AP Art Set

The Scream Edvard Munch. 1910 C.E. Tempera on board rippling effect as though scream is warping landscape. contrasting colors. emotions. Symbolism and Expressionism. Edvard Munch portrayed pure, raw emotion in this artwork was a radical shift from the art tradition of his own time, and he is therefore credited with beginning the expressionist movement that spread through Germany and on to other parts of the world. Most of Edvard Munch's work relates to themes of sickness, isolation, fear and death.

Artist: Edvard Munch Date: 1910 Medium: tempera on cardboard Movement: Symbolism Form: Tempera paint on cardboard mixing traditional, high-quality tempera paint with flimsy, industrial everyday cardboard Vibrant, strong color contrast non-naturalistic, skewed proportions, everything swirls into itself lots of movement and uncertainty this is to represent the feeling of the moment (SYMBOLISM) Content: androgynous, elongated figure screams with hands pressed to its face in the foreground two figures walk along the bridge into the background sea swirls into the sky, everything is streaked and blended and sketchy power of natural forms calling to an individual Function: Semi-autobiographic an expression of the themes that preoccupied Munch: relationships, life, death, dread recounts an experience he had when walking with friends struck with a sense of melancholy at the shocking sunset how to portray grappling with the intense cry of nature? A study in different mediums part of a series of four renditions of the same scene, called "The Frieze of Life" each using different surfaces and materials (this final one being tempera on cardboard) wanted to experiment with these different mediums to see how they may represent a story or a feeling differently Context: (see "function" for semi-autobiographic context) Relation to Synesthesia Synesthesia is the synthesis of the senses some people may associate a smell with a musical note, or a color with a smell The Scream's swirling synthesis of the forces of nature may reflect some understanding of or relation to synesthesia (or maybe just a general sense of being overwhelmed and pulled in different directions by natural senses) (see "symbolist characteristics" for context of the artistic movement) Symbolist Characteristics: Munch sought to express internal emotions through external forms dream-like, non-naturalistic key elements (symbols) are exaggerated and purposefully overshadow details that are not important to the essence of the painting color is key

George Washington, Jean-Antoine Houdon 1788-92, marble, 6' 2" high (State Capitol, Richmond, Virginia) symbolic sticks and axe. represents republic. reference to Roman republic. power, contrapposto.

Artist: Jean Antoine Houdon Patron: None Location: United States Date: 1788-1792 Style: American Neoclassical Medium: Marble Sculpture In-The-Round Movement: Neoclassical Form: Neoclassicism White marble Contraposto Symbolic details Form Washington is seen wearing street clothing (fatherly expression) Symbolized power and authority as he holds his sword not having the sword in hand = given up his military and presidential careers Function: Sculpture Content: Marble sculpture of George Washington Context: Made after the American Revolution At this time it was popular to commission the depiction of war heroes Washington;s depiction was inspired by his choice to retire from his military position and precedency in order to pursue farming instead and allow his country to develop Statue ordered = Virginia Governor Sculpted = French Artist No practiced American sculptors French people idealized the fore-fathers of America

The Valley of Mexico from the Hillside of Santa Isabel, José María Velasco c. 1875, oil on canvas Mexico City. "pure landscape" represents patriotism for a newly independent society. (1821 war of independence from Spain). combines romanticism and neoclassical elements. LIGHT and SHADOW. zig-zag composition leading to city...studied nature. NATURE and HISTORY/ORIGINS glorified. Aztec history. Aztec lovers shown in volcanoes.

Artist: Jose María Velasco Date: 1882 Medium: Oil on canvas Movement: Realism Context · Velasco was an academic landscape painter, specializing in panoramas of the Valley of Mexico · Velasco meticulously observed nature: rocks, foliage, clouds, waterfalls · Rejected the realistic landscapes of Courbet and Romantic landscapes of Turner Content · Mountains, lake, trees, clouds, blue skies, tiny human figures · All from the vantage point of the mountaintop village Guadalupe that looks over the Valley of Mexico Form · Atmospheric perspective and tiny human figures both create a sense of monumentality and awe of nature. · Viewer stands above the mountains; looks down to survey the scene. Function · Showcases the rolling red hills, magnificent blue skies, puffy white clouds, the lake, trees, and natural beauty of the Valley of Mexico · To glorify the Mexican countryside

The Coiffure Mary Cassatt. 1890-1891 C.E, Drypoint and aquatint on paper American. Title refers to wealthy women with grand hairstyles done by maids; art depicts working class women doing hair alone; irony. Inspired by Japanese prints. The straight lines of the mirror and wall and the chair's vertical stripes contrast with the graceful curves of the woman's body. The rose and peach color scheme enhances her sinuous beauty by highlighting her delicate skin tone. Cassatt also emphasizes the nape of the woman's neck, perhaps in reference to a traditional Japanese sign of beauty. Hazy colors, but crisp lines.

Artist: Mary Cassatt Date: 1890-1891 Medium: drypoint and aquatint on paper Movement: Post-Impressionism Form: In the style of Japanese prints light brushstrokes sketchy reproducible print (on paper) Function: To make artwork more accessible to all classes created easily reproducible prints less expensive widespread availability Cassatt was advised against this, critics said it would make her art less valuable she insisted on this principle of art for the masses Cassatt had a prescient understanding of how photography would come to affect the art world art can no longer be elitist and elusive it will be available "to the masses" whether artists like it or not, so it was smart of her to jump on board with the wave of technology rather than resist Content: female nude sitting in chair, facing mirror woman is fixing her hair decorative prints in background (carpet and wallpaper) sign of Asian influence Context: Female nudes Cassatt, as a female, offers a truer, more intimate perspective on the female nude female nudes are generally painted by male artists, and the female body is intended for the male gaze de-eroticizes the traditional boudoir scene (historically painted by men) makes it more functional, a nonevent private, personal a feminine moment (fixing her hairstyle), intended for women, to be seen and understood by women, painted by a woman Global expansion/influences this was a time of increased contact and trade with the East Europe was fascinated with Japan and this showed especially Impressionist and post-Impressionist art shares characteristics with Japanese prints watery brushstrokes 2-dimensional rosy, faded colors ornamental, leafy/flowery patterning

Where do we come from? What are we? Where are we going?, Paul Gauguin Symbolist 1897-1898, oil on canvas (heavy sackcloth). Paris. "primitive" society. humans, animals, symbolic figures on island. Gauguin's themes often: life, death, poetry, symbolic meaning. where we come from: infant... what we are: figure in middle... where we are going: dark, bitter old woman crouching escape from reality....wanted kinda savage feel.... figures aren't proportional on purpose...floating in space...

Artist: Paul Gaugin Date: 1897-98 Medium: oil on canvas Movement: Symbolism Form: continuous narrativelike fresco, or friezes weird multi-perspective view in background Symbolistcolors play an important role2-dimensionalsymbolic meaning, expressive, non-naturalistic Content: Tahitian natives in scenes that show the stages of life (from right to left): infancy, adulthood, old age figures are partially unclotheddressed in a non-western fashion Function: enigmatic, multiple philosophical interpretations essentially a private work, whose meaning was only known most personally to Gaugin himself

Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama c. 1330-40, Iran, ink, colors, gold, and silver on paper, folio 41.5 x 30 cm silver and gold accents over ink and opaque watercolor also referred to as the Great Mongol Shahnama. It was most likely a prestige item intended to express the owner's power and wealth, and it is the most luxurious of all the Ilkhanid painted books that survive

