Over two decades this art historical tour de force has consistently proved the classic introduction to humanity's artistic heritage. From our paleolithic past to our digitised present, every continent and culture is covered in an articulate and well-balanced discussion. In this Seventh Edition, the text has been revised to embrace developments in archaeology and art historical research, while the renowned contemporary art historian Michael Archer has greatly expanded the discussion of the past twenty years, providing a new perspective on the latest developments. The insight, elegance and fluency that the authors bring to their text are complemented by 1458 superb illustrations, half of which are now in colour. These images, together with the numerous maps and architectural plans, have been chosen to represent the most significant chronological, regional and individual styles of artistic expression.

This is a quick, handy reference guide to art from prehistoric times up-to-the present. The book is arranged in chronological order, covering all the main time periods, movements and well-known artists. There are time lines for each section as well as brief introductions to what was happening politically, socially etc. at the time, and also an in-depth look at famous artists. The text is accessible and authoritative. The layout is easy to follow and well laid out. In short, this is the ideal student's or layman's guide to the history of art.

"The World's Greatest Art" series has been hugely successful on the back of the best-selling bigger book "The World's Greatest Art". Now, to fit in with the series as a whole we've introduced this "Brief History of Art" which covers popular art from 1200.

Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. A World Art History and Its Objects proposes the use of temporal narrative as a way to begin to understand a multicultural art history.

How does an artist’s interpretation of historical events alter our understanding of them? Kings, queens, presidents, and generals from Alexander the Great to Theodore Roosevelt have commissioned paintings, drawings, sculptures, and photographs of major events, and artists have responded to important moments with works that forever shape historical memory. The book deals with specific episodes, from the proclamation of the Code of Hammurabi to more recent events such as the fall of the Berlin Wall and the terrorist attacks of September 11, 2001. It also deals with broader themes, such as the founding of states (Persia, Rome, the Chinese Empire, the United States) and war (Delacroix’s Liberty Leading the People, Picasso’s Guernica). Here too are the great voyages of exploration, the industrial revolution, and much more. World history is vividly elucidated in these works of art.

Art in Time is the first book to embed art movements within the larger context of politics and history. Global in scope and featuring an innovative present‐to‐past arrangement, the book’s accessible text looks back on the most significant art styles and movements, from the present day to antiquity. Pages of historical photographs, documents, newspaper headlines, and other ephemera evoke the times in which styles and movements arose. The book opens with The Information Age (Internet Art, Neo‐Expressionaism, Arte Povera) and closes with The Classical Age (Roman wall painting, Hellenistic Greek style), covering everything from Photorealism, Art Brut, Ukiyo‐e, and Byzantine style in between. An integrated timeline provides a linear thread throughout the book, while succinct, authoritative text illuminates key points.