AP Art History Exam

Bandolier bag. Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on leather.

•Follow the idea of something being useful but also beautiful •Going back to the East •These were bags first inspired by the European settlers •Originally pouches to hold ammunition for the riffles •When the Europeans saw these bags they thought they were nice to wear •Large wide strap •Beautiful symmetrical nature inspired design •Leaf pattern on the body of the bag •Often worn by men •Beads were often shared or traded between the Europeans and Native Americans •These beads were mostly likely made in Venice •Sometimes porcupine quills were sews onto these bags

Apollo 11 stones. Namibia. c. 25,500-25,300 B.C.E. Charcoal on stone.

•Found in the Hun Mountains in Namibia. •The piece was created on slabs of brown-grey quartzite. •The piece was made using charcoal which was used to draw animal figures onto the slabs. •The stone was buried in a cave and discovered in 1969 when a team led by German archaeologist W.E. Wendt. •He named the stone Apollo 11 upon hearing the success of Nasa's mission to the moon. •Because the stone was buried for so long it is impossible to determine the exact date it was created. •Archaeologists were able to determine that it was created 25,500-25,300 years ago based on how old the stone is. -An animal drawn onto a flat rock -Paleolithic animals are drawn this way -Some kind of feline creature (ex: Jaguar, lion) -The oldest scientifically dated rock with charcoal drawings -From Namibia

Jade cong. Liangzhu, China. 3300-2200 B.C.E. Carved jade.

•The function of the cong is unknown •Jade was a common stone used in Chinese art. •The process of making the cong was very long and tedious. •Jade can not be broken like many other stones used at the time. Instead, Jade had to be carved using hard abrasive sand. -Jade comes in a variety of greens -Large -Cylindrical in shape -Can be short like this or found in a stack -They are usually stylized with carvings of different creatures -These were prestigious. -Found often at grave sights.

White Temple and its ziggurat. Uruk (modern Warka, Iraq). Sumerian. c. 3500-3000 B.C.E. Mud brick.

•The ziggurat is made out of mud brick. •The ziggurat is important because it is the focal point of the city. •The ziggurat was seen as important because it is connected to a god or goddess and represents the deity's political authority. •The White Temple was built on top of the ziggurat. The White Temple while big, had only three entrances and was very empty inside.

Beaker with ibex motifs. Susa, Iran. 4200-3500 B.C.E. Painted terra cotta.

- This beaker is ceramic - Hammurabi would display these beakers as a sign of triumphance. - There are a lot of animals on this beaker - There are a lot of geometric designs - There is a ritualistic or ceremonial aspect to this piece - It has the ibex goat, a dog, and long necked birds - Stylization - This is a grave item - It is very symmetrical

David. Donatello. c. 1440-1460 C.E. Bronze.

•Donatello was the first artist to create a freestanding nude in the renaissance period •Contrapposto •Depiction of David •Very androgynist •Youthful athletic •Goliath's head at the bottom •This is David •He was the symbol of Florence

Ruler's feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428-1520 C.E. Feathers (quetzal and cotinga) and gold.

•Inspired by the Quetzal Bird •Often made into headdresses •Represented the power and authority of the Aztec rulers •This was sent to king Charles in spain when the Spanish went to colonize the Aztecs •Long distance trade •Beads •The Spanish were very impressed by these objects •Some where made for Spanish patrons

Henri IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle. Peter Paul Rubens. 1621-1625C.E.Oiloncanvas

•Telling the history of her life in an idealized way •This portrait shows king henry the fourths receiving the portrait that introduced her to him •This is how Marie and Henry first meet •He gazes at her portrait painting and instantly falls in love •Personification of France •France is whispering in the ear of Henry saying "she is lovely, you want to marry her...etc" •King and queen of the Gods gazing down with grate favor

Audience Hall (apadana) of Darius and Xerxes. Persepolis, Iran. Persian. c. 520-465 B.C.E. Limestone.

•This hall holds 36 columns. •The large columns were are made of limestone .•This piece is a raise platform. •The raised platform symbolizes the destruction of Persian power. •It is rumored that this piece was made as a show of revenge for the Persians attack of the Athenian Acropolis. •These columns combine a mix of Greek, Egyptian, and Mesopotamian architecture. •The animals on top of these columns are griffins, bulls, lions, and man-headed bulls. •They picked the fiercest animals to hold up the beams.

Tlatilco female figurine. Central Mexico, site of Tlatilco. 1200-900 B.C.E. Ceramic.

•This piece is a ceramic two faced female figurine •This figurine's hairstyle is indicative it's sophisticated artistic tradition. •The figurine's hands are neglected and has a strong emphasis on it's wide hips, rounded thighs, and slim waist. •These figurines were made by hand and not using a mold. •These figurines were found buried with the dead. -These are small ceramic portable figurines -Made as a gift -Made of clay but they are painted -This figure has two heads. -Duality -Two natures existing in a single human

The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood.

- No one knows the absolute meaning of it - Secular painting (no saint or important religious figure depicted) - Makes portrait popular - Pictures an Italian banker and his new wife - Secular position - Middle of taking wedding vows or it is the moment of their wedding - Dog represents loyalty - Clogs symbolic that they are standing on holy ground - Fertility references (tiny statues of St. Margaret on the bedpost; broom represents domesticity; oranges represent wealth - One candle burning (represents God being present) - Mirror has symbols of different religious scenes (also the all-seeing eye of God) - Mirror projects back to us - Makes us witness to the actual event - Inscription over the mirror (says "Jan Van Eyck was here") (saying he witnessed by painting it)

Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429-1461 C.E. Masonry.

-Clean articulated lines on the interior of the church -Simplicity to it -Return of the classical forms such as the Corinthian column and the nave -They also like to outline the architectural features with a different colored stone- this is called pieta serena - Very balanced - Nothing is excessive - Based on the module of the dome - For the monks so they could meet and pray - Chapel - Classical elements from greek temples (Corinthian columns, shape of the arch, the dome, the pediment) - Centrally planned building. - The dome is the module for the floor plan -Interior of the chapel -Pieta serena -Dark grey -Clean, rational -Everything has a frame around it that ties it all together. -Altar for the monks -Roundels with ceramic representations of the saints

Running horned woman. Tassili n'Ajjer, Algeria. 6000-4000 B.C.E. Pigment on rock.

•This piece was found on an isolated rock in Tassili n'Ajjer, Algeria. •The painting depicts a woman with horns running. •The white dots all over her body are seen to represent scarification. •It is also notable that the woman in the painting is wearing armlets and garters on her wrists. •Many believe that the picture is not literal and instead symbolic. The woman's décor is seen to represent the culture and something that would be worn during a ceremony or ritual. •Suggest the importance of shamanism •Messenger from the spirit world •This picture portrays a female shaman. •Her horns differentiate her from others •She is significantly larger than the other people •Arm bands, grass skirt, tattoos

Annunciation Triptych (Merode Altarpiece). Workshop of Robert Campin. 1427-1432 C.E. Oil on wood.

•Triptych •Not a large altar piece •Made for private devotion •Bade by Robert Campin •Very small and intimate •A combination of sacred and secular imagery •The annunciation in the central panel, but shown inside a flemish house •Iconographic elements •White lilies are a symbol of the virgin mary's purity •Many symbols in this painting as everyday objects •The holy spirit flying in over the window holding a cross •Joseph in the right panel in his woodworking studio •He is building a mousetrap •It is said that that is symbolic of Christ being the bate used to catch the devil •The patrons of the altar piece are on the left •These are called donor portraits •They do not enter the sacred space •They stay right outside and witness the miracle from the open door •Their last names translate into angel bringer and cabinet maker

Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647-1652 C.E. Marble (sculpture); stucco and gilt bronze (chapel).