As Bahram Gur's men faced the Karg, a monstrous horned wolf that had been terrorizing the countryside, they cried, "Your majesty, this is beyond any man's courage...tell Shangal this can't be done...." -a book illumination depicting one of the many stories from the Shahnama, the Persian Book of Kings. Though this particular image was painted in the fourteenth century by artists in the Mongol court in Persia (present-day Iran), the text of the Shahnama was composed by a poet named Firdawsi four hundred years earlier, around 1000 C.E -Shahnama incorporates many older stories once told orally, chronicling the history of Persia before the arrival of Islam and celebrating the glories of the Persian past and its ancient heroes; considered Iran's national epic -story of the brave deeds of a Persian king, Bahram Gur, who singlehandedly defeated the monstrous Karg (horned wolf) -identify with the noble, virtuous, and powerful warrior-kings of ancient Persia. -Bahram V- king of the Sasanian empire, ruled Persia from the third to the seventh century, just prior to the arrival of Islam. nickname, Bahram Gur, refers to a "gur" or onager—a type of wild ass which is one of the world's fastest-running mammals. The word "gur" may also mean "swift." known as a great hunter of onagers, a favorite game animal in ancient Iran, and he was renowned for his talents in warfare, chivalry, and romance. On a trip to India, according to the Shahnama, the king of India, a ruler named Shangal, recognized Bahram Gur's abilities and sought his help in ridding the Indian countryside of the frightening and fierce Karg. history: -The Sasanian empire fell in the seventh century. well after this the Mongols invaded Persia. came from the eastern Asian plains, where open grasslands had encouraged a nomadic lifestyle of herding, horsemanship, and fierce warfare. They became a serious force under the leadership of Genghis Khan in the early thirteenth century, and later, under his grandson Hulagu, the Mongols expanded their reach all the way to the Mediterranean. -in Persia, Mongols fostered the growth of cosmopolitan cities with rich courts and wealthy patrons. The rule of Hulagu's dynasty, which lasted until 1335, known as the Ilkhanid period. Book illustration thrived under the Ilkhanids and became a major art form for both religious and secular texts. largely remained as nomadic peoples, artworks tended to be small and portable. developed strong oral traditions of storytelling, which gave them an appreciation for narrative art—especially manuscripts with paintings to accompany the stories. Illustrated manuscripts-prestige items, created in very sumptuous formats suitable for kings, princes, and members of the court. -once settled....international trade--Landscape elements, for instance, often show influences from China, incorporating motifs seen on imported Chinese scrolls (above) and ceramics. In Bahram Gur Fights the Karg, the worn and twisted trees, overlapping forms that create spatial recession, rapidly brushed foreground vegetation, and a taste for asymmetry all suggest eastern Asian influences. -Local influences are also apparent: Persia had a long artistic tradition of depicting heroes, kings, and hunters riding horses over slain opponents. Bahram Gur: on horseback, wears kingly garb, with a golden crown, luxurious garment, and an elegant gold and pearl earring visible in his right ear. But he is also clearly a warrior, holding a mace over his shoulder, and with a bow, sword, and arrows covered in a leopard skin hanging from his waist. -Calligraphy is the most highly regarded form of Islamic art, and it can be highly stylized, showing off an artist's personal flare and skill. Ideals of beauty in Islamic culture draw on calligraphy's inherent harmony and balance, spacing, proportion and compositional evenness on the page, and these aesthetic values are also visible in the painting style of the Great Mongol Shahnama. -some Islamic traditions discouraged art of humans/animal figures, but Ilkhanids were ok with it for private consumption -Bahram Gur symbolizes just rule and civilized society triumphing over chaos and disorder, represented by the Karg; a good and stable social order is based upon kingship, and that warrior-kings like Bahram Gur are moral and courageous models to be emulated by the readers of the book -teach about the importance of courage and ethics while traveling through such a threatening world, and they provide guidance for readers confronting questions about death, love, honor and just rule.

Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15, Francesco de Goya 1810, etching, drypoint, burin and burnisher part of series depicting the terror of war.

Complete Identification: Y no hay remedio (And there's nothing to be done) (plate 15) From Los Desastres de la Guerra (The Disaster of War) Francisco de Goya 1810-1823 (published 1863) Etching, drypoint, burin, and burnishing Spanish Romantic Spain Form: Black and white Man wearing light-colored or white tied to a pole by his hands (behind his back) He is blindfolded The landscape has some depth and the scene is dark There is a firing squad behind the central figure facing similarly bound people (also tied to poles) On the central figure's right side → there is a body contorted on the floor → likely dead There are rifle barrels pointed at the central figure coming out from the right side of the painting The people holding them are occluded Function: Meant to protest the French occupation and the brutality against the Spanish people "Y no hay remedio" belongs to the first group of plates Show conflicts between French troops and civilians → consequences Showing that war brings out the inhuman in people Content: A man is tied to a pole → Alter Christus → an "other Christ" Behind him are other poles with men tied onto them and firing squads either firing or ready to fire The body on the ground is grotesque, mangled, with blood and brains leaking Eyes are gone, body is contorted Possibly showing that he was recently shot The rifles coming from the right side of the print are aimed at the central figure tied to the pole Context: Disasters of war was created from 1810-1820 82 images meant to protest against the French occupation of Spain by Napoleon Bonaparte Napoleon tricked the king of Spain into letting his troops cross the border → then he usurped the king and put his brother on the throne There was an uprising and a lot of Spaniards died The French were pushed out after the Peninsular war → very bloody conflict Also satirizing Spanish socio-economy → which caused people to live in poverty First plates → effect of conflict Middle plates → effect of famine Last plates → disappointment and demoralization of Spaniards Their new monarch was also a tyrant and would not institute political reform Process of making the images Etch the plate → cover the metal plate with wax, carve out the shapes, dip in acid so that the acid goes into the incisions, melt off the wax and the incisions remain Drypoint → scratch lines on the surface with a stylus → create a less even line Then the artist pours ink on the plate and wipes it off so that it only remains in the spots where the acid burned or the artist etched Moist paper is put on the plate → run through a press Goya Worked as a painter for the French and Spanish royalty His work was so controversial Prints intended to install Spanish nationalism Went deaf and became a recluse Cross-Cultural Connections: Themes: Power and authority The human psyche Psychology, human monsters, the inhuman in humans Violence and terror Art as a form of protest

Dream of a Sunday Afternoon in Alameda Central Park, Diego Rivera 1947, mural/fresco in the Hotel Del Prado, Mexico City During surrealism movement, but did not identify with them. Shows the struggles/story of the minority of indigenous people, and also his love story with Frida Khalo. from left to right: on the left is the conquest of Mexico by the Spaniards, then the fight for independence and Mexican revolution in the center, and modern achievements on the right

Content depicts over 400 characters from Mexican history all joined together for a stroll in the gardens from all times of history include Hernan Cortes, Porfirio Diaz, and Sor Juana some elements are light-hearted and playful, like the colorful balloons and bright foliage; other elements are much darker, like a conflict between a policeman and an indigenous family and a skeleton smiling brightly at the viewer Rivera never officially joined the Surrealists, but the painting is nonetheless demonstrative of the Surrealist movement, which tried to depict subjects that came from dreams or the subconscious, in that this is titled as depicting a dream the fresco reads like a chronology from left to right: on the left is the conquest of Mexico by the Spaniards, then the fight for independence and Mexican revolution in the center, and modern achievements on the right the middle highlights the lifestyle of the Mexican elite in the middle--the kind of people whose lavish lives, so in contrast to the majority of the impoverished country, lead to the revolution and overthrow of the dictator Porfirio Diaz show "both the nightmare and dreams of every epoch:" the genocide and oppression of conquest, then the dream of democracy; both religious idealism and religious intolerance, the dream of lavish living and the effects of a fiscally divided nation; Rivera's love for Kahlo and also her declining health all the figures overlap with each other; not quite interacting but also not separate in the middle, front and center, is Rivera himself, Frida Kahlo, and "La Catrina," which was a 20th century nickname for an elegant, upper class woman who dressed in European clothing, which Rivera depicts as a smiling skeleton La Catrina unites two great artists: Rivera and Posada (who did the original La Catrina skeleton painting; see context) Frida Kahlo holds a yin/yang symbol represents opposite yet interdependent forces, and also masculinity/femininity this symbol represents Kahlo and Rivera's relationship: she mentored him, then they became lovers, then they broke up but remained political comrades and often painted each other uses imagery from Mexican history, like a feather boa around the Catrina's neck that is reminiscent of the Mesoamerican serpent god Quetzalcoatl Form the form of fresco/mural was famous in Mexican history--originally used for propaganda under the post-revolution government, artists began to use it for their own purposes, highlighting the "nightmares" under the political idealism that existed in the country Context the image of the Catrina woman was popularly known in Mexican culture at the time; around 1900 Posada had depicted a Catrina as a skeleton as a critique on the Mexican upper-class and the image became famous; Rivera appropriates this image in his fresco Rivera and Kahlo were married then divorced "Mexican muralism" was the the promotion of mural painting starting in the 1920s, generally with social and political messages as parts of an effort to reunify the country under the post-revolution government Function a manifestation of one man's experience with his Mexican heritage and love-life with a fellow artist could be seen as one of the precursors to the feminist/post-colonial art that shared the stories/experiences of people in minorities/people who had been oppressed and had not had their experiences ever shared in popular art before

Olympia, Édouard Manet Realism. Oil on canvas. ft. Prostitute looking defiant, critics disliked! Shown as kinda strong and rebellious. Black woman...racial separation. loose brushstrokes and contrast of her skin against dark bg flattens her.

