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Modern Art 1851-1929: Capitalism and Representation (Oxford History of Art) ReviewThis review concerns the quality of the Kindle Edition of this book which I purchased in August 2011. The digital transfer is extremely poor quality and the book is difficult to read on a Kindle and on Kindle for PC.
The only positive thing I can say about the transfer is that any typographical errors from the scanning process have been corrected. Word and letter spacing are consistent and numbers and letters are not confused.
The formatting of the table of contents is strange and choppy and the text formatting is no better. Headlines are displayed in an enormous font size which does not change and the text font size is larger than any other of my other Kindle books at the same font size setting. When I read this title, I have to set the font size smaller than I normally would, then switch back to my preferred setting when reading other titles.
Also, the footnotes are not hyperlinked. The notes are in a chapter at the end of the book and if you want to check a note while reading, you must leave your page and manually page through the notes chapter to find the relevant note.
Worst of all, the product page on Amazon advertises 73 color illustrations which do not exist in the Kindle Edition. Every photo is scanned in grayscale. In contrast, a Kindle Edition of another Oxford History of Art title which I own has many color illustrations viewable when reading the book on Kindle for PC or Mac. There is no reason that this title could not also have the promised color illustrations.
In fact, there is no reason that this digital transfer should be so awful. It completely eliminates any convenience of a Kindle book. If I had known it was this poor, I would never have purchased the Kindle Edition.
Modern Art 1851-1929: Capitalism and Representation (Oxford History of Art) OverviewRichard R. Brettell's innovative and beautifully-illustrated account, the latest addition to the acclaimed Oxford History of Art series, explores the works of artists such as Monet, Gauguin, Picasso, and Dali--as well as lesser-known figures--in relation to expansion, colonialism, nationalism and internationalism, and the rise of the museum. Beginning with The Great Exhibition of 1851 in London, Brettell follows the development of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. Giving attention to the changing social, economic, and political climate, the book focuses on conditions for the development of modern art such as urban capitalism, modernity, and the accessible image made possible by art museums, temporary exhibitions, lithography, and photography. Brettell examines artists' responses to modernism, including changes in representation, vision, and "the art of seeing." Combining the most recent scholarship with 140 illustrations--75 in full color--the book chronicles the change in art and image itself, from the iconology of new representations of the nude human form to the anti-iconography of "art without 'subject'": landscape painting, text and image, and abstraction. Tracing common themes of representation, imagination, perception, and sexuality across works in a wide range of different media, and offering profuse illustration to bring the changing art forms vividly to life, Modern Art 1851-1929 presents a fresh approach to the fine art and photography of this remarkable era.
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