogue: The Dawn of Individualism in Italian Art—The Thirteenth and Fourteenth Centuries 562-63 GLOSSARY 578 BOOKS FOR FURTHER READING 584 INDEX 589 CREDITS 600 MAPS 1. Europe and the Near East in Prehistoric Times 35 2. West Africa 50 3. South Pacific 57 4. North America in Pre-Columbian Times 59 5. Egypt and the Near East in Ancient Times 68 6. Mesoamerica and Northwest South America in Pre-Columbian Times 123 7. The Aegean World 136 8. The Hellenic World 148 9. Etruria 216 10. The Roman Empire at Its Greatest Extent 228 11. Europe and the Near East in the Early Middle Ages 298 12. Europe in the High Middle Ages 412 13. India and Southeast Asia 497 14. China 523 15. Japan 543 TIME LINES I. Stone Age / Tribal 64-65 II. Egyptian / Mesopotamian 118-19 III. Pre-Columbian Mexico, Central America, South America 132-33 IV. Aegean / Greek 214-15 V. Etruscan / Roman 290-91 VI. Early Christian and Byzantine / Islamic / Northern Europe 386-87 VII. Holy Roman Empire / Romanesque 444-45 VIII. Gothic 492-93 IX. The Far East 560-61 PREFACE Art is the only thing that can go on mattering once it has stopped hurting. Elizabeth Bowen The purposeofthis bookistogive studentsofall agessomethingthatreallywill go on mattering, once the blue books have been handed in and the painfully memo- rized names and dates have receded into dimmer levels ofconsciousness. To this end 1 have tried to puttogethera usable accountofthewhole historyoftheartistic production of men and women—an activitythat ranks as the highestofall human achievements (so 1 maintain), surpassingeven the most startlingcures ofmodern medicineand thelittlemachine hurtlingpastthe lastplanetsand outinto interstel- lar space. Obviously no teacher can use all the material assembled here. But 1 respect teachers enough to give them their choice ofwhat to include and what to leaveoutand studentsenough towantthem tohavea bookthattheycan keepand continue to explore on their own, whether or not theyever take anothercourse in the history of art. The fourth edition is the product of many months of thought and labor. One hundred more illustrations have been reproduced in color, in order to keep the book within manageable proportions, the number of images remains about the same,althoughtheadditionofforty-eightpageshasfacilitatedtheenlargementofa great number of illustrations. The reader will note several substitutions in accor- dancewith altered criteria ofimportance, in the third edition, to mygreatsatisfac- tion, itwaspossibletomakethisbooktrulyglobalbytheadditionofchaptersonthe arts of the three great civilizahons of East Asia—India, China, and Japan. These chapters have benefited immensely by the criticism and suggestions of Marsha Weidner. Forpractical reasons itwas necessaryto place the chapters at the end of thebook. Inthefourtheditiontheyhavebeen broughttotheirmostuseful position, between the Middle Ages and the Renaissance in the West. Nosingle scholarcanclaim specializedknowledgeofallperiods in the historyof art, and I have soughtandwelcomed criticism, especiallyofthose chapters thatlie outside my fields of study. But a committee book runs the same dangers as a committee course. Throughout the book, the interest of the reader has required unityofviewpoint.Allthetext, therefore, istheworkofthesameauthor,sinceithas luckily been possible for me to see and study in person the vast majority of the monuments and works of art treated here, from whatever region or period. in the third edition, a pioneer attempt was made to give women something approaching their just position in the history of art. In the present edition, the number of women artists has been somewhat increased. But the reader should understand that the task is not as easy as it might seem. What can one say about womenartistsinperiodswhenwomenweresystematicallyexcludedfromallforms ofartisticproduction except, letus say, embroidery?Andwhatcan onewriteabout women as artistic leaders in later periods when they were still permitted only marginal participation? In thosechapters inwhichwomen eitherdo notappearat all orturn up in minor roles, an attempt is made to explain why. I hope the reader will also understand that what I say in the Introduction aboutwomen in art, and what I undertake in other chapters, has been carried out with enthusiasm and conviction. Time alone will tell whether it is sufficient. Theteacher-studentrelationship isoneofthedeepestand mostproductiveofall human bonds. Howcan I forgetwhatmyownlongcareerhasowedtotheteachers.