For example, the terminology is often overly simplified and inaccurate. While readability is important, it is equally important for a student to expand their vocabulary and become familiar with the language of the discipline. Simplification also comes in the form of analysis and description of the works of art without connecting it to formal elements and historical and cultural context. There are also assumptions being made in the analysis (e.g. students knowing what Prairie Style is and how that might influence another artist/movement). Another problem area are the huge leaps in time and generalizations made in content, for example, in connecting the ancient Greeks to Jackson Pollock on page 4. Being a text covering the thematic history of visual art, the content itself will not go out of date. The lack of contemporary imagery is the biggest drawback to the text, due to licensing of the figures.

History

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• This text is consistent with overall use of terms and organizational framework.
• The book’s organization would benefit from some reference to a chronology.

The images included are also significant and comprehensively representative. However, many of the images also depict the same imagery found in other books. Students reading this material need to also see work from a more balanced sampling of artist genders. The topic is discussed in Chapter 8, but not visual samples of women’s or other-gendered artists included there. The references and visual material presented in this book are of generally-accepted and representative examples of historic art.

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In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to the time period and that is not addressed here by omitting some of the major Art movements like Impressionism, Cubism, Realism, photography and digital imagine. The examples provided are relevant and serve well to illustrate the concept. The prompts at the end of each chapter also present good starting points for class discussion. The text displays consistency throughout and does a good job of integrating key terms and concepts throughout its chapters. The bolded key terms that appear as a glossary at the close of each chapter is especially helpful, as well as the “test yourself” sections and introductory concepts that start each chapter. Such stand-alone devices are a great boon to students and surely aid with comprehension.

Designers often use pre-designed raster images and vector graphics in their work from online design databases. Page layout deals with the arrangement of elements (content) on a page, such as image placement, text layout and style. Page design has always been a consideration in printed material and more recently extended to displays such as web pages. Each chapter covers material outlined in the table of contents and the introductory chapter. Each chapter also has a summary of key concepts and reinforces the themes developed throughout the text.

There seemed to be no clear logic to much of the distribution of the chapters and the chapter sections. For example, both the chapter on Form in Architecture and on Art and Ritual Life contain extensive sections covering sacred architecture. The textbook is divided into small reading sections with clear headings Web Design and subheadings. The textbook is written in prose that should be accessible for the average college freshman. Specialized discipline-specific terminology is defined in the text and in a list of terms at the end of each chapter. I especially enjoyed the integration of works from throughout the world. Often in more conventional texts, art of the non-western world gets relegated to their own, atemporal chapters.