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An up-to-date and comprehensive guide to 150 of the most significant styles and movements that have shaped art history through time. All art is of its time, and this book is the first survey that explicitly embeds styles, schools and movements within the politics and culture in which they arose, by means of timelines, textual references and the unique present-to-past arrangement of the book. An essential guide to art styles and movements and a history of world art from the present day to Greek antiquity, this book places the reader in the art historian's seat, offering an opportunity to work backwards from our own time and reconnect the dots, or even find new dots to connect. It revives art history, for both the specialist and the general reader coming to the subject with limited knowledge – it shows graphically that art history is a living thing, not dead.
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The first monograph on an American abstract artist of unparalleled subtlety.James Howell (1935-2014) was an American abstract artist who used infinite variations of the colour grey to explore the fundamentals of light, space, time, and [kinesthetic] perception. He appreciated the colour’s mystery, softness, simplicity, and capaciousness. His precise, systematic methods, developed over many years, yielded accomplished square paintings and works on paper. Their subtle revelations — absent of illusion, narrative, and symbolic references — expand in the viewer’s consciousness. In this comprehensive first monograph, Alistair Rider traces Howell’s artistic evolution, from the beginnings of his career in the early 1970s through the artist’s greatest achievement — the group of abstractions called Series 10, which occupied the last two decades of his life. Rider’s multi-faceted essay also chronicles Howell’s biography, including his early studies and accomplishments in architecture, and offers several interpretive frameworks for Howell’s oeuvre, notably a connection to East Asian philosophies. The beautifully produced book presents dozens of full-colour plates of artworks and exhibitions, and Rider’s essay is thoroughly illustrated with archival images and documents from the James Howell Foundation. This publication makes a critical contribution to the reevaluation of an artist whose studies of light into shadow have for many years been in a dynamic conversation with recognised trends in contemporary art.