Gateways To Art
Understanding the Visual Arts
( Third Edition)

Debra J. DeWitte , Ralph M. Larmann , M. Kathryn Shields

4.5/5*

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Comparing with the first and second edition, what is the more special message in this 3rd edition? 

If with the first version, Thames & Hudson―the world’s leading art publisher―Gateways to Art facilitates instructor choice and offers unprecedented pedagogical support for students. Short chapters can be read in any order, with new vocabulary defined on the page as it occurs. The “Gateways to Art” images (from around the world and all eras) support the common course goal of learning to interpret art in multiple ways and help students build on what they already know. The text is balanced and global, with over 1,000 illustrations―from around the world, and from everyday life. 800+ full-color illustrations.

Up to the 3rd version was more complete, flexible organization, including illustrative programs, extended communication resources. A flexible structure supporting teaching and learning, a global perspective and a focus on visual analysis have quickly made Gateways to Art the best-selling book about appreciation for art. With an unmatched illustration program and countless digital resources are tightly integrated. The third edition will make your course more interesting. Surely you will love the more expansive contemporary art, new tools for cross-referencing between new chapters, videos and interactive tutorials before practice.

The Second Edition of Gateways to Art features an even greater emphasis on visual culture and contemporary art. All new "Visual Galleries" conclude each chapter, creating valuable connections throughout the text, while a unique chapter on Content and Analysis leads students step-by-step through detailed analyses of seminal artworks. Last, but not least, recurring “Gateways to Art” features 

teach students to examine works of art from all angles: formal analysis, media, history, and themes. 1,725 illustrations in color and black-and-white

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- Value can mean sale price in money
- Value can mean rarity or uniqueness
- Fame of the artist can influence value
- Objects can have a ceremonial or spiritual value
- Art can be valuable because it expresses a society’s cherished ideals and identity
- Art can be valued for its beauty and power to inspire awe 

The Value of Art

- Art can be very powerful: it can challenge or offend
- Art can be censored for many reasons:
- Because it is pornographic
- Because it offends religious beliefs
- Because viewers object to its political message
- Because it expresses values that others do not share 

Censorship of Art

- There are many ways to see and interpret a work of art
- We can analyze art as visual language
- What can historical or social context tell us about art?
- Alternatively, can art teach us something about history and culture?
- Does art reflect its creator’s opinions?

Why Do We Study Art?

- A single individual or many
- Artists or artisans – craftspeople also make beautiful and
useful works
- Famous or anonymous
- Not all artists make their art themselves
- Making of art also influenced by patrons who commission it
- Can be affected also by training (or lack of): artist as follower of tradition or as innovative genius 

Who Makes Art? 

- Art is in many places:
- Objects as diverse as coffins or books
- Museums
- Parks and public places
- Our homes 

Where Is Art?

Art communicates ideas and emotions by visual means: it is a form of language
- Art helps us see the world in new and exciting ways
- Art is not made of a defined, prescribed set of media
- Art has many purposes

What is art?

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Summary of the main contents in the book

The author offers a series of interesting questions and answers, along with thousands of unique illustrations:

Debra J. DeWitte is an Adjunct Assistant Professor of Art & Art History at the University of Texas/Arlington.
Ralph M. Larmann is a Professor of Art and the University of Evansville, Indiana.
M. Kathryn Shields is an Assistant Professor of Art History at Guilford College, North Carolina.

About the author

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Customer’s Reviews

“ I bought the e-book edition of this book already. Honestly, it helps me change about the approaching of art. It’s so useful for my class. Thanks a lot for a perfect book!”

Julia

“ My daughter needs this book for her class. I already ordered this book for her and she’s so excited about this. I also read its content and the images in it are super meaningful. The author has analysed it in a deep way.” 

Peter

“ Normally, I’ve read so many books of art, most of them are so abstract and it takes time to understand. However, with this book, it helps me so excited, I wallow in its content and colorful images, the author’s analysis is also easy to understand.” 

Amonde

Product details

Paperback: 720 pages
Publisher: Thames & Hudson; Third edition (November 15, 2018)
Language: English
Product Dimensions: 8.5 x 1.5 x 10.9 inches
Shipping Weight: 4.2 pounds
Rating: 4.5/5*

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Content summary:

A book on challenging racism by working against and understanding what the author terms "white fragility", a reaction in which white people feel attacked or offended when the topic of racism arises. The book discusses many different aspects and manifestations of white fragility that DiAngelo personally encountered in her work as a diversity and inclusion training facilitator.
White Fragility became a New York Times bestseller for more than a year. In September 2019, "White Fragility has yet to leave the New York Times bestseller list since its debut in June 2018, making it the fastest-selling book in the history of Beacon Press."
For The New Yorker in 2018, staff writer Katy Waldman wrote about White Fragility that The value in White Fragility lies in its methodical, irrefutable exposure of racism in thought and action, and its call for humility and vigilance.
The advice in White Fragility is fairly straightforward—which is not, of course, the same thing as easy to act on. DiAngelo wants white people to abandon ideas of racism as a matter of individuals being good or bad, moral or immoral. To accept that we surely have unconscious investments in whiteness—investments we might not yet fully understand. To seek out the perspectives of people of color, embrace the discomfort that might result, and avoid confusing that discomfort with literal danger.
To start uncomfortable conversations with family and friends. To breathe slowly. And, perhaps most important, to remember that we should do all this not for people of color, but instead for ourselves, in the spirit of honesty and truth-telling.