•Very dramatic •Angel •Saint Teresa sprawled out on a cloud •Beautiful folds of garment •Cloud is very rough •As if God was caressing her soul •Angel is gazing at her with a very golden expression of love •But he has just pierced her heart •She experiences a mystical enlightenment •Strong diagonal of Saint Teresa

Palette of King Narmer. Predynastic Egypt. c. 3000-2920 B.C.E. Greywacke.

•BY 3000 Bce we see evidence of Egypt's unification •The ruler is king narmer who united them •Hierarchy of scale to king narmer •On the back he is wearing an l shaped crown of lower Egypt •The piece is organized into registers to show the Egyptian worlds view •Hathor Cow goddess is in the first register looking over the king. She favors him •Hawk god horus also looking down on him. •Divine authority. The gods favor him •He's hodling the enemy by the hair and beating them. •In his victory procession •The Egyptians are very organized •Enemy lined up with their heads between their feet. •The center has a well for a palette •There is a religious purpose •Two female lion figures with their long necks intertwined. •Symbolizes two kingdoms being united •Bull stepping on the enemy in the bottom register representing narmar •VERY IMPORTANT •Study of iconography

San Carlo alle Quattro Fontane. Rome, Italy. Francesco Borromini (architect). 1638-1646 C.E. Stone and stucco.

•Borromini is an architect •His facades are sculpted •He has a problem at this particular church •There was a preexisting fountain that they didn't want removed •He had to orient the building at an angel to keep the fountain •He did this in order to draw attention of doorway •He used a sculptural wave-like façade •You can see the push-pull •Highly ornate •Unusually small church •Centrally planed church •Push-pull of the space happens on the inside too •Often used the shade of white in his buildings so that we would notice the sculptural qualities of his architecture

City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550-1650 C.E. Andesite.

•Bottom right corner is the only inka structure that is remaining •The Spanish rebuilt on top of it •Put their structure right on top of the temple •This was the sight for the original major Inka temple •European influence in the architecture •Axis mundi •Pilgrimage sight •Center of the Inkan world •Ashlar masonry

Calling of Saint Matthew. Caravaggio. c. 1597-1601 C.E. Oil on canvas.

•Calling of Saint Matthew •This was put in a chapel •Would have been involved in a religious sacred environment •Diagonal •Figures in darkness •Something in the scene is casting off a dramatic glow or light •Christ raising his hand •He is hidden in the shadow •They are shocked •Naturalism •The setting makes the miracle believable •So does the lighting and mannerisms

Camelid sacrum in the shape of a canine. Tequixquiac, central Mexico. 14,000-7000 B.C.E. Bone.

•Carved to look like a dog •portable •The carving was discovered in Tequixquiac, Mexico and dates to about 14,000-7,000 B.C.E •The carving was made from the sacrum bone of the extinct animal called the camelid. •The intentional meaning of the carving will only be known by the sculptor because in the time period this piece was created, writing had not yet been developed. •We can determine our own meaning of this carving through looking at Mesoamerican culture at the time. •In Mesoamerican culture, the sacrum bone was used as a symbol of sacredness and resurrection.

Painted elk hide. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 C.E. Painted elk hide.

•Cotsiogo is the artist •Identifiable images in the center •Tepees in the center •Buffalo or bison •Ritual sun dance being represented •Many of the sacred ceremonies practiced by the Native Americans were outlawed by the Americans •Wolf dance is also represented •Outlining and remembering their traditions •Americans are trying to control the Native Americans •Preserving traditions •Sold this •Get some money and avoid ramifications from making this

City of Machu Picchu. Central highlands, Peru. Inka. c. 1450-1540 C.E. Granite (architectural complex).

•Extremly high •Very remote •Originally a retreat or vacation spot for the Inkan rulers •Buildings crafter out of stone •Roofs are no longer there •Close to the heavens •Very lush green terraced earth •Religious rites •Connection to an observatory that was built here that would chart the sun's movements •Observatory •Help them track the sun •Good for planting •Fertility and life •Called the hitching post of the sun •Determines when the fall and summer equinoxes are happening

All-T'oqapu tunic. Inka. 1450-1540

•Garment •Woven by Inka craftspeople •Type of Tunic •Slit at the top would go over your head •Would rest on someone's shoulders •Beautiful geometric patterns •Sense of order •Intricate designs •People has individual T'oqapu •Signified your status •This one shows that it was a royal tunic •Preference for unity

Tutankhamun's tomb, innermost coffin. New Kingdom, 18th Dynasty. c. 1323 B.C.E. Gold with inlay of enamel and semiprecious stones.

•King Tut Akenaton's son •His tomb was never looted •Only tomb ever found in tact •Howard Carter stumbled upon his tomb. •He was very young •Ruled from 8 to 18 •The court did not like the monotheistic stuff •They used king tut as a prop. •They returned everything back to the way it was. •Several coffins. One layed inside the other. •Lavish use of gold. •When light hits gold it looks like it is radiating light.

Yaxchilán. Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex).

•Lady xoc •She has a vision •As a result of her blood letting •She has met the vision serpent •Warrior emerging from the mouth of the serpent •Holding the bowl that is holding the blood from the ceremony •Thought that this ceremony took place to commemorate her husband's rise to the throne •She has reached the other side because the pictographs are written backwards •Roostercomb •Tieres structure on top of the pyramid •Grouped around plazas

Great Hall of the Bulls. Lascaux, France. Paleolithic Europe. 15,000-13,000 B.C.E. Rock painting.

•These animal drawings were drawn on white calcite •The paintings were made from Charcoal and ocher •Located in Lascaux, France •Some believe that these drawings were seen as a way of overpowering the prey in which they were going to hunt and by drawing the animals it ensured a successful hunt. This piece is made of organic matter -This means it was made out of natural materials -Dirt, clay, etc -The date in which these cave paintings were made is unknown

Statues of votive figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq). Sumerian. c. 2700 B.C.E. Gypsum inlaid with shell and black limestone.

•These statues are made from soft gypsum and inlaid with black limestone and shell. •These statues represent mortals instead of deities. •The oversized eyes of the statue are thought to represent perpetual wakefulness of the worshipers praying to the deities. •The beakers that the statues are holding represent the libations poured out to the Gods.

Lamassu from the citadel of Sargon II, Dur Sharrukin (modern Khorsabad, Iraq). Neo-Assyrian. c. 720-705 B.C.E. Alabaster.

•These statues guard the gate of Dur Sharrukin palace of Sargon II •The giant creatures in these statues were called Lamassu •These creatures winged with the head of a man with the body of a lion or bull. •These statues are made from limestone •The sculptor wanted to make sure the statue had a side view and a front view. •He gave the creature 5 legs. Two legs were visible from the front and four from the side.

Anthropomorphic stele. Arabian Peninsula. Fourth millennium B.C.E. Sandstone.

•This 3 foot tall piece is an abstract sculpture of a human with two cords across it's body holding a tool and a belt with a dagger. - A stone steele - Ceremonial marker - A slab that is stood up - Oldest sculpture from the Arabian Peninsula. - You can see the suggestion of the human features

Seated scribe. Saqqara, Egypt. Old Kingdom, Fourth Dynasty. c. 2620-2500 B.C.E. Painted limestone.

•This is a portrait of a scribe (someone who works for the king) •Writes documents for the king. •Most Pharoahs were illiterate. •We know he is less important than the pharaoh because of the way he is represented •He looks older, his physique is not perfect, He is more naturalistic. •His scroll is unrolled on his lap as a symbol of his job. •The colors of his statue are true to life which show he is a lower status than the Pharoah

The Code of Hammurabi. Babylon (modern Iran). Susian. c. 1792-1750 B.C.E. Basalt.

