AP Art History 250
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101. The Swing Form: -style: ROCCOCO- love, pastels, aristocracy, arabesques, delicate paint application -oil on canvas Content: -ideal love gardens with sculptures -cupid whispering -attendant swinging her=elite -foot with expensive shoe -French garden -"peeping tom" in lower left Function: -made for aristocrats to decorate buildings -show the pleasures and decadence enjoyed by the elite Context: -1767 CE (18th century) -artist: Jean-Honore Fragonard -Enlightenment https://www.khanacademy.org/humanities/renaissance-reformation/rococo-neoclassicism/rococo/a/fragonard-the-swing
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116. Saint-Lazare Station Form: -oil on canvas -diagonal but flat lines -abstract -everything=light or color -non-heroic Content: -commuter railroads/trains -urban scene with trains, not just outdoors/nature Function: -make modern life look beautiful -emphasizes new ways of taking day trips on trains -urbanization Context: -Claude Monet 1877 Paris -impressionism https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/cezanne-montsv
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125. Mont Sainte-Victoire Form: -3 sections -warm and cool contrast -multiple vantage points -shatters one point perspective -faceted brushwork -relationship of forms Content: -orange: rooftops -green: trees -mountain Function: -landscape painting -paints how things relate to eachother Context: -Paul Cezanne -1902-04 -Southern France, POST-IMPRESSIONISM -reflecting science and art -no vanishing point https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/cezanne-montsv
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126. Les Demoiselles d'Avignon (young woman of Avignon) Form: -style: PROTO-CUBISM Content: -incorporated works from different periods of times: Kouros, African masks, Manet's works -5 women (prostitutes) with direct stare at the viewer Function: -embodies new world of movement in art Context: -artist: Pablo Picasso -1907 CE, street in Barcelona https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/picasso-les-demoiselles-d-avignon-1907
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127. The Steerage 1907 Form: -photograph/photogravure -German Expressionism Content: -Alfred on way back to Germany -below him: americans being sent back -elites on top while lower class is on the bottom Function: -converys message about the immigrants who were rejected at Ellis Island or people returning to old country to try to encourage people to come to US -show social status -Stieglitz placed a primary focus on formal composition with the intent of elevation photography to the height of fine art. -the formal composition seen in an intersection of architectural elements and figures arranged as if in an abstract composition. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/stieglitz-the-steerage
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128. The Kiss Form: -Art Nouveau (jugendstil) -flat figures, rich colors -gold (Byzantine influence) Content: -couple laying in a field of flowers -"eternity of a kiss" -both crowned with leaves or flowers Context: -artist: Gustave Klimt -1907-08 CE https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/gustav-klimt-the-kiss-1907-8
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129. The Kiss 1910 Form: -modern abstraction, little detail -symmetrical -stone Function: -version of The Kiss by Klimt Content: -two bodies becoming one, interlocked with each other -one thin line separating the two Context: -artist: Constantin Brancusi -there is an attempt to retain the materiality -the elbows make a right angle that align with the corners of the block -the figures are defined by a single line that separates the two -they could almost be read as one figure without the line -right is a woman: her eye is smaller -their eyes join to make a single eye -Brancusi makes something that reveals the structure of limestone -it is a simplified carving -there is an idea of union -he is leaving the sculpture raw -it goes back to the archaic tradition before the classical -he rejected the sophistication of the urban experience -he looks instead at the truth in nature -it finds an alternative of the Academy https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/btheki
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130. The Portugese Form: -Analytic CUBISM (no color, plain, simplified, cubes) -text as art with images -resembling broken glass, fragmented Content: -guitar player on a dock? -stenciled text Function: -transitional piece into the new form of Cubism Context: -artist: George Braque -1911 CE -CUBISM -artist are fed up with giving perspective into nature' -trying to give a concept of time -see a different dimension -it shows multiplicity of views simultaneously -man on dock playing an instrument -Picasso and Braque are considered the founders of cubism -synthetic cubism: tearing things apart, no space -art is reflecting time https://www.khanacademy.org/humanities/art-1010/cubism-early-abstraction/cubism/a/braque-the-portuguese
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131. The Goldfish Form: -color expressionism (joy, emotion, physiological, spirituality) -fauvism -color contrast -abstract Function: -relaxation of the viewer, goldfish represent a tranquil state of mind -use of pictorial space Content: -graceful movement of goldfish -plants and tables -view of side and view from top of goldfish shown at the same time -used his own memory of it to paint this Context: -artist: Henri Matisse -1912 CE https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/matisse-goldfish
