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(Paperback)
This second edition of Carol Strickland's The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern offers an illustrated tutorial of prehistoric to post-modern art from cave paintings to video art installations to digital and Internet media.
Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern takes art history out of the realm of dreary textbooks, demystifies jargon and theory, and makes art accessible—even at a cursory reading.
From Stonehenge to the Guggenheim and from Holbein to Warhol, more than 25,000 years of art is distilled into five sections covering a little more than 200 pages.
Carol Strickland has a doctorate in American culture from the University of Michigan. She is the Christian Science Monitor's art critic and contributes feature stories on the arts to the New York Times, Wall Street Journal, Washington Post, and Art and Antiques. She is the author of The Annotated Arch: A Crash Course in the History of Architecture, The Illustrated Timeline of Art History, and numerous artists' monographs. Carol lives in New York City and Long Island.
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November 15, 2009: I purchased this book for myself and then as a gift for friends. This is a great introduction into art history without getting stuffy. A nice, breezy style of writing complemented with lush color photography. I enjoyed it enough to reread.
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August 16, 2009: Unlike the vast tomes of many authoritative voices of Art History, this book is comparatively brief yet never superficial of content, organized yet never montonous of style. It is easily accessible to the beginning student of Art History, as it is complementary ti the inquiries of the mature museum lover.
Many, if not most of the illustrations are in color, small representations (perhaps my main criticism,) but nevertheless well chosen. The cover alone will lure the reserved student to looking further into the text. Indeed, Strickland's choice of the title is sedcutive in a way, and yet it implies, or even affirms, that the average art viewer thinks of the Mona Lisa when first exposed to studying fine art painting. After all, I have never had a class in which a student fails to pose the inevitable question: "What's so great about the "Mona Lisa"? Yet this author offers answers to the simple questions about art as well as offering sufficient details to prod for further inquiry or research. This tome can be a textbook (probably teenage level rather than college) or a faithful companion for the art lover. Perhaps the book's greatest asset is that it is so readable that the reader will want to pursue further into Art History. As a teacher, that is all I desire!