•This piece is made from black basalt •The depiction at the top of the stele is the king of Babylon with the sun God Shamash. •The king (Hammurabi) has his hand raised as a form of respect towards Shamash. •Wrapped around this Stele are the laws of Hammurabi in cuneiform

Standard of Ur from the Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq). Sumerian. c. 2600-2400 B.C.E. Wood inlaid with shell, lapis lazuli, and red limestone.

•This piece is made from lapis lazuli, shell, and red limestone. •This piece was thought to be the soundbox of a musical instrument •This piece shows depictions of war and peace •The War panel has depictions of the Sumerian army and theie chariots. The Peace panel has depictions of animals, fish other goods brought to a banquet, and people all dressed up.

Terra cotta fragment. Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. Terra cotta (incised).

•This piece was created by the Lapita people who were known for traveling throught the Pacific Islands and creating these intricate designs into their pottery. •The Lapita people create pottery by hand and without the aid of a potter's wheel or a kiln. •The pottery was created from a mixture of clay and sand only found in specific locations •The carvings in the pottery consists of stamped and incised motifs. •These patterns were stamped onto the pottery. •The patterns followed a specific design system created by the Lapita people. -This represents the textiles they used in everyday life -There is a head which leaves an emphasis on the human -It is thought that this piece was originally symmetrical .

Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigments, and gold on vellum).

-Codex -A bound book, made from sheets of paper or parchment -Cross Carpet: Series of repetitive knots and spirals is dominated by a centrally located cross -Stacked wine-glass shapes horizontally and vertically -Many of these knots reveal themselves as snake-like creatures curling in and around tubular forms, mouths clamping down on their bodies. -Colors: sapphire blue, verdigris green, and sandy gold -The sanctity of the cross, outlined in red with arms outstretched and pressing against the page edges, stabilizes the background's gyrating activity and turns the repetitive energy into a meditative force. -St. Luke's Incipit -Animal life, spiraled forms, and swirling vortexes -Blue pin-wheeled shapes rotate in repetitive circles, caught in the vortex of a large Q that forms Luke's opening sentence -One knot enclosed in a tall rectangle on the far right unravels into a blue heron's chest shaped like a large comma -Repeats this shape vertically down the column, cleverly twisting the comma into a cat's forepaw at the bottom. -Feline, who has just consumed the eight birds that stretch vertically up from its head -St Luke's portrait -Curly-haired, bearded Luke on a red-cushioned stool against an unornamented background -Luke holds a quill in his right hand, poised to write words on a scroll unfurling from his lap. -His feet hover above a tray supported by red legs -He wears a purple robe streaked with red, one that we can easily imagine on a late fourth or fifth century Roman philosopher -Gold halo behind Luke's head indicates his divinity -Above his halo flies a blue-winged calf, its two eyes turned toward the viewer with its body in profile. -The bovine clasps a green parallelogram between two forelegs, a reference to the Gospel. -This calf, or ox, symbolizes Christ's sacrifice on the cross

Head of a Roman patrician. Republican Roman. c. 75-50 B.C.E. Marble.

-Head -Leading ruling families -Realistic -Wrinkles are prominent as a symbol of their virtue

Chavín de Huántar. Northern highlands, Peru. Chavín. 900-200 B.C.E. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry).

•This served as a cult figure for religious worship •Known as the lanzon stone •In the shape of a farming tool •The blade of a farming tool •Bilateral symmetry •Relief •People would undertake pilgrimages to come to this site to worship the stone •Very few people would have access to this chamber •Lanzon stone is under the old temple •A sunken courtyard in front of the New Temple •A sacred river flowed past•This is what the college board gives us for the image •Hiden entrance at the temple that leads into chambers such as the lanzon stone •Interesting history of acoustics here •When the wind blows it sounds like a God or supernatural creature is speaking and traveling through the building •Reliefs leading up to the temple •Repetitive jaguar motif •Eyes and fangs repeat •Nose ornament •Could be worn by a man or a woman •Hammered gold •Two snakeheads projecting out of the nose ornament •Snake is a supernatural creature going into the underworld and coming back up •Shows the faithfulness of the Chavin culture

The Ambum Stone. Ambum Valley, Enga Province, Papua New Guinea. c. 1500 B.C.E. Greywacke.

•This statue's creator and the meaning behind the creation of the statue are unknown. •This statue gained a new meaning to the people of New Guinea who used if for religious purposes. •Many think that the sculpture was used as a pestle due to it's size and curved neck. •This piece was made from Greywackle. •Many are impressed by the carving of the piece itself because the material Greywackle is a very hard material and the smoothness, neatness, and symmetry of this piece must have taken months to make. •This piece was used by a group called the Enga. -Earliest stone sculpture in Oceania -Made of Mortar and Pestle

Stonehenge. Wiltshire, UK. Neolithic Europe. c. 2500-1600 B.C.E. Sandstone.

•This structure is located on the Salisbury Plain in England. •The structure is thought to align with the midsummer and midwinter solstices. •The structure is important because it represents an organized society and strong leadership. •The structure took years to build and started off with the building of the base. •This structure was built using a variety of materials as well as digging into the ground to get the circular shape of the structure. •Wooden Beams, Bluestone, Sarsen stones, and Lintel Stones. Post and lintel Structure interacts with the heavens (calendar) Advanced technological nature of Neolithic humans There were some graves there, but that is not the main focus of this sight

Mesa Verde cliff dwellings. Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450-1300 C.E. Sandstone.

-"Verde" is Spanish for green. "Mesa" means table in Spanish but here refers to the flat-topped mountains common in the southwestern United States. -The Ancestral Puebloans accessed these dwellings with retractable ladders -We often see traces of the people who constructed these buildings, such as handprints or fingerprints in many of the mortar and plaster walls. -Due to its location, it was well protected from the elements. -The buildings originally ranged from one to four stories, and some hit the natural stone ceiling. -To build these structures, people used stone and mud mortar, along with wooden beams adapted to the natural clefts in the cliff face. -This building technique was a shift from structures built prior to 1000 CE in the Mesa Verde area, which had been made primarily of adobe, a type of brick made of clay, sand and straw or sticks. -Families lived in architectural units, organized around kivas, circular, subterranean rooms -A kiva typically had a wood-beamed roof held up by six engaged support columns made of masonry above a shelf-like banquette. -Other typical features of a kiva included a fire pit or hearth, a ventilation shaft, a deflector (low wall designed to prevent air drawn from the ventilation shaft from reaching the fire directly), and a sipapu ( a small hole in the floor that is ceremonial in purpose). They developed from the pithouse, also a circular, subterranean room used as a living space. -One room, typically facing onto the plaza, contained a hearth. Family members most likely gathered here. Other rooms located off the hearth were most likely storage rooms, with just enough of an opening to squeeze your arm through a hole to grab anything you might need. -Cliff Palace also features some unusual structures, including a circular tower. Archaeologists are still uncertain as to the exact use of the tower. -The builders of these structures plastered and painted murals, although what remains today is fairly fragmentary. Some murals display geometric designs, while other murals represent animals and plants. -Ancestral Puebloans who lived at Mesa Verde were sedentary farmers who cultivated beans, squash, and corn.

Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70-80 C.E. Stone and concrete.