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132. Improvisation 28 (second version) Form: -German EXPRESSIONISM -expressing things through colors -non-objective Content: -concerning the spiritual in art -synesthetic experience -black diagonal lines -color as the keyboard Function: -each color plays chord in your soul -music as art Context: -artist: Vassily Kandinsky -1912 CE https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/kandinsky-improv28
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53. Merovingian looped fibulae Form: -interlacing (zoomorphic) -bowed -filigree 2-4" -silver gilt (thin layer of gold) Content: -animals (fish represents Christ and eagle represents St. John) Function: -clip for holding fabric -clasp that hold fabric to the shoulder Context: -mid 6th century CE -Frankish kingdom -found in tomb of rich woman https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/a/fibulae
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133. Self Portrait of a Soldier Form: -German EXPRESSIONISM -angular/powerful colors -explosion of color Content: -dehumanizing aspects of human life -Kirchner as a soldier standing in his studio -right hand amputated, bloody stump -nude model behind him (showing that he is the artist) Function: -emotion expressed through color -effects of war on a soldier or anyone involved -call for young people to fight Context: -artist: Ernst Ludwig Kirchner -1915 CE -the formal quantities of this work demonstrate the influence of the Fauves' use of bold color for emotional impact.. -he employs bright, saturated colors to express the psychological impact of the WWI on the artist. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/kirchner-self-portrait-as-a-soldier
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134. Memorial Sheet for Karl Liebknecht Form: -german EXPRESSIONISM -lamentation, woodcut Function: -honors the communist without depicting his ideologies so people would know she wasn't a communist -depicts this with great compassion Content: -densely packed with figures (multitudes coming to show their respects) Context: -artist: Kathe Kollwitz, approached by family to make this -Kollwitz references specific images of Christain sacred art, such as the lamentation. -it shows Christ's followers mourning over his dead body in the Lamentation. -Kollwitz knew her audience would be familiar with this European art. -she strengthened the impact of her work and helped communicated the idea of Liebknecht as a martyr through the reference. -Kollwitz chose woodcut for this because woodcuts allow for strong contrast and clear expressive shapes. -this created an intense emotional image in which black and white shapes focus attention on the victim and the mourner closest to him. -the white shapes create visual tension between the upper portion of the work and the more solid areas below it. -she cuts this into a wood block -there are three registers -from greater concentration to less concentration -corpse id not anatomical -this is about the morning of a political leader -gives a claustrophobic feeling -kinesthetic: mourner touching the leader https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/kthe-kollwitz-in-memoriam-karl-liebknecht
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137. Illustration from the Results of the First Five-Year PlanForm: -Photomontage: images combined and manipulated to express the message artist wants to convey -Dynamic composition -Graphic art (book and magazine) Typography: text turned into art (what Stepanova is famous for) Content: -Stalin's Five Year Plan of 1928 for agricultural, industrial, and military growth -Vladimir Lenin -Industrialism -Red: color of the Communist Soviet Union Function: -Soviet propaganda -Show Stalin's economic policies to the world -Constructivism as utilitarian modernism -Artist's interpretation Context: -Varvara Stepanova, 1932 -Russian CONSTRUCTIVISM -Stepanova used photomontage to express the constructive belief in serving the ideal of a new society. -he expressed the ideal of a new communist state, using the visual language of the propaganda to showcase the concepts of the USSR'S First five year plan to make the Soviet Union become a major industrial world power. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/stepanova-the-results-of-the-first-five-year-plan
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139. Fallingwater Form: -Ribbon fenestration -Organic plan/space -Horizontality -Irregularity and complexity of design Content: -Hearth in center of house -Cantilevered porches extending over waterfall -Living room with glass curtain wall around 3 of the 4 sides Function: -Weekend house for the Kauffman family (owned a department store in Pittsburgh) -Harmony with nature Context: -architect: Frank Lloyd Wright, 1936-39 CE140 -Site specific -Designed furniture as well https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/frank-lloyd-wright-fallingwater