Form: Imperfect, harsh style depicting a woman in a manner that does not fit the classical "ideal" and ethereal image of the body Flatly painted, poorly contoured, abrupt shift in tonality, lacking depth and washed out No vanishing point or recognizable perspective- hard to understand in space Loose, choppy brush strokes (clearly a painted representation) Function: Rebel from previous convention and depict harsh realities of Parisian life Ordinary people and unglamorous prostitution Commentary on racial divisions and the class system in Paris Content: Nude woman reclining on a chaise lounge with a black cat at her feet She stares with a cold, stark, indifferent expression at the viewer A black female servant stands behind her holding a bouquet of flowers (a gift for the prostitute from a client) Highlights the french colonial mindset and injustice in society the stark contrast of the black skin from the white highlighted racial division Depicts the world of Parisian prostitution Depicted marginalized people in society rather than the traditional Bourgeois and aristocratic subjects Context: This is a salon painting (academic painting) that defied tradition creating an artistic revolution This received extreme negative reviews from critics in 1865 at the Parisian Salon It "bewildered" the Parisians and was seen as scandalous and an insult to tradition, caused unease amongst viewers because he shamelessly and obviously depicts a defiant looking prostitute, which unnerved viewers Both a nude prostitute and a black maid was seen as inferior and animalistic sexuality Manet mocked the revitalization of classical style by using a contemporary, ordinary subject. He suggested that the classical past no longer had relevance in the modern world. Manet rejected controlled brush strokes and seamless illusionism Time of the industrial revolution (linked to the separation from the outdated, classical past) He recreated the Venus of Urbino but Manet's creation was believed to be disrespectful and insulting to it Manet referred to as the father of impressionism, his "rebellious" style inspired future work Considered the first modernist painter in his technique and subjects Manet's realist predecessor was Gustave Courbet and drew inspiration from Velasquez and Goya and Dutch painters The model was Victorine Meurent Manet highlighted the injustice of colonial viewpoints, the anxieties of the class system (since many rural people moved to the growing cities), and the uncertainty of the modern world "Olympia" was a common name for prostitutes

The Kiss Constantin Brancusi. 1907-1908 C.E. Limestone Marked a major departure from the emotive realism of Rodin's famous handling of the same subject. This 1916 version is the most geometric of Brancusi's series, reflecting the influence of Cubism in its sharply defined corners. Its composition, texture, and material highlight Brancusi's fascination with both the forms and spirituality of African, Assyrian, and Egyptian art. That attraction also led Brancusi to craft The Kiss using direct carving, a technique that had become popular in France at the time due to an interest in "primitive" methods. These sculptures signify his shift toward simplified forms, as well as his interest in contrasting textures - both key aspects of his later work. Wanted the work to be placed directly on the floor to represent nature. Didn't want to elevate his art.

Form: limestone Function: to express a subject in it's most pure form Content: intertwined figures with interlocking forms woman on the right slightly thinner, eye slightly smaller bulge suggests breasts two eyes become one the structure of the limestone stays true leaving the surface raw and archaic return to a primitive form after the exactitude of the renaissance and the baroque and the 19th century etc rejecting the academy Context: cubism breaking the human form into angles and shapes Brancusi Romanian-born french sculptor outsider in the art world Romania: long tradition of stone/wood carving devoted to finding the simplest and most elegant way to express the essence of his chosen subject worked in Rodin's studio (see Rodin's "The Kiss") Many versions of this work 1st: One of Brancusi's earliest efforts at stone cutting 2nd: plaster cast - exhibited at an art show 3rd: used as a tombstone in paris over a suicide victim 4th: done as a commission. In the Philly Museum of Art there might be more undocumented versions

Wall plaque, from Oba's palace Edo peoples, Benin (Nigeria). 16th century C.E. brass More than 850 plaques. Oba = king Crown of coral beads. Oro projection. Lots of coral and bead of rule. Leopard-symbol of power, fastest animal in Jungle Mudfish can bury underground in dry season and live until rainy. sometimes has electrical charge. very stiff form. less naturalistic. more polished, gleamed back in the day. Europeans later oiled and got rid of bronze sheen, which affected layer of metal. River leaf-very common motif. coral-comes from god of wealth. Palace, audience hall decorated with plaques. open ceiling, put around four pillars. POWER OF KING. Meant to dazzle. emphasized king's wealth. 1897-War: Benin vs. Britain--Britain destroyed and sold/auctioned off arts. Very detailed decoration. Triadic symmetry. Bell, leopard tooth, leopard leather-signs of warrior. Hierarchy of scale. Later, become forms look freer...higher reliefs. More movement. More coral, the more favor from King. Textures. Depicts different textiles. It was the first of three exceptional masterpieces from the Kingdom of Benin acquired under Goldwater's guidance that dramatically transformed the collection.

Form: Cast brass relief plaque. Brass was a valuable material in Benin and brassworking took extreme technical skill. The form shows that the people of this culture were interacting with Europeans because the plaque combines traditional depictions of figures from the Beninese culture and brass work of European cultures. Function: Decorated palace walls. Plaques were made in pairs and attached to pillars in Oba's palace. They show court rituals that occurred in the palace and the order of plaques in the palace show the history of the kingdom. It clearly expresses royal power, showing the Oba as especially large and with a huge head. The plaque also demonstrates the consequences of British imperialism during the Scramble for Africa, as there was a vastly increased system of trade between Benin and Portugal after the British conquest. Content: The plaque depicts the King attended by several court attendants. The King is depicted in the center of the plaque, working to emphasize his undisputed power. The attendants appear smaller than the king not because they are shorter or farther away (Benin artists had not begun using depth yet), but because they are less important than the king. The king is shown riding a horse and wearing expensive necklaces and jewelry. The items such as the beads worn by the Oba, the horse Oba rides and the brass that makes up the plaque. The hierarchical scale is used to show the relative importance of the Oba to the surrounding figures, as he is much larger. There is also a distinct use of proportion, in which the Oba's head is larger than expected. This is because the Oba was known as the "Great Head", as he is the center of wisdom and power amongst the entirety of Benin. Context: At the time this plaque was made, the Beninese mainly traded with the Portuguese empire. This was a new system of trade that was recently enabled due to the British imperial conquests of Benin. The Portuguese empire began declining around the 18th century and the British began making inroads into Benin. However, the Portuguese had cooperated with the local peoples and seek mutually beneficial trade, while the British sought to dominate the local peoples and extract resources. In 1897 the British raided Oba's palace and burned the city around it. They also looted the valuables from inside the palace and took many of them back to Britain. This piece was one of the stolen works and is currently on display in a museum in Britain. Its ownership is currently under debate. Themes: The themes of images of power/authority, materials and their symbolic importance, the human body, propaganda, and the individual and society are all prevalent in the wall plaque from Oba's palace.