-68, Nero ends -Vespasian from the Flavian Family -Otherwise known as the Flavian Amphitheater -Build the Colosseum -Represents Rome -Ancient graffiti of names -Used for entertainment (gladiator fights) -Public entertainments -Built to win favor from the people -Full oval with teared seating -Underground tunnels -Public gathering place -Chose the site of the backyard of Nero's palace -Wanted to erase the lavishness that he created and wanted for himself -Concrete skeleton -System of ramps to bring people in and out -Halls have barrel vaulting made of concrete -Open hallways -Exterior -Arcade (system of arches) -Massive -Drum -Arches break up the monotony of the drum (an aesthetic purpose) -Alternating light and shadow created by the archways -Levels defined by columns places on either side of the arches -First = Tuscan, not fluted, Doric, but simpler -Second = Ionic; fancier -Third = Corinthian -Becomes lighter and more ornate as you go up -Would've been a canvas awning to protect people from the sun -Fight each other and animals -Appease the people and keep them occupied to fin their favor

Grave stele of Hegeso. Attributed to Kallimachos. c. 410 B.C.E. Marble and paint.

-A grave stele -Grave marker (instead of the Kouros and Kore) -For the more elite people -Relationships between people -Sitting on the chair -Shaped like a Greek home (suggested the architecture) -Servant is bringing her her jewelry box (helping her get ready for the day) -Domestic relationship -Sitting woman is being remembered -Round forms -Attention to anatomy -Not religious -Classical qualities -Deceased figure is more detailed and bigger -Would've been painted

Pyxis of al-Mughira. Umayyad. c. 968 C.E. Ivory.

-A pyxis is a cylindrical box used for cosmetics -Box sits open -Inside are small silver containers of perfume, also left open so that their sweet-smelling aromas could waft through the room, gently scenting the air. -This pyxis was a gift to the then-eighteen-year-old al-Mughira, the son of a caliph, perhaps as a coming-of-age present. -Best surviving examples of the royal ivory carving tradition -Decorated with four eight-lobed medallions which are surrounded by figures and animals that include falconers, wrestlers, griffons, peacocks, birds, goats and animals to be hunted. -Each medallion has princely iconography. -Pyxides, were bestowed upon members of the royal family, specifically sons, wives and daughters on important or memorable occasions, such as a marriage, birth or coming of age; later they were given as Caliphal gifts to important allies -The pyxis was probably cut from the cross-section of an elephant's tusk and it was adorned in highly specific, royal iconography. -Traces of inlaid jade -The iconography may have had a further specific message to al-Mughira. After the death of his brothe

Augustus of Prima Porta. Imperial Roman. Early first century C.E. Marble.

-After the assassination of Caesar -Plunge into war -Republic will be established (23 BC) -Senate will confer the title of emperor (Augustus) (first will be Octavius) -Take up all the chief leadership positions of the empire (chief priests, first citizen, military head) -Armed general -Breastplate with relief -Toga (represents that he is a Roman official) -Idealized (more than the Veristic portraits) -Influenced by Doryphorus -Influenced by Polykleitos -Gives legitimacy to the first emperor -Hero, god-like, youthful, idealized figure -Brings peace and prosperity to Rome -Pax Romana - peace under Augustus -Time of massive public works (bridges, theaters, aqueducts, monuments) -Time of great prosperity ushered in by him -Propaganda (choices are intentional) - dictating how he is represented in the art to advertise his power -Dictating that he is portrayed a certain way -How to perceive him -Roman art is intertwined with propaganda and politics -Augustus -The baby on his leg is Cupid (son of Venus, who is potentially related to Augustus through Caesar) -Breastplate -Relief -Leader of the people politically, religiously, militarily -Victory over the Parthians -Reinforces the images of him as a ruler -Sky god (Zeus) overseeing the victory -Victory will usher in over 200 years of peace -Dolphin carved supporting Cupid and the statue itself -Also represents victories on sea

Röttgen Pietà. Late medievalEurope. c. 1300-1325 C.E. Painted wood.

-Aimed to create an emotional response in medieval viewers -Medieval representations of Christ focused on his divinity - In these works of art, Christ is on the cross, but never suffers -Christus triumphans -His divinity overcomes all human elements and so Christ stands proud and alert on the cross, immune to human suffering. -Made of wood and retains some of its original paint -Most gruesome of most pietas -Mary is youthful and draped in heavy robes -Catholic tradition, Mary had a special foreknowledge of the resurrection of Christ and so to her, Christ's death is not only tragic. -Here she appears to be angry and confused. -She doesn't seem to know that her son will live again. She shows strong negative emotions that emphasize her humanity, just as the representation of Christ emphasizes his. -By looking at the Röttgen Pietà, medieval viewers may have felt a closer personal connection to God by viewing this representation of death and pain.

Black-on-black ceramic vessel. Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic.

-Applying a matte-black design over polished-black. -Smothering the fire with powdered manure removed the oxygen while retaining the heat and resulted in a pot that was blackened. -This resulted in a pot that was less hard and not entirely watertight, which worked for the new market that prized decorative use over utilitarian value. -The areas that were burnished had a shiny black surface and the areas painted with guaco were matte designs based on natural phenomenon, such as rain clouds, bird feathers, rows of planted corn, and the flow of rivers. -The olla pictured above features two design bands, one across the widest part of the pot and the other around the neck. -The elements inside are abstract but suggest a bird in flight with rain clouds above, perhaps a prayer for rain that could be flown up to the sky. -These designs are exaggerated due to the low rounded shapes of the pot, which are bulbous around the shoulder then narrow at the top.

Merovingian looped fibulae. Early medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.

-At one end a semi-circle from which radiate nine rectangular incised forms topped with spheres -This type of fibula is called "radiate-headed" or "digitated" -Gilded and inlaid with niello, a black metal alloy -The incisions are hatched lines -This piece shows the adoption of the crossbow fibula style -Bow fibulae were not simply symbols of social status or gender, but badges of power -brooch, or pin

Athenian agora. Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan.

-Athenian agora (marketplace/town square) -Shops, temples face it -Panathonaic way through the city leading up to the Acropolis -Long buildings (stoa) -Ancient strip mall -Colonnade -Rooved buildings -Separate stalls inside -One of the finer ones -2 stories high -How it faces the town square

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover). Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigments and gold leaf on vellum).

-Book used to tell the story of Passover around the seder table each year (called the Haggadah) -The most luxurious examples of a medieval illuminated manuscript -Although the Golden Haggadah has a practical purpose, it is also a fine work of art used to signal the wealth of its owners. -Usually includes the prayers and readings said during the meal and sometimes contained images that could have served as a sort of pictorial aid to envision the history of Passover around the table. -The word "Haggadah" actually means "narration" in Hebrew -One of the most lavishly decorated medieval Haggadot, containing 56 miniatures (small paintings) found within the manuscript. -Each miniature is decorated with a brilliant gold-leaf background -This manuscript would have been quite expensive to produce and was certainly owned by a wealthy Jewish family -Although many haggadot show signs of use—splashes of wine, etc.—the fine condition of this particular haggadah means that it might have served a more ceremonial purpose -Although the second commandment in Judaism forbids the making of "graven images," haggadot were often seen as education rather than religious and therefore exempt from this rule. -Very similar to Christian Gothic -The figure of Moses and the Pharaoh (above). He doesn't really look like an Egyptian pharaoh at all but more like a French king. (Gothic influence)\

Forum of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113C.E. Brick and concrete (architecture); marble(column).