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140. The Two Fridas Form: -SURREALIST -Ex Voto Tradition -Victorian European (left)/ Mexican (right) Function: -Self portrait, search for herself -Show her two heritages (European father, Mexican mother) -Blood on lap suggesting abortions and miscarriages Content: -European Frida on left and Indian/Mexican Frida on the right -Right: holds small portrait of (almost) ex-husband Diego as a child -Left: holds hemostat (stop bleeding of her heart) -Stormy sky (everything going wrong) -Heart twined together by veins that are cut by scissors at one end and lead to portrait of husband Context: In midst of divorce with Diego Rivera -Frida Jahlo, 1939. -her depiction of a double self-portrait with exposed hearts can be interpreted as a commentary on the complexities of Mexican cultural identity. -she is depicted in a colonial dress on the left and in an indigenous dress on the right reflects the different roots of Mexican culture heritage and their complicated relationship to each other https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/kahlo-the-two-fridas-las-dos-fridas
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152. House in New Castle County Form: - Wood frame - POST-MODERNIST Content: - Rear façade: Flat, classical, cartoony columns - Music room: quirky chandelier, colors, weird vaulting Function: - Show post-modernist ideals - We live in a diverse society, not simple - House designed for a family of three o Wife: musician (all the instruments and music room) o Husband: bird watcher (windows facing the woods) - Irony of using classical elements Context: -Robert Venturi, John Rauch, Denise Scott Brown 1978-83 -Delaware, USA -Post modernism: whimsical, fun, playful "less is a bore"(modernist doesn't embody what the world is really like) https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/venturi-house-delaware
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141. Migration of the Negro, panel no. 49 Form: -SYNTHETIC CUBISM (flat, angular) -60 panels in series -Tempera paint on hardboard -Unmodulated colors Content: -Anonymous faces -Split down the middle -Public restaurant in city segregated Function: -Historical narrative series that depicts the migration of African Americans from the rural South to the urban North after WWI -Segregation emphasized by yellow poles that zigzag down the center Context: -artist: Jacob Lawrence, 1940-41 -Parents migrated North so he lived during this period of migration -Lawrence compose various visual elements primarily to comment on the discrimination that awaited southern African Americans who had migrated to Northern cities. -depicts the great migration -primarily the use of a brightly colored dividing line, which splits the painting in two halves. -shows barbed wire: white diners on side, black diners on the other https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/lawrence-migration-series
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145. Woman I Form; -Slashing paint onto canvas (Picasso inspired) -Aggressive movement of paint (action painting) -ABSTRACT style -Many layers of paint Content: -Smile is from a magazine ad -Great fierce teeth and huge eyes (not attractive) -Large breasts Function: -Breasts were a satire on women who were in magazines -Critical look at the post world war pinup and the disapproval of the pornographic culture Context: -Series of 60 "Woman" paintings -artist: William de Kooning: Dutch-American abstract expressionist painter https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/de-kooning-woman-i
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146. Seagram Building Form: -Steel frame with glass curtain wall -Skyscraper -International style -Bronze veneer Content: -38 floors -Public space in front (doesn't take up the whole block) with reflecting pools Function: -Symbol of capitalism and economic power (used expensive material) -Reflection of minimalist movement in painting "less is more" -Balance classical traditions with industrial materials and modern forms Context: -architects: Ludwig Mies van der Rohe and Phillip Johnson -Budhaus ideals: minimalistic, functional, efficient -Midtown Manhattan. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/mies-van-der-rohe-seagram-building-new-york-city-1958
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147. Marilyn Diptych Form: -Aimed at young people -Emphasis on sex, sarcasm, comedy -Pop art -Photo reproduction -Monumental scale (6 x 9ft) -2 silver canvases artist silkscreened images on Content: -Marilyn Monroe's image 50 times -Image slowly disappears to the right Function: -Tribute piece -The "mask" of a celebrity -Illusion of commercial desires -Shows what image mass media has given to celebrities such as her -1D of the piece symbol for how she was just a one-dimensional sex symbol Context: -artist: Andy Warhol -After Marilyn has died from an apparent suicide -Warhol's use of a silkscreen technique emphasizes a sense of detachment by flattening the image. -it eliminates subtle changes in color and shading in favor of flat planes of color. -he departed from earlier artistic approaches in European and American painting that attempted to distribute form and color evenly across a large canvas by employing repetition of photographic imagery. -he appropriated from other media -the use of a diptych as a compositional device suggests that Warhol likely wanted viewers to respond to the work and an immortal tribute to a revered and iconic figure. - a diptych format was traditionally used in medieval and Renaissance religious paintings, so viewers should view this work as an immortal tribute. -the right side is composed if only black-and-white images of varies values compared to the left side composed of bright and flattened colors suggesting the artist not only wanted to emphasize the process, but was also intrigued by the actress's recent death. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/warhol-marilyn-diptych