Jahangir Preferring a Sufi Shaikh to Kings, Bichitr from the "St. Petersburg Album," 1615-1618, opaque watercolor, gold and ink on paper, 18 x 25.3 cm

flames of gold radiate from the Emperor's head against a background of a larger, darker gold disc. A slim crescent moon hugs most of the disc's border, creating a harmonious fusion between the sun and the moon (thus, day and night), and symbolizing the ruler's emperorship and divine truth. Jahangir is shown seated on an elevated, stone-studded platform whose circular form mimics the disc above. The Emperor is the biggest of the five human figures painted Jahangir faces four bearded men of varying ethnicity, who stand in a receiving-line format on a blue carpet embellished with arabesque flower designs and fanciful beast motifs. Almost on par with the Emperor's level stands the Sufi Shaikh, who accepts the gifted book, a hint of a smile brightening his face. By engaging directly only with the Shaikh, Jahangir is making a statement about his spiritual leanings. Inscriptions in the cartouches on the top and bottom margins of the folio reiterate the fact that the Emperor favors visitation with a holy man over an audience with kings. Last in line is Bichitr, the artist responsible for this miniature, shown wearing an understated yellow jama (robe) tied on his left, which indicates that he is a Hindu in service at the Mughal court Clear to the observer is the stark contrast between Jahangir's gem-studded wrist bracelets and finger rings and the Shaikh's bare hands, the distinction between rich and poor, and the pursuit of material and spiritual endeavors. Less clear is the implied deference to the Emperor by the elderly Shaikh's decision to accept the imperial gift not directly in his hands, but in his shawl (thereby avoiding physical contact with a royal personage, a cultural taboo). A similar principle is at work in the action of the Sultan who presses his palms together in a respectful gesture. By agreeing to adopt the manner of greeting of the foreign country in which he is a guest, the Ottoman leader exhibits both respect and humility. King James' depiction is slightly more complex: Bichtir based his image of the English monarch on a portrait by John de Crtiz, which is believed to have been given to Jahangir by Sir Thomas Roe, the first English Ambassador to the Mughal court (this was a way to cement diplomatic relations and gifted items went both ways, east and west). In Bichitr's miniature, only one of King James's hands can be seen, and it is worth noting that it has been positioned close to—but not touching—the hilt of his weapon. Typically, at this time, portraits of European Kings depicted one hand of the monarch resting on his hip, and the other on his sword. Thus, we can speculate that Bichitr deliberately altered the positioning of the king's hand to avoid an interpretation of a threat to his Emperor. the artist paints himself holding a red-bordered miniature painting as though it were a prized treasure. In this tiny painting-within-a-painting, Bichtir replicates his yellow jama (a man's robe)—perhaps to clarify his identity—and places himself alongside two horses and an elephant, which may have been imperial gifts. He shows himself bowing in the direction of his Emperor in humble gratitude. To underscore his humility, Bichitr puts his signature on the stool over which the Emperor's feet would have to step in order to take his seat. During Mughal rule artists were singled out for their special talents—some for their detailed work in botanical paintings; others for naturalistic treatment of fauna; while some artists were lauded for their calligraphic skills. In recent scholarship, Bichitr's reputation is strong in formal portraiture, and within this category, his superior rendering of hands. Bichitr has dutifully indulged his patron's desire to be seen as powerful ruler (in a position of superiority to other kings), but with a spiritual bent. While doing so, the artist has also cleverly taken the opportunity to immortalize himself.

Les Demoiselles d'Avignon Pablo Picasso. Expressionism 1907 C.E. Oil on canvas Paris, France Marks a radical break from traditional composition and perspective in painting. Later development of Cubism with increasingly fragmented compositions. Confrontational women. sensuality. Direct eye contact. nude women. Sketch included sailor and medical student holding skull. Represents indulgence in sex, but that it's short as life is short. Faces on right resemble African Masks, figure on left resembles archaic statue. Fractured plains. Illusion of shallow space. Danger. Expressing flatness of canvas.

people and friends thought he was gross like "wtf you doing Pablo?"

Great Mosque (Masjid-e Jameh) Isfahan, Iran. Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties. c. 700 C.E.; additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile Its present configuration is the sum of building and decorating activities carried out from the 8th through the 20th centuries. It is an architectural documentary, visually embodying the political exigencies and aesthetic tastes of the great Islamic empires of Persia.

-uncommon for expansion and modification to continue over a span of a thousand years, but happened with Great Mosque -urban integration. Positioned at the center of the old city. -shares walls with other buildings abutting its perimeter. - immense size and its numerous entrances (all except one inaccessible now), it formed a pedestrian hub, connecting the arterial network of paths crisscrossing the city. -Far from being an insular sacred monument, the mosque facilitated public mobility and commercial activity - transcending its principal function as a place for prayer alone. -Linking the four iwans at the center is a large courtyard open to the air -Brick piers and columns support the roofing system and allow prayer halls to extend away from this central courtyard on each side -charming domes crowning its HYPOSTYLE interior -simplicity of the earth-colored exterior vs complex internal decor -Dome soffits (undersides) are crafted in varied geometric designs and often include an oculus -Vaults, sometimes ribbed, offer lighting and ventilation -arrangement of bricks, intricate motifs in stucco, and sumptuous tile-work (later additions) harmonize the interior -qibla iwan on the southern side of the courtyard-flanked by two cylindrical minarets and also serves as the entrance to one of two large, domed chambers within the mosque--colorful tile decoration and muqarnas or traditional Islamic cusped niches. The domed interior was reserved for the use of the ruler and gives access to the main mihrab of the mosque. second domed room lies on a longitudinal axis right across the double-arcaded courtyard. This opposite placement and varied decoration underscores the political enmity between the respective patrons; each dome vies for primacy through its position and architectural articulation. Nizam al-Mulk, vizier to Malik Shah I, commissioned the qibla dome in 1086. But a year later, he fell out of favor with the ruler and Taj al-Mulk, his nemesis, with support from female members of the court, quickly replaced him. The new vizier's dome, built in 1088, is smaller but considered a masterpiece of proportions. -massive brick vaulting and lengthy, sinuous route connects the Safavid center to the city's ancient heart, the Great Mosque of Isfahan. Modifications: The mosque's core structure dates primarily from the 11th century when the Seljuk Turks established Isfahan as their capital. Additions and alterations were made during Il-Khanid, Timurid, Safavid, and Qajar rule. An earlier mosque with a single inner courtyard already existed on the current location. Under the reign of Malik Shah I (ruled 1072-1092) and his immediate successors, the mosque grew to its current four-iwan design. Indeed, the Great Mosque of Isfahan is considered the prototype for future four-iwan mosques (an iwan is a vaulted space that opens on one side to a courtyard).-

Palace of Westminster (Houses of Parliament), Charles Barry, A.W.N. Pugin c. 1835 Romanticism. London, England. Competition for new design after burned down. New one built in Gothic style. Modern World seemed ugly cuz industrialization. Liked Gothic's quality and ornamentation. "Gothic revival". Handicraft. Medieval world longing. Thought modern world valued $$ while old world valued God and faithfulness. Lots of window space, symmetry. Classical base with Gothic skin.

Description: Charles Barry and A.W.N. Pugin, Palace of Westminster (Houses of Parliament), 1840-70, London Content: Augustus Plugin Interior designs + stained glass Gothic style Context: Across from River Thames Among Houses of Parliament in London Built in the early Victorian era The Great Fire in 1834 burned down the original; had to be rebuilt Competition held to see who could build the best replacement - won by Charles Barry and Augustus Plugin English 19th century Form: Was intended to be either Gothic or Elizabethan In the style of Gothic only (late medieval period; Shakespearean times) Function: Serve as the House of Parliament Primary function; practical and not based in aesthetic appearance, more so the reinforcement of traditional values Still today the seat of government House of Commons House of Lords

The Swing (after Fragonard) Yinka Shonibare MBE, 2001 (Tate, London), mixed media Meant to be seen straight on but due to 3 dimensions viewers can walk around the installation and view from different points, like the original subjects in the painting. The work depicts a summary of the scene in the original painting but leaves out some elements of the painting.

FORM: -With her fingers delicately grasping the thickly coiled rope of a swing suspended mid-flight, a life-sized female mannequin flirtatiously kicks up her left foot, projecting her slipper into the air where it hovers above a tangle of branches. Our gaze is directed from the arch of her foot towards the vibrant trim of her petticoat, gown and coat. -specific fabrics that Shonibare utilizes become more relevant, as their symbolism is steeped in histories of cultural appropriation, imperialism and power. colorful and abstractly patterned fabrics with quite different origins: the bright golds, reds and blues arranged in geometric motifs across her ruffled skirt are typical of the 'African' Dutch wax fabrics. originally Indonesian...appropriation...integrated into African culture later. Dutch Wax fabrics as we know them today are the product of the complex economic and cultural entanglements that resulted from European imperialism...uses the fabrics "as a tool to investigate the place of ethnicity and the stereotype in modernist representation. (...) The textile is neither Dutch nor African, therefore, the itinerary of ideas it circulates are never quite stable in their authority or meaning." -In imaging this particular moment in European history, Shonibare wishes to forge connections between imperialism, the aristocracy, and the "colonized wealthy class." In The Swing (After Fragonard), which is loaded with references to the French Revolution, the Age of Enlightenment and colonial expansion into Africa, Shonibare asks us to consider how a simple act of leisure can be so controversial. -the beautiful young protagonist of Fragonard's painting has somehow become headless. This is likely a reference to the use of the guillotine during the Reign of Terror in the 1790s, when members of the French aristocracy were publicly beheaded. Drawing our attention to questions of excess, class and morality that were raised by revolutionaries two centuries ago, Shonibare invites us to also consider the increasing disparity between economic classes today, especially alongside the growing culture of paranoia, terror and xenophobia in global politics since 9/11. issues of access, nationalism and belonging.

