Janson H.W., Janson Anthony F. A Basic History of Art

Harry N. Abrams, Inc., 1992. — 532 p.The fourth edition of H. W. Janson's A Basic
History of Art has more changes and additions
than any previous one. The book is now
much more consistent in character with H. W.
Janson's History ofArt, from which it descends,
yet preserves its own identity, appropriate to
its different audience. Thus, the chapters on
art between 1520 and 1750 differ appreciably
from that volume.
Part Four, devoted to the modern world, has
been completely reorganized. The distinction
between Neoclassicism and Romanticism is
now drawn more clearly. Twentieth-century
painting now has a more straightforward
chronological organization. A separate chapter
is devoted to sculpture since 1900, which
has followed a rather different path from
painting. Modern architecture begins with
Frank Lloyd Wright, while its antecedents, including
the Chicago school and Art Nouveau,
have been placed in earlier chapters where
they properly belong. I have also taken the
opportunity to bring the record of art history
up-to-date and to add a number of artists.
There are many more illustrations in color,
as well as several new illustrations showing
works in situ. In addition, there are architectural
drawings that have never appeared in
the book, including improved diagrams and
plans. The expanded Introduction now includes
a brief discussion of line, color, light,
composition, form, and space. This section is
intended to help the beginner become more
sensitive to visual components of art. The decision
to incorporate basic elements of art
appreciation— a subject that lies outside the
traditional scope of art history— is based on
the conviction that one must first learn how to
look at art in order to understand it, since the
works of art themselves remain the primary
document. Most people who read this book
do so to enhance their enjoyment of art, but
often feel uneasy in looking at individual
works of art. The new material addresses that
obstacle by providing some general observations
on viewing art, without resorting to formulaic
guidelines that too often get in the
way. In making these revisions, my primary
aim has been to preserve the humanism that
provided the foundation of this book, and to
integrate my own views and writing style as
seamlessly as possible into A Basic History of
Art as it has evolved over more than twenty
years.
This edition is dedicated to Diane Chalmers
Johnson, who encouraged me to think
more deeply about the process of looking at
art. I am also indebted to two former curatorial
colleagues: Michael McDonough for his
helpful suggestions on modern architecture
and Joseph Jacobs for his stimulating ideas
about contemporary art. Diana Murphy has
taken a fresh look at the entire text in the
course of editing the book. Sheila Franklin
Lieber, Project Manager at Harry N. Abrams,
Inc., provided strong support and made consistently
helpful suggestions throughout the
revision process. Ellen Nygaard Ford redesigned
the entire book with sensitivity and
skill. Bob McKee also offered his experience
in the design process. Jennifer Bright and
Colin Scott provided their usual resourcefulness
in securing new photographs and reproduction
rights for the book. Shun Yamamoto
brought his considerable expertise to bear on
the book to ensure that the high production
standards for which it is known would characterize
the fourth edition as well.