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148. Narcissus Garden Form: -Mirror balls "kinetic carpet" -Temporary installation/ been re-shown several times -Artist part of installation Content: -"Your Narcissism for Sale" sign -Sold the balls for $2 each -The artist (Kusama) wearing a kimono standing in front -1500 mass-produced plastic silver globes Function: -Wore a kimono to fulfill Japanese stereotypes about her -Self-promotion of artist -Infinity suggested by endless mirrored images -Critique of commercialism in the art world Context: -artist/performer: Yayoi Kusama -1966 Venice Biennale Public place: lawn outside the Italian Pavilion -the repeated installation of the narcissus garden changed the original interpretation of the work by shifting the work's focus from critiquing to participating in art as a commodity. -it was conceived as an interactive performance in which Kusama sold the spheres for low prices originally. - as her fame grew, the spheres were bought at higher prices. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/yayoi-kusama-narcissus-garden
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149. The Bay Form: -ABSTRACT EXPRESSIONISM -Use of acrylic (had just been invented) -Soak-Stain method: pouring wet paint onto a canvas and moving it around -Paint seeps and flows and interacts with the fiber Content: -Prominent blue section shifting from violet to indigo then into navy -Blurring of the colors, blues blend together Function; -Color as the subject of the painting -Subject could also be a landform of some sort? Context: -Helen Frankenthaler, 1963 CE -Frankenthaler stained the canvas with fields of color in order to explore the pure qualities of color as a subject in its own right. -she poured acrylic paint on the canvas which she let soak into the surface to create fields of color in order to explore the pure qualities of color. -she sought to reach a more universal and expansive mode of visual communication in which basic formal elements of a painting speak for themselves as the viewer experiences the work in a direct manner. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/frankenthaler-the-bay
Seated king with queen behind
180. Veranda post of enthroned king and senior wife (Opo Ugoga) ARTIST: Olwe of Ise -Yoruba people 1904-10 CE Form: veranda post, frontal, enlarged eyes, elongated, hieratic, negative space, deep blue color. Content: King is seated on the throne, senior wide, stands behind him, secondary wife is smaller and underneath him, family portrait, associated with divine. Function: architectural support/sculpture, expressing King Yoruba's power. Context: was one of four carved posts by Olowe of Ise for the royal palace at Ikere The Warrior King is represented. There is an emphasis on the 360 degree experience of the post. There is a hierarchical representation, the wife towers over the seated king. The males were lesser under king. Man cannot rule without the support of the wife who will place the crown on the head of the king. The cone like crown on the king's head is in the shape of a bird which conveys watchfulness over the king. At the same time, it refers back to women ancestors, the deities who protect the Yoruba culture.name of artist: WOMAN artist shows power of woman in royal family. meant to be 360 degrees, with people subservient to the king. power behind the throne: queen. bird of crown: watchfulness. -elongated forms, dynamic use of negative space, and architectural function -the vertical, columnar nature is typical of the veranda posts he carved into the roofs of courtyards in royal palaces -the veranda post of enthroned king and senior wife is similar to the Mayan Yaxchilan lintel 25 in that both works represent the importance of royal wives -the wives political power -in the veranda post, the wife is relatively larger in size -the wife confers power on the king during his coronation by placing his crown on his head -the bird on the wife's crown is a symbol of women's collected power -in the lintel 25, the Mayan queen is shown during a bloodletting ceremony -her participation shows her power as elites were only able to participate
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186. Great Mosque (Masjid-e Jameh) Form: -stone, brick. wood. plaster, and glazed blue ceramic -each entrance corbelled Content: -built around a courtyard with 4 arches coming from it -madrassa- place for Islamic instruction -iwan: vaulted space that opens on one side to the courtyard) Function: -prototype for future iwan-mosques -connects political, commerical, social, and religous activities within the city Context: -Isfahun, Iran- 700 CE -Islamic, Persian- Timrud and Safavid dynasties https://www.khanacademy.org/humanities/ap-art-history/west-and-central-asia-apahh/west-asia/a/the-great-mosque-or-masjid-e-jameh-of-isfahan