-Building project of Trajan in Rome -Forum is larger than any other in Rome combined -Town center -Administrative buildings, religious center, law courts -Grand architecture -Dedicated to Trajan's victory over the Dacians -Dacians were considered barbarians -Outside the empire -Lots of symbols of the victory all over -Colonnades, peristyle -Libraries -Apse shape at each end, wide central nave -Equestrian statue - 6 - of himself on a horse -Roman context of power -Similar to pyramids being a symbol of Egyptian power -Hoof of the horse raised to walk on a Dacian -Freestanding column -Colossal -Trajan's column -Continuous narrative on the column -Spiral, relief -Trajan's victory over the Dacians -Depicted around 60 times -Shows that he is legitimate and this is his contribution -Door at the bottom with a staircase -Statue at the top (was taken and is not replaced by a religious figure)

Spaniard and Indian Produce a Mestizo. Attributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas.

-Casta paintings convey the perception that the more European you are, the closer to the top of the social and racial hierarchy you belong. -Pure-blooded Spaniards always occupy the preeminent position in casta paintings and are often the best dressed and most "civilized." -Simple composition, with a mother and father flanking two children, one of whom is a servant carrying the couple's baby. -The indigenous mother, dressed in a beautiful huipil with lace sleeves and wearing sumptuous jewelry, turns to look at her husband as she gestures towards her child. -Her husband, who wears French-style European clothing including a powdered wig, gazes down at the children with his hand either resting on his wife's arm or his child's back. -The young servant looks upwards to the father. The family appears calm and harmonious, even loving. -People also appear darker as they become more mixed. -The existing evidence suggests that some of these casta series were commissioned by Viceroys, or the stand-in for the Spanish King in the Americas, who brought some casta series to Spain upon their return. -Casta paintings reflect increasing social anxieties about inter-ethnic mixing, it is possible that elites who claimed to be of pure blood, and who likely found the dilution of pure-bloodedness alarming, were among those individuals who commissioned casta paintings.

Sarcophagus of the Spouses. Etruscan. c. 520 B.C.E. Terra cotta.

-Celebration Eternal banquet/party -Terracotta ceramic -Baked clay -Sarcophagus -Tomb of an Etruscan husband and wife -Reclining on a banquet couch together -Depicted the same spatially -Interacting together -Hand gestures= sign of talking -Lively -Made in 4 sections -Ashes would go inside -Death is a celebration and eternal banquet -Etruscan women had more equality -Attended events -Higher status -Owned property -Kept their names when they got married -Many were literate

House of the Vettii. Pompeii, Italy. Imperial Roman. c. second century B.C.E.; rebuilt c. 62-79 C.E. Cut stone and fresco.

-Street level -No windows -Would've been noise and garbage -Water could flow through the streets to wash away garbage -Stepping path to stay clear of garbage -Impluvium (pool of water) -Mosaic floors that greeted visitors -Walls had frescos -Vettii brothers were businessmen (lots of visitors) -See through the atrium to the back with the peristyle and garden -Plan is different from where it was located -Several atrium areas -Fresco found on the walls of the House of Vettii -Fourth Style (eclectic) -Creates optical illusions -Like house extends past the borders of the walls -Mix with framed paintings on the wall

Bayeux Tapestry. Romanesque Europe (English or Norman). c. 1066-1080 C.E. Embroidery on linen.

-Commemorates a struggle for the throne of England between William, the Duke of Normandy, and Harold, the Earl of Wessex. -Consists of seventy-five scenes with Latin inscriptions -Depicting the events leading up to the Norman conquest and culminating in the Battle of Hastings -The textile's end is now missing, but it most probably showed the coronation of William as King of England. -This commemorative work is not a true tapestry as the images are not woven into the cloth; instead, the imagery and inscriptions are embroidered using wool yarn sewed onto linen cloth. -The tapestry is sometimes viewed as a type of chronicle -Presents a rich representation of a particular historic moment as well as providing an important visual source for eleventh-century textiles that have not survived into the twenty-first century. -Considered to be a somewhat accurate representation of events -Art historians believe the patron was Odo, Bishop of Bayeux -Odo appears in several scenes in the tapestry -We do not know the identity of the artists who produced the tapestry -The high quality of the needlework suggests that Anglo-Saxon embroiderers produced the tapestry -Organized the composition of the tapestry to lead the viewer's eye from one scene to the next and divided the compositional space into three horizontal zones. -Main events of the story are contained within the larger middle zone. The upper and lower zones contain images of animals and people, scenes from Aesop's Fables, and scenes of husbandry and hunting -Seventy-five episodes depicted present a continuous narrative of the events leading up to the Battle of Hastings and the battle itself

Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447-410 B.C.E. Marble.

-Contemporary -Same time as Canon -Acropolis -Persians destroyed Athens -After 480, it is build back up as a demonstration of power and wealthy -A high sacred city built on a hill -Always a sacred spot -Built up on a rocky hill (important administrative site that is protected) -A complex of buildings (Parthenon, Erectheion, Propylea, Temple of Athena Nike) -Reflects the Persians attacking Athens -Reflects Athenian identity and power -Celebrate Athena (patron goddess of Athens) -Can be seen from all parts of Athens (focal point) -Symbol of Athenian power -Classical Age (golden age) -5th Century -Shows the complex -Much more developed than in real life -Parthenon -Athena is the patron of Athens that gives it power -Uses ideal mathematic proportions and rations -Balance, proportion, harmony -Designed by Iktinos and Kallkrates -A massive state of Athena -A pediment with statues and reliefs of the gods and goddesses -Doric -Stylobate -Triglyphs and metopes -Columns with subtle Entasis -Golden age of Greek architecture -Architects are able to manipulate the view -Stylobate on a very rocky, hilly part -Part had something under it to make it seem like it was all on the same even plane -Mathematic ratios and proportion are applied -Given a sense of balance and harmony -Entasis (swelling of the columns to make everything look straight) -Very subtle -Perfected here -Parts of the stylobate are higher in some places and lower in others -Make up for the rocky ground -Modification to elude to balance and harmony -Athena Parthenos in the center -Peristyle around the perimeter -Contest between Athena and Poseidon -Relief of her birth -Gigantomachy shown -Doric on the outside (metopes) , Ionic on the inside (columns, reliefs of friezes) -Frieze depicting the Panathenaic procession (celebrate and worship Athena) -Cella where the original Athena statue stood -Reproduction of the statue of Athena -Only known from texts and histories -Made of gold and ivory (probably melted down over time) -Nike figure in her right hand -Figure of victory

Alhambra. Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding

-Distinct for its sophisticated planning, complex decorative programs, and its many enchanting gardens and fountains. Its intimate spaces are built at a human scale that visitors find elegant and inviting. -An abbreviation of the Arabic: Qal'at al-Hamra, or red fort, was built by the Nasrid Dynasty, the last Muslims to rule in Spain -Access was restricted to four main gates -Structures with three distinct purposes, a residence for the ruler and close family, the citadel, Alcazaba—barracks for the elite guard who were responsible for the safety of the complex, and an area called medina (or city), near the Puerta del Vino (Wine Gate), where court officials lived and worked. -Connected by paths, gardens and gates but each part of the complex could be blocked in the event of a threat. -Most celebrated structures are the three original royal palaces. -The Comares Palace, the Palace of the Lions, and the Partal Palace **See Khan Academy: https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/the-alhambra

Mosque of Selim II. Edirne, Turkey. Sinan (architect). 1568-1575 C.E. Brick and stone.

