Susan Doyle - History of Illustration

by Stephanie Haboush Plunkett with contributions by Jaleen Grove

by H. Nichols B. Clark with contributions by Whitney Sherman

by R.W. Lovejoy

by Whitney Sherman

by David M. Mazierski

by Nanette Hoogslag and Whitney Sherman with contributions by Brian M. Kane

Contents

by Robert Brinkerhoff and Margot McIlwain Nishimura

by Susan Doyle

by Binita Desai and Nina Sabnani

by rvin Cemil Schick

by Sonja Kelley and Frances Wood

by Daphne Lange Rosenzweig with contributions by Susan Doyle

by Maya Stanfield-Mazzi with contributions by R.W. Lovejoy

by Bolaji Campbell

by Shelley Wall and David M. Mazierski

by Shelley Wall

by R.W. Lovejoy

by Hope Saska with contributions by Susan Doyle

by Graham Hudson

by Brian M. Kane and Page Knox

by Susan Ashbrook and Alison Syme

by Alice A. Carter

by Pamela Parmal

by Mary F. Holahan with contributions by Alice A. Carter, Jaleen Grove, and Joyce K. Schiller

by Jaleen Grove

by Roger Reed with contributions by Jaleen Grove

by Thomas La Padula

by Nicholas Egon Jainschigg with contributions by R.W. Lovejoy

s

by Brian M. Kane with contributions

by Loren Goodman and Michelle Nolan, et al.

by Stephanie Haboush Plunkett with contributions by Jaleen Grove

by H. Nichols B. Clark with contributions by Whitney Sherman

by R.W. Lovejoy

by Whitney Sherman

by David M. Mazierski

by Nanette Hoogslag and Whitney Sherman with contributions by Brian M. Kane

Preface

History of Illustration provides a global overview of illustration practices from before the development of written language to the digital age. As the first textbook on the topic, it fills significant gaps in the history of art and visual culture, and in the education of illustrators. Created by a team of educators, scholars, curators, and professional illustrators, each chapter has been written, edited, and reviewed by numerous experts. It is by no means encyclopedic in its presentation of works, artists, or even movements. Rather, History of Illustration is a survey that introduces the student to a variety of international illustration traditions, theories of the visual, and reference material that provide a foundation for further research and study.

Audience

The writing is aimed at undergraduate illustration students who have just begun taking classes in art or design history. It is also intended for art, design, and media students wishing to expand their understanding of visual culture studies. Definitions for specialist terms, print technologies, art movements, and so on are therefore given in the text and in a glossary. The book also addresses the globalized environment by juxtaposing culturally specific illustration practices never before considered together, and it introduces critical theories to provide analytic entry points for understanding a wide range of illustrations in new ways. Additional teaching resources such as sample exam questions are supplied online for busy instructors who may not be illustration specialists themselves. Practitioners, curators, and fans will also find value in this books attention to the big issues of the field, brought to light through contextualized examples of illustration art.

Organization and Features

The Introduction grounds the purpose of the book and the study of historical illustration in more detail, and provides a concise, practical illustration research method that accounts for illustrations particular properties as a vehicle for communication. Editors of the textbook have successfully used this pedagogical method with second-through fourth-year students writing research papers.

Loosely organized by both chronology and subject specialization, the book is then divided into sections that group chapters by era or scope. ) largely follow these topics into the twentieth and twenty-first centuries in the United States, delving into new genres of illustration characterized by successive waves of technological advances.