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190. The Court of Gayumars Form: -ink, opaque watercolor, and gold on paper -clothing identifies who they are not their faces -minute scale drawing and detail Content: -opening page of the Shahnama -Gayumar is surrounded by his son and grandson he looks down on the court to address them Function: -telling ancient history of Persia Context: -folio from Shah Tahmasp's Shahnama -artist: Sultan Mohammad -1522-1525 CE -the chouce of the subjecct matter is significant because it demonstrates awarness of the sense of cultural identity Persians drew from Firawsi's poem. -it is a compilation of myths, legends, and historical accounts -the Shahnama is considered one of the mist important Persian literary accomplishemnts. -the great court of Gayumars is an epic history of Persian and a wellspring of Persian identity -it was considered important by Mongol rulers who continuously commissioned new copies of the poem. -the court of Gayumars is characteristic of traditional Persian miniatures in its crowded composition multiple viewpoints, and complex details-the work displays many of the established conventions of Persian painting-they artist conveyed a sense of implied depth in this folio from Shah Tahmasp's Shahnama by overlapping human figures and landscape features-the illuminated page is taller than it is wide-by overlapping elements, the artist of the work establishes depth within a vertical orientation, commonly used in Islamic manuscript illumination -the influence of multiple viewpoints and visual motifs in Chinese painting seen in this work can be seen in the Persian illuminated manuscripts, such as the Court of Gayumars -around time of Sistine Chapel -from the history of Persia -Shows first king of Persia, wearing a tiger skin -shows a world where humans and animals co exists -combined on the background of gold -elevates scene in the spiritual realm https://www.khanacademy.org/humanities/ap-art-history/west-and-central-asia-apahh/west-asia/a/the-great-mosque-or-masjid-e-jameh-of-isfahan
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21. Mortuary Temple of Hatshepsut sandstone red granite statue 1473-1458 BCE Egypt Form: Built into rock cliff Function:-mortuary temple for Hatshepsut but she wasn't buried there, statue shows her power in male ways (beard and kneeling is priest-like gesture Content:-statue of Hatshepsut kneeling: offering plants to Amen, the sun god, ascent up to temple, chapels and shrines dedicated to her, there is a hypostyle hall Context:-site specific-across from Amun temple https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/v/mortuary-temple-of-hatshepsut-and-large-kneeling-statue-new-kingdom-egypt
Form: -wood, pigment, shell, fiber -anthropomorphic mask Content: -masks uniquely decorated for a deceased and worn by dancers in ceremonies celebrating the dead Function: -used in rituals that took place in Papua for the deceased people of their clans -displayed in village for temporarily -shows family importance Context: -New Ireland Province, Papua New Guinea -20th century
222. Malagan Display and Mask
Form: -Multimedia performance (costume, cosmetics, chant, movement) -Photographic documentation Content: -Queen of England's royal visit to Fiji -Fijian women and men displaying their culture to the queen -Women wearing barkcloth skirts -Rolls of woven mats that each woman in procession carries (mats served as ritual exchange) Function: -Political pageantry as art -Show the Fijian culture to the queen of England -Performance art Context: -Fiji, Polynesia, 1953
223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II
US
235. Rebellious Silence, from the Woman of Allah series -1994 CE -Cynthia Preston, Iranian born artist raised in the US Form: Black and white photography , Ink on photograph Content: Terrorist (gun), Gun splits picture in half into darker and lighter side, Farsi text (would assume Arabic bc Muslim) poem on face, Gaze at the viewer Function: Muslim stereotypes (making judgements from partial information), Caught between American and Muslim culture, Female oppression The portrait is bisected by a rifle. The woman's eyes stare intensely towards the viewer from both sides of the divide. Neshat's photographic series "women of Allah" examine the complexities of women's identities in a changing cultural landscape. The composition appears sparse, measured and symmetrical, the split created by the weapon implies violence or psychic fragmentation. The text that is included in the rebellious silence honors the conviction and bravery of martyrdom. It is melancholic and powerful- invoking the quiet and intense beauty. It challenges the suppression of female voices in any community. -this demonstrates the use of symmetrical balance -the vertical line of the gun divides the image into tow halves that mirror each other https://www.khanacademy.org/humanities/ap-art-history/global-contemporary-apah/20th-century-apah/a/neshat-rebellious
Form; -Explosion of sound and images -Neon lighting Content: -Video screens behind outline of the USA (each state has own video feed) -Maps/travel Function: -Information overload (before web was created) -Viewer incorporated in the piece (picture of you) -Fascination with interstate highway system -Neon symbolizes motel and restaurant signs Context: -Nam June Paik, Korean artist -1995 CE