Chavín de Huántar Northern highlands, Peru. Chavín.900-200 B.C.E. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry) Over the course of 700 years, the site drew many worshipers to its temple who helped in spreading the artistic style of Chavín throughout highland and coastal Peru by transporting ceramics, textiles, and other portable objects back to their homes.

Form: - Archeological and cultural site in the Andes of Peru - Architectural complex made primarily of stone - roughly shaped stones for walls and floors - smooth stones for elements and artistic designs inside - Lanzón and sculpture made of granite - Jewelry made of gold alloy - Materials such as granite and gold alloy are relatively nice compared to other similar structures at the time, demonstrates both size of the population making the pilgrimage and the importance of spirituality in the culture. - 10,330 feet above sea level - Temples, especially the first, have a lot of tunnels - No windows, use tunnels to bring in air Content: - Transportation of ceramics, textiles, and other moveable products - Consists of the old and new temple - old temple is "U" shaped and built around 900 BCE - new temple built around 500 BCE, which made it larger and added a sunken court - Includes a large stone carving and sculpture of the supernatural being for whom the temple was originally built. - Also included similar mysterious, supernatural, and spiritual art throughout - The serpent motif was a nose ornament found there used and worn by elites of the Chavín culture to demonstrate status and power. - Includes quarried stone buildings, terraces around plazas, an internal gallery, and plentiful anthropomorphic artwork in an ode to the supernatural being Function: - Temple and religious center for a supernatural being that was their primary god - An important pilgrimage site that drew people and offerings from all over - Designed also to unify the people of a previously distant and unconnected Pre-Inca Peruvian society - Held many spiritual ceremonies and rituals as well as near constant prayer and tribute to the gods, especially the supernatural anthropomorphic being depicted in several of the site's sculptures. Context: - The culture that built it was known as the Chavín Cult - Was the capital and religious center of the Chavín Cult's members and the pre-Incan civilization. -Was constructed over many stages and years, but primary construction took place in 900 BC - Had been continually occupied by various Incan groups and descendants up until 1940. - Geographic location very important and purposeful, known as the Ancash region - Allowed for lots of migration and pilgrimage, especially from the Southern Highlands and Coast - Set at the connection of two of Peru's largest rivers, allows for easy access - The site is in a valley of an otherwise very mountainous Andes region - Allows for agricultural production of potatoes and maize - Includes artifacts and stylistic elements from all over Themes: - Religion - The central hub, cultural and spiritual capital - Nature, landscape - Relationship between humans and the environment - Power and authority - Legend/mythology

Fountain Marcel Duchamp. 1950 C.E. (original 1917). Readymade glazed sanitary china with black paint It was unexpectedly a rather beautiful object in its own right and a blindingly brilliant logical move, check-mating all conventional ideas about art. But it was also a highly successful practical joke.

Fountain, Marcel Duchamp Marcel Duchamp; c. 1917; Porcelain; 360 x 480 x 610 mm; Dada movement Form: Readymade sculpture Signed by R. Mutt as a pun Function: Irony Both ironic for its being upside and the signature as a plan on a cartoon strip of the time, Mutt and Jeff Content: An upside down urinal Context: Made or rather found during the Dada movement Dada literally means hobby horse but was meant as a nonsense, random word was a reaction against the horrors of WW1 Dadaists rejected conventional methods and manners They abandoned oil and canvas in favor of readymades and works on glass They accepted the dominate of the artistic concept over the execution

Mesa Verde Cliff Dwellings, Americas (Anasazi People), 5-14th centuries, Sandstone, stone, mud. needs lots of maintenance largest archaeologic site in US. mesa=flat topped mountain. deep, steep ravines, human settlements above mesas and along cliff. Pueblo people lived here. built in cliff. stabilization issues. no permanent foundation. lots of threats with natural and human caused events/disasters...crumbling. people sometimes stole things and actually camped out in abandoned city. Sacred objects, human remains, artifacts, grave goods. Maintain cultural history...was not being preserved well for a while...now it is protected.

Fully Identify Mesa Verde Cliff Dwellings 450-1300 C.E. Sandstone Ancestral Puebloan (Anasazi) Montezuma County, Colorado Built directly into the cave Dwellings built both on top and in/along the mesas Over 600 structures Made of stone, mortar and plaster Stone and mud mortar, supported by wooden beams adapted to the natural clefts in the cliff face Shaped the sandstone using harder stones Used chinking pieces to fill gaps in the mortar New building technique from other dwellings that were built using adobe Adobe - type of brick made from clay, sand, straw and/or sticks Composed of architectural units and kivas (see context) The paintings and murals were pigmented with clay, minerals and other organic materials. Function Continued use for ceremonies, though not specifically the Mesa Verde structures Originally both residential and ceremonial Originally covered but now they do not have roofs The space around the buildings was used as a small plaza Circular and rectangular/square rooms for living One room in the architectural unit that was facing the plaza usually used for family gatherings Smaller rooms off the hearth were used as storage rooms Cliff Palace has some unusual structures including a circular tower, which the use for is still unknown Content Kivas- underground circular rooms used for ritual purposes Had a wooden roof held up by sandstone columns (sat on the the top of the columns like a shelf Had a firepit in the center with a vent and a deflector Also had a small hole in the ground called a sipapu for ceremonial purposes Spaces in between Kivas and housing spaces Small rooms off the hearth (storage rooms) had holes large enough to squeeze an arm through to grab anything on may need Plastered and painted murals, many that remain are fragmentary Murals and other paintings decorated the walls Geometric designs, plants, and animals The geometric designs were used to depict the geography of the land Context Mesa Verde means "green table" table refers to the mountains Ancestral Puebloans lived in the Mesa Verde for about 850 years (450-1300 C.E) Not all the people lived in the Mesa Verde, but the structures are the best preserved 500-1300 CE, Ancestral Puebloans were mainly sedentary farmers Originally farmers lived closer to their crops but later they began to lie near sources of water and would walk farther to reach their crops Exact reasoning for the cliff dwellings is unknown, possibly provided protection from invaders, snow, and provided shade. There could also have been a ceremonial or spiritual reasoning Abandoned around 1300 CE probably due to drought, lack of resources, or violence Themes Sacred spaces Man vs nature

Yaxchilán lintel 25, structure 23 Chiapas, Mexico near Usumacinta River and Piedras Negras as its major rival. It is believed that they built it where is was to show dominance and strength towards their rivals. The architectural styles show a huge contrast to their rivals: shows the huge differences between the two kingdoms (may have been on purpose or lack of communication). There is a loop defends the site on all sides except for a narrow land approach from the south on the river. Content: The site is host to an impressive number of structures and monuments (over 100) Famous for its high-quality relief carvings. Carved lintels (the beam at the top of a doorway) Stairs have hieroglyphic writing and stele (upright wood or stone slab monuments) Structure 23 (most famous lintels): a toot (palace building) and shows Shield Jaguar II's wife (Lady K'abal Xook) (The three lintels on Structure 23)= 24, 25, and 26 depict different ritual moments in the life of Lady Xook showing a narrative Lintel 24: Lady Xook pulls a thorned cord through her tongue so that she can bleed onto paper that fills a basket on the ground before her which is called bloodletting Her husband (Shield Jaguar II) holds a lit torch above her beautiful diamond pattern decorates Lady Xook's huipil Lintel 25: from the central doorway also bloodletting ritual carried out by Lady Xook kneels before a vision serpent, from whose mouth emerges a figure. She holds bowl in her left hand as she looks up towards rising serpent addition, she has on headdress, elaborate bracelets, earrings, and a necklace (jade) In the bowl are pieces of paper stained with her blood. Figure emerging from the vision serpent's mouth has a shield, spear and a war helmet; (like Lady Took) has elaborate headdress, a breastplate and ear spools A glyphic inscription (written backwards) in the upper left corner: the date of Shield Jaguar II's ascension to the throne in October 681 All scenes are carved with great precision and detail decorating the raised surfaces The Yaxchilán lintels: were painted but only traces are seen now: red on Lady Xook's clothing and Maya blue color on the background of Lintel 24 Structure 33 three entryways in the exterior Decorated with stucco ornamentation The top step of Structure 33 displays rulers, including Bird Jaguar IV and his father and grandfather playing the ballgame in a series of thirteen carved limestone blocks: They play against Yaxchilán enemies—such as Lord Jeweled Skull who Bird Jaguar defeats Elaborate roof-comb= a masonry "wall" that rises upwards above a building to give the impression that it is taller than it actually is - has a decorative frieze, niches, and sculptural elements (sculpted human being in the central niche) - Lintel 1: Bird Jaguar festooned in the fantastic clothing of a Maya ruler - Lintel 2: Bird Jaguar and his son and heir, Chel Te' Chan K'inich