-Edirne was the first major city that Europeans traveling to the Ottoman Empire reached—so building a large complex here offered the Sultan an opportunity to use architecture to impress the Ottoman Empire's greatness upon visitors. -Two symmetrical square madrasa -Row of shops (arasta) -School for learning the recitation of the Quran -The approach to the north façade of the mosque (above) is dramatic: the aligned gates of the outer precinct wall and forecourt focus the eye upwards toward the dome -The dome rests on eight muqarnas-corbelled squinches -The squinches are the architectural support, decorated by the muqarnas, transition from the dome down to the eight piers. -Buttresses are artfully hidden among the exterior porticos and galleries -The Qibla wall (the wall that faces Mecca) projects outward further emphasizing the openness the interior space -The placement of the muzzin's platform (müezzin mahfili), under the center of the dome is very unusual. From this platform, the muzzins who lead prayers, chant to the congregation -While this innovation disrupts the space below the dome, it reflects Sinan's interest in surpassing Christian architecture. The position of the platform also creates a vertical alignment of square, octagon, and circle, using geometry to refer to the earthly and heavenly spheres

Tomb of the Triclinium. Tarquinia, Italy. Etruscan. c. 480-470 B.C.E. Tufa and fresco.

-Elaborately painted -Cave-like setting or under ground -Celebration after death -Banquet -Bright colors -Human representation -Women have light skin, men have dark skin (way to differentiate) -Hands have different gestures -Larger than life hands (represent that they are doing) -People drinking and eating -Image of a man holding an egg (right corner on the left side) -Represent birth/rebirth -Represents life

Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or early seventh century C.E. Encaustic on wood.

-The Virgin and Child flanked by two soldier saints -St. Theodore to the left -St. George at the right -Above these are two angels who gaze upward to the hand of God, from which light emanates, falling on the Virgin. -spatial recession -First in the throne of the Virgin where we glimpse part of the right side and a shadow cast by the throne; we also see a receding armrest as well as a projecting footrest.

Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bibles moralisées. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript (ink, tempera, and gold leaf on vellum). (2 images, each from a separate manuscript)

-These books were generally commissioned by members of royal families -Dedication page showing the owners of one Bible moralisée: Blanche of Castile and King Louis IX of France.

Angel with Arquebus, Asiel Timor Dei. Master of Calamarca (La Paz School). c. 17th century C.E. Oil on canvas.

-Guns, angels and fashion -Depictions of androgynous, stunningly attired, harquebus (a type of gun) carrying angels were produced from the late-seventeenth century in Peru -Representing celestial, aristocratic, and military beings all at once, these angels were created after the first missionizing period, as Christian missionary orders persistently sought to terminate the practice of pre-Hispanic religions and enforce Catholicism. -First gun to rest on the shoulder when being fired and was at the forefront of military weapon technology at the time. -The Latin inscription of Archangel with Gun, Asiel Timor Dei indicates the name of the angel, Asiel, and a particular quality: Fears God. -The Catholic Counter Reformation held a militaristic ideology that portrayed the Church as an army and angels as its soldiers -The armed angel in Asiel Timor Dei represented this philosophy: its gun and mere existence protects faithful Christians. -The asexual body of the angel in Asiel Timor Dei is consistent with biblical descriptions. -The dress of the angels with guns corresponds to the dress of Andean aristocrats and Inca royalty, and is distinct from the military attire of Gheyn's harquebusiers.

Pantheon. Imperial Roman. 118-125 C.E. Concrete with stone facing.

-Hadrian -After Trajan -Hadrian expands he empire into Great Britain (Scotland) -Build a wall around the entire wall land (marker of stones) -Pantheon - means temple to all gods (Jupiter, Mars, Saturn, Venus) -Round shaped building - cylinder -Rotunda -All honored there -Pantheon -Build on the site of an earlier Roman temple -Classical appearance of a Greek façade (porch, colonnade, pediment) -Combination, so it's Roman -Would've been a massive central staircase -Years of Roman streets have brought it level with the porch -Noise sculptures -No sense of statuary -Hit of what the interior looks like from the dome -Round room (rotunda) -One of the most significant architectures in history -Equality given to the gods so they're all featured -Architectural niches (triangular or rectangular) -Capitals -Geometry -Sense of a perfect circle -Circle within a square -Floor pattern (square), decorative -Dome is made out of concrete (makes it more lighter than stone or brick) -Enables them to be able to create coffers on the ceiling (also works to lighten the weight) -Would've been painted blue (midnight blue) -Flower like shapes made of bronze embedded into the coffers -Looked like stars in heaven -Tall Corinthian columns found in pairs -Oculus at the top

Winged Victory of Samothrace. Hellenistic Greek. c. 190 B.C.E. Marble.

-Hellenistic -Masterpiece of Hellenistic sculpture -Nike = victory -Nike of Samothrace -Wings -Just come down to land on the front of a Greek warship -Rush of wind where the fabric is thrust back -The stones are different colors to symbolize different figures -Would've had her arm raised to crown the victor -Movement -Positioned in font of a pool of water with a fountain -Splashing of water against the front of the sculpted ship (added to the feel)

Church of Sainte-Foy. Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliquary of Saint Foy: ninth century C.E., with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary)

-Important pilgrimage church -It is also an abbey -Romanesque church -Barrel-vaulted nave lined with arches on the interior. -Main feature of this churches was the cruciform plan -This plan take the symbolic form of the cross but it also helped control the crowds of pilgrims. -Pilgrims could enter the western portal and then circulate around the church towards the apse at the eastern end -Apse usually contained smaller chapels, known as radiating chapels where pilgrims could visit saint's shrines -They could then circulate around the ambulatory and out the transept, or crossing. This design helped to regulate the flow of traffic throughout the church -On the portals were depictions of the Last Judgment -This scene is depicted on the tympanum, the central semi-circular relief carving above the central portal. -In the center sits Christ as Judge -He sits enthroned with his right hand pointing upwards to the saved while his left hand gestures down to the damned. -This scene would have served as a reminder to those entering the Church of Saint-Foy about the joys of heaven and torments of hell. -Reliquary at Conques held the remains of Saint Foy, a young Christian convert living in Roman-occupied France during the second century. -At the age of twelve, she was condemned to die for her refusal to sacrifice to pagan gods, she is therefore revered as a martyr -Saint Foy was a very popular saint in Southern France and her relic was extremely important to the church; bringing pilgrims and wealth to the small, isolated town of Conques

The Virgin of Guadalupe (Virgen de Guadalupe). Miguel González. c. 1698 C.E. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl.

-Juan Diego was walking across the Hill of Tepeyac near a razed shrine to the Mexica (Aztec) earth goddess Tonantzin when a woman appeared and spoke to him in Nahuatl, his native tongue. -She revealed herself as the Virgin Mary, and asked Juan Diego to go to the local bishop, Juan de Zumárraga, and ask for a church to be built on the hill in her honor. -The Virgin Mary revealed herself to Juan Diego two more times with the same request, but still no shrine was constructed. -During her fourth request on December 12th, she told Juan Diego to gather roses from the hill into his cloak (or tilma). When he stepped before the bishop and opened his cloak, the roses—Castillian roses (which are not native to Mexico) spilled forth. Imprinted on the tilma was an image of the Virgin Mary herself, known today as the Virgin of Guadalupe. -Zumárraga recognized the miracle, and a shrine to the Virgin of Guadalupe was built on the Hill of Tepeyac, with a basilica to her constructed below. Today, the original miraculous tilma image hangs in the new basilica at Tepeyac in Mexico City. -.Miguel González's version portrays the Virgin as she appears on the tilma: in three-quarter view, crowned, hands clasped, eyes cast downwards, encased in light, and standing on a crescent moon that an angel supports. -The manner in which the Virgin of Guadalupe appears relates to Immaculate Conception* (the doctrine that Mary was conceived without original sin in her mother's womb) imagery which was based on Revelation 12: "clothed with the sun, with the moon under her feet and a crown of twelve stars on her head." -In the four corners of the painting (below) we see four framed scenes carried by angels. These represent different moments in the story of the miracle. -Uses pieces of mother-of-pearl shell to form most of the Virgin Mary's clothing -The iridescent shell would reflect shimmering candlelight to emphasize the sacredness and importance of the Virgin Mary. -Above the Virgin of Guadalupe is the dove representing the Holy Spirit in a golden cloud, and below an eagle perches on a cactus. -enconchado

Peplos Kore from the Acropolis. Archaic Greek. c. 530 B.C.E. Marble, painted details.