238. Electronic Superhighway -Nam June Paik, Korean artist -1995 CE Form: Explosion of sound and images, Neon lighting Content: Video screens behind outline of the USA (each state has own video feed), Maps/travel Function: Information overload (before web was created), Viewer incorporated in the piece (picture of you), Fascination with interstate highway system, Neon symbolizes motel and restaurant signs. This artistic medium was well-suited for the speed of our increasingly electronic modern lives. Purpose is to reflect upon how we interact with technology. It screened multiple clips from a wide variety of sources. It is the map of the US outlined in neon lights. It is a monumental record of the physical and cultural contours of America: with each state, the screens display video clips that resonate with that state's unique popular mythology. They states are linked by neon lights that echo the network of interstate "superhighways" the economically and culturally defined the US in the 1950's. They signify that what connects us now is not longer transportation, but electronic communication. It became an icon of America in the information age. However, the physical scale and number of simultaneous clips make it difficult to absorb any detail: information overload. It points to tension between national and local frames of reference. -an interpretation of this work is that the US is united more by electronic mass media than by roads - by the title and use of tv's https://www.khanacademy.org/humanities/ap-art-history/global-contemporary-apah/20th-century-apah/a/paik-electronic-superhighway
Form: - carved bone Function: -spiritual mask -house spiritual essence of a hunted animal -sacrum bone powerful symbolism of Osiris and rebirth- triangle Content: - sacrum bone (hip bone) carved in shape of a canine/wolf Context: -found in a tomb in Mexico (MesoAmerica) -14000-7000 BCE
3. Camelid sacrum
Form: - canyon painting (layers of painting from different times so makes it hard for carbon dating) -depicts motion Function; - show this person as holy or a god bc of the horns Content: - shows a woman with horns running - dots on her body represent body painting - shows a deity wearing ceremonial headgear? Context: - in situ on canyon walls in the Sahara - 6000-4000 BCE (neolithic)
4. Running horned woman
Form: -sandstone Content: - 3 of them all 3ft tall -belted robe with knife hanging from it Function: - used in incense trade -religious/burial practices Context: -found on trade routes in the Arabian Peninsula, Saudi Arabia -fourth millennium
6. Anthropomorphic stele
Form: - sandstone -post and lintel (two vertical posts support a horizontal beam) - arranged in a circle (cromlech) Content: - stones in a centralized plan -small stones surrounding in no specific pattern Function: - probably religious ceremionies - burial? - marker of mid-summer solstice Context: -Wiltshire, UK in 2500-1600 BCE
8. Stonehenge
Form: -stones with charcoal drawings of animals -geometric designs - 4-5" Function: - depict animals =some of world's oldest works of art Content: - animal figures with human legs added on probably later Context: - found in Apollo 11 caves in Namibia -probably were made about 25500 BCE (oldest representational art in Africa) and buried in these caves -named because it was discovered at the time of the Apollo 11 moon landing
1. Apollo 11 Stones
Form: -ceramic Content: - pinched waist and big hips with two-heads - no hands or feet -naked except for jewelry Function: - show fertility -two heads represent life and death that happens everyday Context: - Central Mexico in 1200-900 BCE -many of the other figures show deformities like this
10. Tlatico female figure
Form: -terra cotta with dentate stamping Content: -dentate designs (circles, hatching, dots) Function: -unknown Context: - Lapita peoples - Solomon Islands, Reef Islands in 1000 BCE
11. Terra cotta fragment
Form: -naturalistic charcoal drawings in a cave -natural materials: plants, charcoal, iron ore -twisted perspective - human are stick figures while animals are realistic looking Content: - pictures animals in motion - pictures on top of pictures (all from different artists from many time periods) -cows, bulls, horses, deer -650 paintings Function: - to show an animal ritual (very unusual to find pictures of humans/hunting) -ancestral animal worship Context: -sacred place (deep in a cave)- in situ -not a dwelling because the creators of these were nomads -Paleolithic Europe- Lascaux, France
2. Great Hall of the Bulls
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30. Audience hall (apadana) sandstone and mud brick Iran (Persian influence) 520-465 BCE Built by Darius and Xerxes Destroyed by Alexander the Great (when conquering Persia) Form: hypostyle hall, built in a hillside with big platform, slanting stairways, 72 columns (3 portico made of 12 columns)Content: relief on the side pictures Darius and Xeres, stairs have central relief of king enthroned with attendants, reliefs. The Colossal columns: walls covered in relief sculpture, shows Greek influence. ORIENTALIZING period: cultures (Greek, Persia, Egyptian) cross-influence the others through commerce and exchange of artistic ideas. Banquet hall. -it reveals the vastness of the Persian empire by including artistic styles and materials from the different cultures rules by the Persians. it was built using different materials from all over the empire, resulting in a combo of regional styles evident in both the architecture and sculptural decorations. There are composite capitols of the columns combines Egyptian capitol and Greek ionic capitols and animal protomes. Function: used to hold thousands of people (audience hall), king's receptions, ascend upwards symbolic, celebrations. https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-near-east-a/a/persepolis
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43. Augustus of Prima Porta Form: -marble, over life-size -elevated to be more god-like -contrapposto Content: -Augustus barefoot -cupid riding dolphin (shows divinity -breastplate is about the Pax Romana: the power of empire is due to the military Function: -shows Augustus as a god because he thought he was (barefoot and cupid riding dolphin signs of this) -shows him as civic ruler (judge's robe) and warrior (breastplate) Context: -Imperial Rome (early empire) 1st century CE -most similar to Doryphoros becuase of its idealized proportions and contrapposto. https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ap-ancient-rome/a/augustus-of-primaporta
