可借阅:*
图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
---|---|---|---|---|---|---|
正在检索... Science | Reference Book | R 704.947074 R 585M, 1991 | 1 | Reference Material | 正在检索... 未知 | 正在检索... 不可借阅 |
链接这些题名
已订购
摘要
摘要
For researchers and writers delving into a particular topic--person, place, event, etc.--lists works of art by their subject, rather than by artist, and gives precise information on where they are. Well cross- referenced. Rochelle also has a similar index covering only A.D. 400-1650. (c) by Book News, Inc., Portland, OR.
评论 (2)
《书目》(Booklist)书评
Identifying art depicting particular subjects is often difficult. It is also challenging to determine the location of artwork in order to find more information about it or obtain photographs. With Mythological and Classical World Art Index, Rochelle, a free-lance writer, extends the subject approach of her earlier Historical Art Index, A.D. 400-1650 [RBB Ap 1 90] to Greek and Roman subjects depicted in painting, sculpture, mosaics, drawings, and prints to 1900. The body of the book consists of subject headings followed by lists of artwork depicting the subject. Most headings are names of persons (Caracalla, Aesop) or deities (Jupiter, Dionysius). Less frequently included are mythological beasts (Minotaur, Pegasus), events (Calydonian Boar Hunt, Bacchanale), and places (Olympus, Parnassus). Both Greek and Roman names for deities are listed; for example, there are entries under both Eros and Cupid. See and see also references refer to alternate or related names. Names of specific persons or events are used rather than broader themes. For example, Spartacus and Actium, Battle of are listed, but not Gladiators or Battles. Therefore, the index will be more useful to the user with a specific person or event in mind, rather than a request for "scenes of Roman battles." Brief descriptions of the subjects usually follow the headings ("Amazons, female warrior race"). The number of pieces of art listed chronologically after a subject heading ranges from one (Antigone) to more than 250 (Venus). There are no subheadings for specific subjects, which means that the reader must scan, for example, all the entries for Vulcan to find those depicting Vulcan's forge. Each entry includes the name of the piece or a description detailed enough to identify it. Also included are the medium, the artist (if known), the museum or other collection owning the piece, and "whenever possible," abbreviated references to one or more books in which reproductions can be found. Dates of artwork are usually included but are sometimes omitted even when an approximate date could have been easily determined. An alphabetical index to artists reveals the broad range of artists covered, from the Greek sculptor Praxiteles to late-nineteenth-century artists such as Renoir. A directory of museums and galleries owning the pieces provides complete names and addresses but not telephone or fax numbers. The book's weakest feature is the bibliography of approximately 200 works cited in the entries as sources of illustrations. Rochelle does not explain how she selected these books. Despite her intention to "use books most readily available in one's local library," it is unlikely that institutions other than research libraries will have all, or even most, of the books in the bibliography, which includes several books in foreign languages published in Europe. Furthermore, the list excludes standard, well-illustrated sources that many public and academic libraries are likely to own, such as the Encyclopedia of World Art and Frederick Hartt's History of Italian Renaissance Art. Some of the omissions in the bibliography are enigmatic. For example, eight volumes of Newsweek's Great Museums of the World series are included, while at least two other volumes in the series are not, although they are cited as sources of illustrations. Many other entries for pieces of art contain brief references to books that the Board could not locate in the bibliography. These omissions will frustrate library users who find that they must turn to other sources to locate the full citations for books listed as, for example, "Ashelford, Visual," but not included in the bibliography. The Mythological and Classical World Art Index is a flawed book that nevertheless provides subject access to artwork not easily available otherwise. For this reason, academic art libraries may want to consider purchasing it. (Reviewed Apr. 1, 1992)
Choice 评论
The title word "Mythological" may be misleading: this subject art index covers Greek and Roman mythology only and the classical world. The subtitle defines the volume's scope in time and media. In her companion work, Historical Art Index, A.D. 400-1650 (CH, Apr'90), Rochelle included people, places, and events. Here, the scope seems to be solely characters (literary, historical, and mythological). No entries exist under "Forum," "Gladiator," or "Styx"; there are, however, entries for centaurs and harpies. The introduction defines the work as noncomprehensive. The alphabetical-by-subject index constitutes the main body of the book. Each entry gives an extremely brief description, e.g., "Lotus, nymph." Artworks are listed in chronological order with brief description, date, artist, museum, and publications with reproductions. A museum directory with complete addresses, a bibliography with full citations, plus an artists index complete this work. As stated in the introduction, this index provides a starting point. As to facility of use and quality, it leaves much to be desired. The index information is very congested, with unvarying type fonts. The artist index refers only to page numbers rather than specific references. The bibliography lists books not readily found in small to medium academic libraries, and probably would serve Greek and Latin departments to a greater degree than art schools. This extremely specialized and limited reference tool, though unique, is recommended only to university libraries.-R. P. Sasscer, Catholic University of America