Function: Relief sculptures: (Lintel 45 on Structure 44) show Shield Jaguar II with war captives to commemorate his victory in battles against rival city-states Reinforce the reign of the ruler and his dynastic ties and wife Structure 33: built by Bird Jaguar IV, (like a father to Shield Jaguar II) ordered series of building projects and monuments= to legitimate his rule, insist respect, and show power. Structure 33: placed on the side of the main plaza= making it a focal point for the area and to attract attention of the people The building is narrow: only able to hold a small amount of people: for royalty or elites To show the people their difference in status (lower) Focus on Lady Xook: the ruler wanted to promote his lineage and power through his most important wife (who had more prestige than his other wives) important for showing Shield Jaguar II's power important role of royal women in Maya culture Context: Yaxchilán's dynasty 4th century C.E: Lord Shield Jaguar II who ruled for 60 years beginning in 681 He commissioned famous sculptural works at the site Bird Jaguar IV (heir) followed his father: built buildings and sculptures were created before the city-state collapsed in the 9th century Prior Structure 23: gap/halt in building at Yaxchilán for about 150 years Lintels (not when they were built) but when they were excavated Bloodletting was a common ritual among elites Very common in depiction of Mayan art Ruler, elites (including women): would let blood to honor and feed the gods= ceremony of a building, children were born, or special occasions Rulers needed to shed blood in order to maintain order in the cosmos Rulers were believed to be a descendent of the gods & bloodletting was important for maintaining power and order in the community Bloodletting was act related to rebirth and rejuvenation. -The loss of blood and the burning of incense produced hallucinations: to access other realms. - Lady Took burned the paper to allow the blood to ascend to the gods attract the vision serpent. - Structure 33: Maya Classic architecture Form: -Yaxchilán's central complex of buildings (called the Central Acropolis) -The contour and incised lines of the lintels possess a calligraphic quality, as if they were drawn or painted rather than carved. - Great attention to detail, sophistication, formal: other mayan cultures in vaes and murals -Many of the exteriors had elaborate decorations, - the carved stone lintels above their doorways which have made this site famous -lintels: provide a lengthy dynastic record in both text and image. include carved lintels (the beam at the top of a doorway), stairs faced with hieroglyphic writing, and stele (upright wood or stone slab monuments). - Structure 23: a yotoot (palace building) showing Shield Jaguar II's wife, Lady K'abal Xook -underneath it are the limestone lintels when entering the doorway Themes: Power Authority Femininity Royalty Elite Lineage Gender roles Respect Worship Spirituality Beauty Dominance Strength in war

Merovingian looped fibulae Early medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones. It is normal for similar groups to have similar artistic styles, and for more diverse groups to have less in common. Fibulae is proof of the diverse and distinct cultures living within larger empires and kingdoms, a social situation that was common during the middle ages.

Merovingian (Frankish) Looped Fibulae (mid-6th century)/ referred to as Visigothic Content: General of Fibulae: -consist of a body, a pin, and a catch -Usually with elaborate designs Specific (Merovingian): -Material: silver gilt-worked in filigree with inlaid garnet and other stones -decorated with garnets, amethyst, and colored glass -a great example of barbarian metalwork and cloisonné -cloisonné: technique is inlaid semi-precious stones (popular in barbarian art) -Ends of fibulae: the shape of Eagle heads -Garnets: used to decorate the eyes of the eagles -the main body of the brooch: little fish -Gems and semi-precious stones: used to decorate the rest of the fibulae -Pendants could have been hung from the small loops on the bottom on each fibulae Context: General of Fibulae: -Fibulae: are brooches (safety pins) that were made popular by Roman military campaigns -Cultural exchanges occurred after antiquity and both groups (barbarians and Romans) copied and shared similar works -Barbarian: non-Roman, nomadic, and illiterate groups traveling throughout Europe during the middle ages -Became very popular in the early Middle Ages and commonly found in barbarian grave sites -Gives the cultural information about barbarians (little-written documents) -Found through many different ethnics groups and with trade/ expose had influences of the styles of one another -All serve the same function purpose: because of different cultures/ time periods decorated differently -Similar cultures tend to have similar artist designs while diverse cultures didn't -Shows that distinct cultures living within larger empires and kingdoms (very common during the Middle Ages) Specific (Merovingian): - a popular motif in barbarian art of the middle ages: EAGLES (found on the work) -Eagles (originally pagan symbol of the sun) used by Imperial Rome and an emblem to Saint John -the way these were made: solder wires onto a metal base and fill the areas those wires created with stone Function: -a brooch or a pin for fastening clothing (safety pin) -expensive objects to the commission: the owners wanted these objects to resonate with their identity -buried with the dead: showed their status and who they were as people

Petra, Jordan: Treasury and Great Temple Nabateen Ptolemaic and Roman. c. 2nd cen. B.C.E - 2nd cen. C.E. Cut rock These elaborate carvings are merely a prelude to one's arrival into the heart of Petra, where the Treasury, or Khazneh, a monumental tomb, awaits to impress even the most jaded visitors. The natural, rich hues of Arabian light hit the remarkable façade, giving the Treasury its famed rose-red color.

