Art: A New History

Undoubtly, one can find many faults to this book. For instance, the author comments on many works that are not illustrated, there is no bibliography and the topic of modern art is touched partially. However, despite these drawbacks, the book deserves the 5 stars. There are many reasons for this. First, "Art: A New History" is not merely a description of art in chronological order but an intelectual explanation of art. The way in which the author explains and exemplifies the concept of art as a "force" to produce aesthetic order is unbeatable. Then, Johnson avoid the clichés on too-commented topics giving a deeper thought. For example, "propaganda art cannot be good because it is just propaganda" sounds silly after reading this book. Even more interesting, Johnson confront modern art demostrating that most of this period is just fashionable art and uncovering (for those that do not know how art operates in modern times) the procedures of the artistical establishment. Maybe, one can agree or not with the author's opinion but in any case, he makes you think and that is what makes this book remarkable. Finally, many excellent painters that are ommitted in other books of the genre are mentioned in this one. Specially, female artists are presented, giving a "plus" to the work. In my opinion, this book is a "must"!

Paul Johnson has previously written definitive histories of the US and the 20th Century (Modern Times) it is only fitting that he turn to this subject. Your personal tastes will probably determine to what degree you like this book - the earlier chapters covering Ancient and Medievel and Renaaissance periods are bring new insight to this much covered area but where he really sheds new light is on the modern age: He is confident enough to compare Norman Rockewell to Vemeer and call Disney a great innovator and Picasso largely a fraud. He has articulated the feelings of many who have thought that abstract experssionism and the other 'art movements' were what the old folk tale 'the emperor's new clothes' warned us about. This is a good comprehsenive art history, that compares favorably to the Jansen I read in college.

I would give this book 10 stars if I could! Paul Johnson's clear, engaging writing style, his experience as an historian, combined with his obvious love of art make this book a unique and valuable contribution to art literature/history. While there are several great comprehensive/encyclopedic books on art history, who has ever been able to read one from cover to cover? This is a book that pulls you into a story and captivates you, and yes, I read it from cover to cover.Even though you know what's coming (historically speaking---most of the "big names" are covered), you can't wait to hear what Mr. Johnson has to say. Is he opinionated? Absolutely! But that's a great part of the fun. He has obviously devoted a great amount of his time and impressive intellect studying art. He is also a practicing artist, thereby incorporating an appreciation for the technical aspects into his views. You may not agree with everything he has to say, but it is well worth your time to read his perspective.From his narrative of the pre-historic cave paintings in Chapter 1 to his narrative of modern architecture (dominated by bridges) in Chapter 32, Mr. Johnson captivates and illuminates. I have struggled with appreciating modern art and found the author's view that most modern art is "fashion art" to be most helpful, although I am sure there are countless others screaming in protest. I found myself chuckling at each mention of Picasso ("What made Picasso so successful professionally and financially was not so much skill as commercial inventiveness, artistic originality, ruthlessness and extreme cunning, sometimes supplemented by intelligence of an unusual kind.") and rolling my eyes when he commented that Balthus (and others) "would have produced better pictures if they had drawn the human form as it is, rather than as seen through post-Cubist spectacles". (Who knows if they were capable of doing so?) But I was totally absorbed and thoroughly entertained.My only complaints are the lack of a bibliography and the lack of illustrations for many of the objects mentioned (particularly paintings). Thank you, Mr. Johnson, for sharing your passion.

As the attendance at museum shows increases each year, at least attendance to the blockbusters like Impressionism, Van Gogh, Lucien Freud, John Singer Sargent, etc, there seems to be an encouraging awakening to the importance of art here in the USA. And for those who have boarded the bandwagon as well as those who are intimidated by the vastness of knowledge believed necessary to enjoy art, welcome to Paul Johnson's immensely readable tome ART: A NEW HISTORY. The operative word here of course is 'New' and plays a fine bit of anachronism; how can 'History' be 'New'? Read the opening page of this huge tome and the answer (as a consistent beginning to a novel-like history book) is there. "I argue here that art predated not only writing but probably structured speech, too, that it was closely associated with the ordering instinct which makes society possible, and that it has therefore always been essential to human happiness. The artist was the first professional.....if we succeed in recovering the context [of art], we still have to see through the work into the mind of the artist who made it. This is where the real business of appreciating art begins. Artists are real people....etc"And so Johnson begins his magical journey through the entire history of art. "...it must never be forgotten that art was instinctively created by humanity to assist the process of ordering, and so understanding and mastering, the wild world of nature....For once art loses its fundamental order, it becomes disorderly and therefore ceases to sustain a moral society and may, in fact, become a menace to our happiness." He then sums up his very personal views about the book he has created by stating: "..the love of art is a subjective phenomenon, which comes to us through our sympathetic eye, and no expert should be allowed to mediate......We should use our own eyes, train them, trust them. This book is specifically designed to aid the process."From this warm and encouraging stance, Johnson then launches into a thorough, historically accurate survey of art history. He does this with a profound understanding of History of Civilization and embroiders his discussion of artists and art pieces, architecture, sculpture, etc with this rich background while he visits many individual artists with humorous and very personal insights. While extolling the majesty of such greats as Michelangelo, da Vinci, Caravaggio, Eakins, Hockney etc he slips in tales of their sexual preferences and how those preferences affected their art and their lives. And he always keeps his writings in the context of the times he is visiting. For instance, "It was one of the virtues of the Italian ruling class, and a great source of strength for her artists, that rulers loved them, understood their work, gave them not only money but friendship and support in times of need - indeed, often put up with tantrums and rages."It is this style of writing that allows, indeed encourages, the reader to discover

This work is far better than the reviews, some of which make it sound as if the author has peculiar ideas. I find his attitude sensible and valid. For example, it is true that art is taught widely nowadays, and yet the practical skills are not. It is certain that a tradition of skilled craftsmanship, once broken, is almost never completely revived.Johnson's writing is remarkable for his ability to condense into a single sentence, with clarity, an idea which would take others a paragraph to state. As an historian, he is better able than most art critics to place art in its historical context. In order fully to understand and appreciate art, one must see it in relation to culture, history, and ideas.Johnson is an excellent writer: his prose is lively, compact, and he makes it easy - and a pleasure - to read.The selection of illustrations is good, with the pictures placed in the text for easy association with the discussion. The trade-off is that the pictures are not large and glossy, and the reader may feel moved to visit a library to see reproductions at higher-resolution.By today's standards, the book - an education in one volume - is a bargain for its price.