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45. Forum of Trajan Form: -column: marble, low relief -brick and concrete architecture -scroll-like frieze on column- continuous narrative -groin vaulting/barrel vaults in market Content: -forum: basilica in back with equestrian figure in the center and two libraries -marble column of trajan: ashes of trajans put in bottom, crowded composition, story of defeat of the Dacians -market of trajan: multilevel mall with 150 shops Function: -column: monuments celebrates the victory in the Dacian war -forum: marketplace -the artist likely included an adjacent multilevel public market in the design, where business and trade could be transacted. Context: - Rome, Italy 106-112 CE column 113 CE https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ap-ancient-rome/a/forum-and-market-of-trajan
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47. Ludovisi Battle Sacrophagus Form: -marble -high relief Content: -figures piled on top of each other, crowded surface -Romans shown as the good guys (ideal/noble) -Romans trampling over defeated barbarians - enemies very caricatured with great detail Function: -tomb Context: -late imperial empire; 250 CE -it demonstrates a change from earlier roman relief sculpture in its rejection of perspective to create a crowded scene of chaos. -it is filled with dynamic, intertwined figures that are piled on top of one another in the sculptural foreground, a clear departure from the spatial illusion of earlier Roman works.
Form: -painted terra cotta, clay - geometric forms - set in registers, controlled and repeated planar composition Function: -funerary object Content: -dog figures, mountain goat, cranes Context: - Susa, Iran in 4200-3500 BCE -neolithic -new technology: use of potter's wheel
5. Bushel with ibex motifs
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56. Great Mosque Form: - hypostyle mosque -spolia (using roman and Christian pieces from old church it used to be -vossoir: wet stone that holds arches up -grid vaulting -culturally diverse Content: -horseshoe arches with vaults above -mihrab- niche is Qibla wall (mostly decorated in geometry and text) -wooden cieling -mosaics everywhere- byzantine artists from Constantinople -Qibla Wall- direction of where Muslims have to pray in order to pray towards Mecca -Kufic calligraphy -856 columns Function: -1st: Roman temple (Janus) -2nd: Chirstian church -3rd- mosque -now: cathedral Context: -Cordoba, Spain- Umayyad 785-786 CE -the architectural expansion was used by the Umayyads to reinforce the power and grandeur of their rule. -it included a dazzling mihrab decorated with gold tesserae and an imposing hypostyle hall to showcase their wealth and power -the also used architectural expansion in order to mark the triumph of Islam in Spain. https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/the-great-mosque-of-cordoba
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57. Pyxis of al-Mughira Form: -ivory -carvings of text and pictures -text used as a decoration Content: -roaring lions -4 8-lobed medallions showing pleasure activities -human and animal figures -geometrical and vegetal motifs Function: -luxury cosmetic holder: text on top/decorated richly -coming of age present from caliph to his younger son Context: -968 CE Umayyad, Muslim Spain https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/pyxis-of-al-mughira
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63. Arena (Scrovegni) Form: -fresco -brick and architechture -painted plaster -grisaille (gray tones) -quatrefoils -tracing -plain outside, transformative inside Content: -Last judgement scene -lancet windows -Scrovegni at bottom offering up chapel to Jesus (artist portrait included) -The Lamentation (Jesus has been crucified and now he is being mourned) -Mary with others grieving -Life of Mary>Passion of Jesus Function: - private family chapel (connected to a house) Context: -Padua, Italy -on grounds of an old arena -artist: Giotto di Bondone 1303 CE -Italian Gothic -Proto-Renaissance -the lamentation resembled a play about the passion and resurrection of Christ. -that panels have staged composition with theatrical gestures to draw the viewer into the scene. -Giotto used compositional techniques to intensity the theatricality of the work and engage the viewers in the drama of the religious scene. https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/giotto-arena-scrovegni-chapel-padua-c-1305-part-1-of-4
Form: - carved jade -low reliefs -abstract designs - square with a circle inside Function: -jade usually appears in burials of high ranked people Content: -low reliefs decorations on this refer to spirits/ deities Context: - Liangshzu, China in 3300-2200 BCE -jade in China is linked with virtues like beauty, durability, and subtlety
7. Jade cong
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84. Mosque of Selim II Form: -brick and stone -similar to Hagia Sophia -dome, squinches, piers, apses -richly decorated dome from the inside -centralized, octagonal mosque Content: -slender, tall minarets -centralized with 8 piers -courtyard and prayer hall -madrassa (college for Islamic instruction) -souk: shops in the mosque -Qibla wall faces outwards showing openness Function: -mosque made to replace Hagia Sophia Context: -Edirne, Tukey: Ottoman -made by architect, Sinan, in 1568-1575 CE -part of a complex. https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/mosque-edirne