-Kore = girl -Peplos = the garment that the figure is wearing (fashionable) -Idealized -Softness to the anatomy -Hair is stylized but still naturalistic -Incisions on her skirt -Archaic smile

Anavysos Kouros. Archaic Greek. c. 530 B.C.E. Marble with remnants of paint.

-Kroisos -75 years after the first one -A lot of growth (more lifelike) -Attention to anatomy is more accurate -Looks like the figure is taking a breath (pulling the shoulders back) -Free standing (no support) -Arms and hands are not stuck to the body -Naturalism -Not angular or geometric -Soft curves -Coded with encaustic (pigment in wax and painted on the surface of the stone) -Adds a reflective sheen -A lot remains -Adds to the look of flesh and hair -Face is rounded

Great Serpent Mound. Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 C.E. Earthwork/effigy mound.

-Largest serpent effigy in the world -The complex mound is both architectural and sculptural and was erected by settled peoples who cultivated maize, beans and squash and who maintained a stratified society with an organized labor force, but left no written records -​The serpent is slightly crescent-shaped and oriented such that the head is at the east and the tail at the west, with seven winding coils in between -The shape of the head perhaps invites the most speculation. Whereas some scholars read the oval shape as an enlarged eye, others see a hollow egg or even a frog about to be swallowed by wide, open jaws. -Many native cultures in both North and Central America attributed supernatural powers to snakes or reptiles and included them in their spiritual practices. -The unique geologic formations suggest that a meteor struck the site approximately 250-300 million years ago, causing folded bedrock underneath the mound. -The head of the serpent aligns with the summer solstice sunset, and the tail points to the winter solstice sunrise. -Determining exactly which culture designed and built the effigy mound, and when, is a matter of ongoing inquiry.

Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood.

-Liffi -Angels holding up the Christ child -Angel turning out to smile -Atmospheric perspective in the background

Transformation mask. Kwakwaka'wakw, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string.

-Masks manifest transformation, usually an animal changing into a mythical being or one animal becoming another. -Masks are worn by dancers during ceremonies, they pull strings to open and move the mask—in effect, animating it. -When the cords are pulled, the eagle's face and beak split down the center, and the bottom of the beak opens downwards, giving the impression of a bird spreading its wings (see image below). -Transformed, the mask reveals the face of an ancestor.

Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo. Master sculptor Vulca. c. 510-500 B.C.E. Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture.

-Model of a typical Etruscan temple -Influenced by Greek temples -None of them are still standing -Weren't made of sustainable materials -Made of mudbrick, wood, terra cotta (not as durable as model) -Vitruvius -Unfluted wooden columns (painted) -Terra cotta tiles (baked) -Statues of deities on the roof -No reliefs in the pediment -Central, narrow staircase leading to a platform -Colonnade is only on the porch -Ornate home for the gods -3 sanctuaries (naos) dedicated to a different deity -Follows the Greek pantheon -Plan of the Temple of Minerva -North of Rome (Veii) -Central staircase -Colonnade -Grand entrance -3 separate chambers -Three doorways -Incorporating the volcanic rock from the surrounding area for decoration -Usually on the podium --Finest still existing -Would've been on the roof -Apulu (Apollo) -Would've been painted to stand out on the roof -Larger than life -Ceramic -Hollow -Terra cotta -Similar to an archaic smile -Sense of life and animation in the face -Muscle on the calf (naturalistic, attention to human anatomy) -Robe is detailed (folds of fabric) -Little more stylized than the later Greek sculptures -Figure looks stiff compared to the dynamic movements of the Hellenistic Period (ex. No contrapposto) -More covered up -Not freestanding -Base has volutes and acanthus leaves -Forward motion

Great Mosque. Córdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry.

-One of the oldest structures still standing from the time Muslims ruled -Historians believe that there had first been a temple to the Roman god, Janus, on this site -The temple was converted into a church by invading Visigoths who seized Córdoba -Next, the church was converted into a mosque and then completely rebuilt by the descendants of the exiled Umayyads -Prince Abd al-Rahman sponsored elaborate building programs, promoted agriculture, and even imported fruit trees and other plants from his former home. -Orange trees still stand in the courtyard of the Mosque of Córdoba -Large hypostyle prayer hall -Courtyard with a fountain in the middle -Covered walkway circling the courtyard -Minaret -Built with recycled ancient Roman columns -Two-tiered, symmetrical arches, formed of stone and red brick

Great Altar of Zeus and Athena at Pergamon. Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 B.C.E. Marble (architecture and sculpture).

-Pergamon -Attalids (kings) -Grew extremely wealthy after Alexander's death -Worked with Rome -Most famous construction -Altar of Zeus -Not a building -Architectural features as decorations -Ionic columns -Central staircase -Columns -Where ritual offerings were given -For offerings to Zeus -High relief on the base -Figures are coming into our world -Gigantomachy is a metaphor of the struggle between good and evil, chaos and order -Ionic columns (colonnade) -Would've been brightly painted

Doryphoros (Spear Bearer). Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze).

-Polykeitos (master sculpture) -Three names -Spear Bearer, Doryphoros, Canon -Creates proportion for the ideal body -Has mathematic proportions and formulas to the different parts of the body to create a standard -Idealized version of the male athlete -Contrapposto -Bent knee -Hips tilted -Arm is bent -Other side is straight

Niobides Krater. Anonymous vase painter of Classical Greece known as the NiobidPainter.c.460-450B.C.E.Clay, red-figuretechnique(white highlights).

-Red figure painting -Niobid painter (Krater) -Niobie -Was known for having many children -Nymph -Bragged to the gods over her pride over her children (Artemis) -Artemis and Apollo were angry over her hubris -Slaughtered her children -Massacre of her children is depicted -No foreground or background -12 children depicted -3 quarter view (twisting and turning) -Break from the past where things were in registers and where things were highly organized -Figures inhabit a 3D space

Ludovisi Battle Sarcophagus. Late Imperial Roman. c. 250 C.E. Marble.

-Sarcophagi becomes the normal -Emperial family asked for it -Piling of figures -Twisting and turning -No grund line -Higly emotionl -Less importance on the individual -Late Roman -Abandon rules of the Greeks -Marble, figures, reliefs -More compositionally tighly -Layering -Barbarans depicted as other with shaggy hair -Romans are clean cut -Massive humanity -Art changed rapidly on the sarcophagi

Seated boxer. Hellenistic Greek. c. 100 B.C.E. Bronze.

-Seated boxer -Roman copy of a Greek sculpture -Hellenistic sculptors had more figures -More interested in the figure of a boxer -Deviation from the depiction of a youthful athlete -Been battered in the face from boxing -Hands are wrapped -Leaning forward in exhaustion -Appealing to emotions (compassion)

Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry.

-Second generation use of string courses -Cornice aping off the top

The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens.