THE CITY: -greatest city of the Nabataeans, a people who occupied the area from Sinai and Negev to northern Arabia in the west and as far north as southern Syria. -Stone carvings, camel caravans and betyls (the famous god blocks) set in niches, appear. -elaborate carvings -heart of Petra- the Treasury, or Khazneh, a monumental tomb there -natural, rich hues of Arabian light hit the remarkable façade, giving the Treasury its famed rose-red color. -CONTEXT: Petra was the capital of the Nabataean Kingdom for most of its history until the Roman Emperor Trajan created the province of Arabia in 106 C.E., annexed the Nabataean kingdom, and moved the capital of this new province to Bosra (also spelt Bostra) in what is today modern southern Syria. -said to be great traders during late Hellenistic period to early Roman Empire--eastern part of the Mediterranean, Egypt and the Middle East in this era. Petra, the rock-cut city of the Nabataeans, lay at the intersection of these rich trade routes. The great wealth that the Nabataeans amassed allowed them to create the spectacular architecture that so many admire in Petra today. -Most of Petra's great tombs and buildings were built before the Roman Empire annexed it in 106 C.E. -popular misconception that all of the rock-cut monuments, which number over 3,000, were all tombs. In fact, many of the other rock-cut monuments were living quarters or monumental dining rooms with interior benches. Of these, the Monastery (also known as ed-Deir) is most the famous. Even the large theater, constructed in the first century B.C.E., was cut into the rock of Petra. THE FAÇADES -rock-cut façades are the iconic monuments of Petra. Of these, the most famous is the so-called Treasury (or Khazneh) -many historians thought city was like cemetery bc of so many tombs, but archaeology has shown that Petra was a well-developed metropolis with all of the trappings of a Hellenistic city Form: -tomb facades draw upon a rich array of Hellenistic and Near Eastern architecture, diverse and different cultures with which the Nabateans traded, interacted, and even intermarried -Many of the tombs contain niches or small chambers for burials, cut into the stone walls., but no human remains have ever been found -influence of Alexandria, the greatest city in the Eastern Mediterranean at this time: broken pediment and central tholos (a circular building) on the upper level; Ornate Corinthian columns; Above the broken pediments, the bases of two obelisks appear and stretch upwards into the rock -Hellenistic elements: upper level, Amazons (bare-breasted) and Victories stand, flanking a central female figure (on the tholos), who is probably Isis-Tyche, a combination of the Egyptian Goddess, Isis, and Tyche, the Greek Goddess of good fortune. The lower level features the Greek twin gods, Castor and Pollux, the Dioscuri, who protected travelers and the dead on their journeys; eagles, the symbols of royal Ptolemies, vines, vegetation, kantharoi (vase with large handles), and acroteria (architectural ornaments on a pediment). -tomb also features rosettes, a design originally associated with the ancient Near East. -Treasury was probably a tomb for one of the Nabataean Kings. Aretas IV (reigned, 9 B.C.E. - 40 C.E.) is the most likely candidate, because he was the Nabataeans' most successful ruler, and many buildings were erected in Petra during his reign -figurative detail and ornate Hellenistic architectural orders; most tombs did not have figurative sculpture—a legacy of the Nabataean artistic tradition that was largely aniconic, or non-figurative. -smaller tombs were less complex and also drew far less upon the artistic conventions of the Hellenistic world -ed-Deir was not a monastery, but rather behind its façade was a monumental cella (the inner chamber of a temple) with a large area for dining with a cultic podium at the back; room was formerly plastered and painted at time -façade again features a broken pediment around a central tholos, but its decoration is more abstract and less figurative than that of the Treasury. The column capitals are typically Nabataean, modeled on the Corinthian order, but abstracted. The façade features a Doric entablature, but rather than having figures in the metopes, roundels with no decoration appear -theater -monumental colonnaded street with important buildings on side of Wadi -southside of street-nymphaeum/shrine for water nymphs usually with fountain -many markets-Lower Market-garden-pool complex; adjacent to Great Temple of Petra -inside Temple-stone seats, possibly audience hall -Baths were also located in its vicinity. Opposite the so-called Great Temple is the Temple of the Winged Lions, from which a unique god block of a female goddess, was recovered. Column capitals at Petra are truly unique in part for their carvings of winged lions and elephants. -west, past a gate in a temenos, or sacred precinct, was the Qasr el-Bint, the most important temple -water-catchment and storage systems that allowed life and agriculture to flourish

The Jungle, Wilfredo Lam, 1943 Oil on canvas. Surrealism In the 1920s and 30s, Lam was in Madrid and Paris, but in 1941 as Europe was engulfed by war, he returned to his native country. Though he would leave Cuba again for Europe after the war, key elements within his artistic practice intersected during this period: Lam's consciousness of Cuba's socio-economic realities; his artistic formation in Europe under the influence of Surrealism; and his re-acquaintance with Afro-Caribbean culture. This remarkable collision resulted in the artist's most notable work, The Jungle. seemingly-randomly constructed figures from a wide variety of shapes (rounded backs, thin limbs, enlarged/prominent hands and feet, defined butts) faces like African masks complex, crowded, directionless scene -- an unorthodox landscape "Intended to communicate a psychic state" Sugarcane is included in the flora of the scene, reminding a viewer of Cuba's hardworking past fragmented forms (from Cubism) and woman holding scissors as though she cut herself and her companions into pieces.

The Jungle, Wilfredo Lam (Cuban), 1943, gouache on paper mounted on canvas (at MOMA) Significant to modern art as well as Latin American art Influenced by Lam's many encounters & experiences (often related to art) in different cultures: "In the 1920s and 30s, Lam was in Madrid and Paris, but in 1941 as Europe was engulfed by war, he returned to his native country. Though he would leave Cuba again for Europe after the war, key elements within his artistic practice intersected during this period: Lam's consciousness of Cuba's socio-economic realities; his artistic formation in Europe under the influence of Surrealism; and his re-acquaintance with Afro-Caribbean culture. This remarkable collision resulted in the artist's most notable work, The Jungle." - Khan Academy A game of perception seemingly-randomly constructed figures from a wide variety of shapes (rounded backs, thin limbs, enlarged/prominent hands and feet) Cresent-shaped faces evokes African masks a tight, directionless scene -- an unorthodox landscape "Intended to communicate a psychic state" Sugarcane is included in the flora of the scene, reminding a viewer of Cuba's hardworking past (which so deeply contrasted with the way foreigners saw the island [basically as a playground] -- it shows the unrepresented Cuban perspective) Integrates symbols from Santería, an Afro-Cuban religion with Surrealist characteristics Big Picture: A Surrealist painting full of Afro-Cuban symbols arranged in a narrative that seeks to explain and shed light on Cuba's complex history (especially regarding slavery on the island). Cross-Cultural Comparisons: Art Inspired from Diverse Cultural Traditions: Petra Golden Haggadah Earth's Creation, Kngwarreye

Narcissus Garden Yayoi Kusama. Original Installation and performance 1966. Mirror balls Her work as emerging from her mental illness: she says has had hallucinations since she was a child. She also says that her ability to produce artistic works is a therapy for her. has often revisited mirrored forms in her work, exploring notions of infinity, illusion, and repetition in discrete sculptures and room-size installations.

Yayoi Kusama 1966 plastic silver balls Yayoi Kusama is one of the most popular female artists to ever come out of Japan she voluntarily lives in a mental-health facility in Tokyo and has had a life-long history of insanity she arrived in New York City in 1958 and began to move up the ranks among other seminal artists she set up her first exhibit in 1965, which was a room full of mirrors with phallic stuffed pillows covering the floor, making it appear as though there was a continuous "sea of multiplied phalli expanding to its infinity" Narcissus Garden, from 1966, was the most famous of her exhibits consists of 1,500 mass-produced plastic silver globes on the lawn outside of the Italian Pavilion of the 33rd Venice Biennal she was not officially invited to the Biennale, but she had the blessing of some super important guy on the boar the balls were tightly arranged and reflective images reflected in the ball (of the landscape, the other balls, and the viewer) were "repeated, distorted, and projected" the balls were compared to fortune teller's balls "When gazing into it, the viewer only saw his/her own reflection staring back, forcing a confrontation with one's own vanity and ego." in addition to the balls, Kusama herself, dressed in a gold kimono, drifted throughout the viewers as a peddler, selling miniature-sized versions of the balls and complimentary pamphlets about her work the organizers of the Biennale eventually made her stop selling things but the installation remained the exhibition has frequently been interpreted as Kusama's own self-promotion (making "Narcissus" an appropriate and self-conscious title) and as her protest against the commercialization of art the exhibition was intended to be the media of an interactive performance between the artist and the viewer Kusama's Narcissus garden has repeatedly been re-commissioned and installed in various settings, including Central Park in New York City the re-creation of Narcissus Garden has changed its meaning; instead of a kind of satire of new mods of art, the exhibition, which involves the production of hundreds of pricy silver balls, has become a symbol of "prestige and self-importance" the meaning keeps evolving in the digital age: mesmerized by the distorted images in the balls, viewers snap a picture of themselves on their cell phones and post it to social media, amplifying and changing the connotations of narcissism in conjunction with the work following the Venice Bienale in 1968, there was an economic downturn and a student movement in Italy lead many to boycott opposite to what Kusama did, many artists who were invited to exhibit at the Biennale withdrew their works and refused to participate

Lakshmana Temple Khajuraho (capital), India. Hindu, Chandella Dynasty. c. 930-950 C.E. Sandstone Though the temple is one of the oldest in the Khajuraho fields, it is also one of the most exquistely decorated, covered almost completely with images of over 600 gods in the Hindu Pantheon. The main shrine of the temple, which faces east, is flanked by four freestanding subsidiary shrines at the corners of the temple platform.

