"Rich in ideas and illustrations...of interest to scholars and art enthusiasts alike."―Library Journal
Since its first publication in 1994, this book has established itself as the most popular and highly regarded textbook in the field. It embraces many aspects of the so-called “new” art history while at the same time emphasizing the remarkable vitality, salience, and subversiveness of the era’s best art."synopsis" may belong to another edition of this title.
Stephen F. Eisenman is Professor of Art History at Northwestern University
Linda Nochlin was the Lila Acheson Wallace professor of modern art emerita at New York University’s Institute of Fine Arts. Her publications include The Body in Pieces: The Fragment as a Metaphor of Modernity; Women, Art and Power and Other Essays; The Politics of Vision: Essays on Nineteenth-Century Art and Society; Courbet; Mise`re: The Visual Representation of Misery in the 19th Century; and Women Artists: The Linda Nochlin Reader. Her essay “Why Have There Been No Great Women Artists?” is considered one of the most in influential texts in modern art history.
Frances K. Pohl is the Dr. Mary Ann Vanderzyl Reynolds Professor of Humanities and Professor of Art History at Pomona College in Claremont, California. She received her Ph.D. from the University of California, Los Angeles. Since moving to Pomona in 1985, she has taught a wide variety of courses in nineteenth- and twentieth-century North American art. Her work has focused on the art of the United States, in particular the work of Ben Shahn, about whom she has written two books, and the relationship between the visual arts and working-class culture. Professor Pohl has taught in the United States for many years, but her Canadian origins give her a unique continental perspective on American art.
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