-Versailles was meant to emphasize Louis's importance -Louis called himself The Sun King; as in, everything revolves around me -By building Versailles, Louis shifted the seat of French government away from the feuding, gossiping, trouble-making noble families in Paris. -He had the whole palace and its massive gardens built along an East/West axis so the sun would rise and set in alignment with his home. -Hall of Mirrors, which runs along the entire length of the central building. -One wall contains a row of giant windows looking out over the gardens -Palace's outside isn't as ornate as its inside -The basic structure is classical; it's symmetrical, repetitive, and based on simple elements that are directly borrowed from ancient Greek temples. -Classical architecture was intended to remind people of the greatness of the antique Greek and Roman past -Louis liked linking himself directly to the Greek god Apollo -The Apollo Fountain and Apollo Salon remain two of the major highlights of a visit to Versailles.

Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis. Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript (tempera, gold, and silver on purple vellum).

-oldest surviving well-preserved illustrated biblical book -The Vienna Genesis is a fragment of a Greek copy of the Book of Genesis -Books were luxury items -written in silver ink on parchment that had been dyed purple -purple is associated with royalty and empire -This story is from Genesis 24 -Abraham wanted to find a wife for his son Isaac -Sent his servant Eliezer to find one from among Abraham's extended family. -Eliezer took ten of Abraham's camels with him and stopped at a well to give them water. -Eliezer prayed to God that Isaac's future wife would assist him with watering his camels. -Rebecca arrives on the scene and assists Eliezer, who knows that she is the woman for Isaac. -This story is about God intervening to ensure a sound marriage for Abraham's son. -Rebecca is shown twice, as she leaves her town to get water and then assisting Eliezer at the well with his camels -classical elements that recall artwork from ancient Greece and Rome. -Rebecca walks by a colonnade

Templo Mayor (Main Temple). Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec). 1375-1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone).

•Laid out on a grid plan •The Aztecs believed this city to be the center of the world •This was a massive tiered sculpture at the center of the City •Two temples on the top •Temple on the right is devoted to the God Tlaloc (agriculture and Rain God) •Temple on the left is devoted to Huitzilopochtli (Sun God) •Sun would rise between the two during a certain time of years •This was rebuilt six times •Layers built on top of layers •Sacrifices would take place here to feed the Gods ••Translates to "bells her cheeks" •Disk •Very high relief •Placed at the foot of the ground of the templo mayor •Dismembered moon god •All her limbs go around her in a circular •Bodies were thrown to lay down on this disk •The Gods needed human hearts and blood to stay happy•Part of a creation myth •Bells her cheeks and her siblings were not happy that their mother was having another child •They plotted to kill her or it •Mother was the snake God •The child pops out of the mother and kills them all •Sacrifices on top •Bodies thrown down the staircase •Blood going down the stairs •This is at the top of the temple structure •Called the calendar stone •Was used for human sacrifice at the top of the templo mayor •Circular shape represents the movement of time •Sun god is represented •Rays of sun sticking out •The tongue is missing •Would have been a blade sticking out by which people would be sacrificed •This would have been vertical •Dark green jade •This was Olmec •Olmec piece of art owned by the azetecs •The Aztecs cherished this work of art •They did this with art from other cultures of Mesoamerica •They would bury these in the templo mayor This is a portable object (size of a mask that would go on your face)

Maize cobs. Inka. c. 1440-1533 C.E. Sheet metal/repoussé, metal alloys.

•Made of Gold and silver •Reproductions of the type of objects that were supposed to be outside in multitude •Little sculptures made of metal •Glittering in the sun •Corn was one of the essential crops in the area •These are really naturalistic interpretation of forms Food and agriculture as a symbol of wealth and life

Las Meninas. Diego Velázquez. c. 1656 C.E. Oil on canvas.

•Major masterpiece •Las Meninas (maids of honor) •He represents himself in the left side of the painting •He is painting a self portrait •He is in his studio in the royal palace •It is a group portrait •The young princess of the king is illuminated •Ladies in waiting •Her favorite dwarf •Her dog •It is dark which adds to the drama •The footman is illuminated in the door •It is assumed he is always present when the king and queen are in the room. •Reflection in the mirror of the king and queen of Spain •We the viewer occupy the space of the king and queen •Daughter turns to see them come in •We don't know who he is painting •We know he painted this to elevate his status as an artist and the profession of painting •He hoped to be made a noble by royal appointment •The order of Santiago •He paints himself with the symbol of the red cross already on his outfit •This painting was hung in Philips private office •This was right in front of his desk

Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. 1473-1458B.C.E.Sandstone,partiallycarvedintoarockcliff,andred granite.

•Mortuary temple of Hatshepsut •Rock cut temple out of the mountain side •Tiered structure •There were beautiful gardens growing on the different terraces •There were over 200 statues of Hatshepsut •There are also reliefs of expeditions that took place under her. •She looks like she fits right in with all the other pharaohs •She doesn't have a very feminine physique •She has a fake beard •The statue is chipped away •Someone wants to erase her memory from history •defacement

Birth of Venus. Sandro Botticelli. c. 1484-1486 C.E. Tempera on canvas.

•Most famous work created for the Medici •Mythological theme •Birth of venus •She is floating on the shell •She was born of seafoam •Her home is Cyprus where she is floating too •Nymphs rushing to put clothing on her •West wind blowing her to the shore (personification) •Roses add movement to the picture •They also represent love and how love is romantic but can hurt •Supposed to be entertaining •Very beautiful •Medici family didn't have one particular style •This is tempera on canvas

Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx. Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550-2490 B.C.E. Cut limestone.

•Most stable architectural construction •Aerial view of the great pyramids of Giza •80 pyramids •Product of the 4th dynasty •Built with in 67 years of each other •Made of brick, but glossy stones were laid over it •Pyramids are part of a complex. •This is a funerary complex •In close proximity to the Nile •When the pharaoh died they would float his body down the river to his final resting place. •There is a ramp up to each pyramid (causeway) •Mortuary temple in front of each pyramid. (That is where the Ka statue is found) •That statue has a home on heart. •Graves of princes and princesses are in close proximity to the pharoahs •Associated with the pyramid of Khafre •Khafre's head on the body of a lion •Pharoah head lion body •The spinx is a very powerful figure because the creatures of human and animal together creates the most powerful figure as seen by the Egyptians. •This statue was built onto living rock •This statue was made to ward off enemies •Apotropaic.

Santa Sabina. Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wooden roof.

•No sculptures •Interior walls had frescos and mosaics •Inlaid marble •Corinthian fluted columns •Chairs scattered through the nave

Catacomb of Priscilla. Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco

•Pricilla was the wife of a roman console •She was killed for converting to Christianity •The emperor killed her •This is a catacomb •Lunette •fresco•Early Christian late antique fresco •Most of these are preserved because they are underground •The symmetry or composition is very roman •Person lounging •The way they are holding out their hands is roman and greek •They are wearing togas •This is a fresco •Use of livestock •In the center, sheeps are sitting at the feet of Christ •Orant- late antigue figure standing with their hands outstretched -In the Christian context they are praying not speaking to others •Cruciform •Jonah's ark •Jonah was on the boat •Then being spit out the whale •Then resting •Pricilla is pictured as an orant •She is praying •She is holding a baby ( •Represents different stages of her life •Wearing a purple toga as a sign of power but also as a sign of her death and her oneness with God

King Menkaura and queen. Old Kingdom, Fourth Dynasty. c. 2490-2472 B.C.E. Greywacke.

•Queen physically supporting the Pharoah •Both of them are fitting into the canon •They are still engaged to the block of stone which helps the durability of the piece •They are on a block of stone to help them stand in power forever •Idealized bodies (smooth, sculpted)

Akhenaton, Nefertiti, and three daughters. New Kingdom (Amarna), 18th Dynasty. c. 1353-1335 B.C.E. Limestone.

•Sunken relief •His wife and his daughter and him •His daughter playing •Naturalistic •Belly pooch sticking out. •The Atan is at the center of all of this. •Hands coming down with symbols of life.