But a 2006 revision largely wrote Janson out of his own book, though the title remained. Works cited as masterpieces eg James Whistler Whistler’s Mother (1871) were ignored, while ignored arts (photo-graphy, decorative arts) were added. As were female artists. And it replaced Janson’s focus on the male artist as genius with a more comprehensive reading that considers race, class and gender. Though this most recent edition (2013) is now old, it remains useful.
2. Hal Foster, Rosalind Krauss et al, Art Since 1900 Compiled by contributors associated with October, the art-critical quarterly known for its dense writing, Art Since 1900 was published in 2005 as a corrective to standard art histories, while being aimed at a broader readership. Now published as a 2-volume set, the book retains October’s thorny attitude; it is sceptical of the notion that art embodies individual expressions that transcend time. So the book doesn’t follow the development of modernism, anti-modernism and post-modernism through movements or artists. Rather it treats C20th art to a textual deconstruction with short essays tied to cultural or historical events for each year 1900-2003, starting with the publication of Sigmund Freud’s Interpretation of Dreams. $160
3. Giorgio Vasari, Lives of the Artists. Vasari (1511-74)’s biographies of the Italian Renaissance’s key players introduced the concept of art history we know. Many of his subjects were his near contemporaries, making the text a primary source for studying the era that ushered in art’s Western tradition. First published in 1550, Lives covers the period bracketed by Cimabue (1240–1302) and Michelangelo (1475–1564) and is prefaced with a general treatise on architecture, sculpture and painting. Later historians faulted Vasari for being too focused on Florence’s and Rome’s artists, though the book was enlarged in 1568 to include Venetian artists like Titian. But while Lives didn’t look beyond Italy, its influence spread rapidly in Europe, the first translation being in the Dutch Republic (1604).
6. Ernest Gombrich The Story of Art, 1950 He noted there was really no such thing as Art; there were only artists. Thus he set the tone of what has become one of art history’s most popular works. Avoiding sweeping discussions of movements, Gombrich focused on individual works of art and the figures behind them. Except for a few diversions into ancient and tribal art, this invariably meant Western, male painters. Still Gombrich took a remarkable stance for an art historian by maintaining that art history can obscure, as well as clarify the experience of art by relaying information unnecessary to the act of seeing. Linking artists as diverse as Raphael and Cezanne across time, Gombrich insists that they all faced similar challenges in their work. Their intentions matter.
7. Phaidon eds, The Art Book Smart and lavishly produced, this directory of artists across history is valuable. Ranging from the Middle Ages on, the book features 500 artists, each given a lush treatment: a full-colour reproduction of a key work printed with breath-taking detail. Each entry has a brief text with a clear career overview of the artist. Since the artists are presented alphabetically, meet unexpected juxtapositions of eras and styles eg one pairing C17th Dutch painter Hendrick ter Brugghen and contemporary Frenchman Daniel Buren. Though The Art Book loves painting, it also covers sculpture, photography & installations.
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