Form: -greywacke stone Content: -sculpted to look like an anteater -human/animal characteristics (mostly animal) Function: - objects like these are believed to have supernatural power - used as a spirit stone in rituals Context: - Ambun Valley, Papua New Guinea around 1500 BCE
9. The Ambum stone
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92. Woman Holding a Balance Johannes Vermeer 1664 Dutch BAROQUE Form: Catholic elements, Scientific lighting, genre scene, small scale oil on canvas, use of light, vanishing point, color palette. Function: material wealth, painting for merchants, religious meaning but not painted just for Church, and time and change. Content: Women part of upper-class (fine clothing), fur coat. Balance has nothing in it, weighing valuables. Last Judgement scene above. The painting is very quiet and it shows a scene of everyday life. We see a women dressed in rich clothing, and it reveals that she is a part of the upper-middle class in Holland in the 17th century. People in this class were constantly buying art and they had a scale, similar to what we see in the painting. She is wearing a fur trimmed jacket, because Holland was a cold area. There is a window on the side of the wall, which is only letting in a small amount of light, as well as a mirror. She is holding a fine balance, and there is nothing on either side. She is waiting for it to become at rest. There is a box on the table and coins which represent material wealth, which can be inferred that she is going to weigh the valuables. Above her head is a painting of Christ having a role of judging all souls. The souls to Christ's right on the saved and to his left are the damned, and it is a representation of the Last Judgement. This implies that this portrait is much more than a woman weighing her valuables. Her head divides the saved from the damned. The small amount of light coming through the window illuminates her face, and it casts a shadow on the wall behind. This light creates a sort of movement, but at the same time, the image is very still, and it's very real and natural. We know that the vanishing point is at the woman's pinky finger, and the center of the painting is where the balances meet. The painting serves as a sort of reminder of the changes taking place during the 17th century. Artists are now painting for the merchant class rather than the church. The balance could signify the need to balance the relationship between wealth and spirituality, which is represented through her valuables on the table and the painting of Christ in the back. The mirror is a symbol of vanity, and it related to the valuables in front of the woman. Another theory is that the woman is not attending to the spiritual world behind her, but rather than physical world in front of her. https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/v/vermeer-woman-with-balance
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93. The Palace of Versailles Form: -east-west axis -rigorous geometry -classical architecture (symmetry, repetitive, and based on Greek temples) -gold -painted ceilings -outside is not as "ornate" -symmetrical -Greek/Roman influence -mirrors (hall of mirrors) Content: -Hall of mirrors (social gatherings) -700 rooms -gardens -sculptures, paintings, fountains tributed to him Function: -King Louis XIV decided to build a new palace -example of nobility -living for King, his close friends, family, servants, and soldiers) -emphasize Louis' importance (everything revolves around him Context: -Versailles, France -Louis Le Vaw and Jules Hardouin-Mansart= architects -began in 1669 CE, French Baroque -the architects, its park, and its town asserted the absolute power of the French monarchy through the gardens and town that were built on an east-west axis to create a symbolic parallel between the king (king Louis XIV) and the sun. -it was built on the same axis as the rising and setting sun, making a statement about the central importance of the king to the fortunes of France and power of the French Monarchy. https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/a/chteau-de-versailles
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96. Fruit and Insects Form: -still life -Baroque -oil on wood -colors, detailed Content: -insects, fruit -wheat and grapes= Jesus? -bringing different compositions together Function: -harvest in autumn -microscopic organisms: used microscope to study these organisms Context: -artist: Rachel Ruysch (Dutch arist; last famous still painter) -Florence, Italy 1711 CE (18th century). -it was intended to be displayed in a merchant's house. prosperous merchants of northern Europe prized such paintings in their houses. merchants were the primary patron of this type of work. -Ruysch combined discrete scientific studies of the different plants and creatures. -the scientific observation and collection of unusual speciemens was popular at this time. -Ruysch's father was a scholar and a collector, and he asked her observe and document his collection through scientific illustrations. -this work appealed to its original patrons because its lush display of fruits and grains would have prompted thoughts of their Christian faith. -it depicts both grapes and wheat, blood and body of Christ, part of the Eucharist. https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/v/ruysch-flowers-insects