ideal feminine beauty: lotus petal eyes...delicate, elegant. reassuring many erotic forms....especially juncture wall between the vimana and mandapa. sex scenes. not to stimulate one's sexual drive tho. just thought it symbolic for rituals and such. saw as joining of vimana and mandapa as the joining of couples whole area used to be covered with different temples, mainly dedicated to Shiva, Vishnu, and Surya. Also temples to honor divine teachers of Jainism. only about 30 temples remain today. patron: leader of Chandella clan, Yashovarman--wanted a temple to legitimize his rule over a large region of central India, but died before completed. son took over. Central deity: Vishnu...three-headed form "Vaikuntha". inside inner womb chamber ("garba griha")in heart of temple (all Hindu temples have an inner womb despite size).--core of temple's shrine; dark, windowless, intimate/individualized worship--very diff from Christian/Muslim worship Nagara temple style: shrine "vimana", flat roofed porch "mandapa", base platform and large superstructure "sikhara", which can be seen from distance. appears like rising peaks of mountains. Approached temple from east and walk around clockwise-"circumambulation"--eventually go up stairs and see sculpted friezes along the plinth show daily life, love, war, and historical events of Chandella period...on upper floor, deities sculpted in niches on exterior wall...Ganesha (worshipped at beginnings)--sign that devvotees are heading in right direction. other figures...lively, active, motion--swaying hips, bent arms, tilted heads, create "triple-bend" contrapposto pose--deep relief three mandapas-increasing in size with the next one. pyramidal roof...passage leads to vimana. devotees experience sacred and divine place by circumambulating

View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, Thomas Cole 1836, oil on canvas Romanticism. Cole used the land as a way to say something important about the United States. references western expansion. Unruly nature ("sublime") vs. calm, tame civilization of man.

orm: View from Mount Holyoke, Northampton Massachusetts, after a Thunderstorm- The Oxbow 1886, oil on canvas, painting by Thomas Cole, 51 1/2 x 76 inches / 130.8 x 193 cm (The Metropolitan Museum of Art) Realistic but cartoon in an exaggerated way; like a caricature Warm hues (yellows and greens) for nature, dark, cool colors for weather (grey, blue) Function: References the bend in the Connecticut River Reminder of humanity's insignificance in the grand scheme of things (as applies to many works created during the Romantic movement) nineteenth-century political ideology: this painting is about the widely discussed topic of westward expansion. This part of the painting depicts a virginal landscape, nature created by God and untouched by man. It is wild, unruly, and untamed. Content: the viewer can clearly see that Cole used a diagonal line from the lower right to the upper left to divide the composition into two unequal halves. Tree being bent: Symbol for nature being at the mercy of itself River, Clouds: Stormy in the foreground, white and clear sky in the background (far corner) This is enhanced by the gloomy storm clouds that seem to pummel the not-too-distant middle ground with rain. Context: Hudson River (Hudson River School founded by artist, Thomas Cole) "Thomas Cole (1801 - 1848) was the founder of the Hudson River School. In his painting The Oxbow, Cole has chosen a dramatic vantage point from which to view the twisting Connecticut River. A large tree in the foreground has been battered by weather, while the river is far in the valley below. Above the tree are fierce thunderclouds, while the distance shows the sky after the storm has passed. The only trace of man in this scene is the artist wearing a hat in the lower center of the canvas."

Taj Mahal Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632-1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens The Taj Mahal is an excellent example of the golden age of Muslim architecture. The design of the complex incorporates Iranian features such as octagonal shape, Indian features such as the bulbous dome and Asian features such as cylindrical minarets. Muslim decorative arts include calligraphy, geometry and flower forms. Most important was the ideal of symmetry as a major element in the design of the Taj Mahal.

*see notebook for more*

Borobudur Temple Central Java, Indonesia. Sailendra Dynasty. c. 750-842 C.E. Volcanic-stone masonry The temple sits in cosmic proximity to the nearby volcano Mt. Merapi. During certain times of the year the path of the rising sun in the East seems to emerge out of the mountain to strike the temple's peak in radiant synergy. Light illuminates the stone in a way that is intended to be more than beautiful. The brilliance of the site can be found in how the Borobudur mandala blends the metaphysical and physical, the symbolic and the material, the cosmological and the earthly within the structure of its physical setting and the framework of spiritual paradox. a diagram of the cosmos used for meditation The entire site contains 504 statues of the Buddha. 1460 stone reliefs on the walls and opposite balustrades decorate the first four galleries, with an additional 1212 decorative reliefs augmenting the path. The relief sculptures narrate the Buddha's teachings (the Dharma), depict various events related to his past lives (Jataka tales), and illustrate didactic stories taken from important Buddhist scriptures (sutras). Interestingly, another 160 relief sculptures adorn the base of the monument, but are concealed behind stone buttresses that were added shortly after the building's construction in order to further support the structure's weight. The hidden narrative reliefs were photographed when they were discovered in the late 19th century before the stones were put back to help ensure the temple's stability.

*see notes*

Goldfish. Henri Matisse. 1912 C.E. Oil on canvas. Function: use vibrant colors to evoke an emotional response contemplative relaxation for the viewer Content: still life painting violent contrasts of color thinly applied colors—white of the canvas shows through energetic brushwork influenced by asian art? (so decorative) Context: Fauvism art movement that debuted in 1905 in Paris named from a critic who thought the paintings looked like they'd been painted by "Wild Beasts" inspired by post impressionists (Van Gogh, and Gauguin) stressed a painterly surface with broad flat areas of violently contrasting color maximize expressive effects by suppressing figure models and color harmonies Matisse french one of the biggest figures in the development of modern art (along with Picasso) loved to explore the expressive potential of color and its relation to form colors are emotions, not reality famous for decorative style, expressive forms, bold use of color make art, dont imitate nature Goldfish? went to Morocco, and everyone would stare at goldfish contemplatively all day long relaxed lifestyle goldfish became a symbol for paradise lost, a tranquil state of mind "an art that could be....a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue." - Matisse

Fauvism violently contrasting colors. contemplative qualities of the fish, and how they are representative of ease yet their color suggests an idealistic paradise. Matisse longed for paradise, and sought to portray it indirectly through fish pictorial construction goldfish are refracted in their refraction, almost like there are two sets the table and surroundings it have diff POV influenced by Cezanne's multiple viewpoints, as Henri had observed were "a harmony parallel to nature". -This piece may have been influenced by the decorative quality of asian art, and the broad patches of color foreshadow Color-Field painting later in the century. wanted contemplative relaxation for the viewer, tranquil state of mind

The Kaaba Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations. Granite masonry, covered with silk and cotton curtain and calligraphy in gold and silver-wrapped thread Cubed building known as the Kaaba (literally means cube in Arabic) may not rival skyscrapers in height or mansions in width. The Kaaba is the building towards which Muslims face five times a day, everyday, in prayer. This has been the case since the time of Prophet Muhammad (peace and blessings be upon him) over 1400 years ago.

-after 624 CE, prayers were directed towards Mecca and the Kaaba rather than Jerusalem; this direction—or qibla in Arabic—is marked in all mosques and enables the faithful to know in which direction they should pray. The Qur'an established the direction of prayer. -All Muslims aspire to undertake the hajj, or the annual pilgrimage, to the Kaaba once in their lives if they are able. Prayer five times a day and the hajj are two of the five pillars of Islam, the most fundamental principles of the faith -once there, gather in courtyard...walk around it and hope to touch the Black Stone in eastern corner of Kaaba. CONTEXT: -pre-Islamic times-acted as sanctuary. believed Abraham/Ibrahim and his son Ismail built Kaaba. original-simple unroofed rectangular building. Quraysh tribe in Mecca rebuilt Kaaba in 608 CE with masonry and wood. door above ground level to protect shrine from intruders and flooding. housed the Black Stone and statues of pagan gods -Muhammad driven out of Mecca in 620 CE. Returned decade later and shrine became main point for Muslim worship/pilgrimage. Muhammad cleansed of idols and returned shrine to monotheism of Ibrahim. believed Black Stone was from angel Gabriel -MANY Modifications: --expanded...colonnades around open plaza...added more monuments...civil war-Kaaba set on fire 683 CE-Black Stone broke into three pieces and Ibn Zubayr put back together with silver. rebuilt with wood and stone with Ibrahim's dimensions. paved space around Kaaba too. After regaining control of Mecca, Abd al-Malik restored the part of the building that Muhammad is thought to have designed. --under the Umayyad caliph al-Walid, who ruled 705-15 CE, the mosque that encloses the Kaaba was decorated with mosaics like those of the Dome of the Rock and the Great Mosque of Damascus. By the seventh century, the Kaaba was covered with kiswa, a black cloth that is replaced annually during the hajj (pilgrimage). --Sultan Qaitbay, who ruled 1468-96 CE, built a madrasa a religious school—against one side of the mosque --1631 CE, the Kaaba and the surrounding mosque were entirely rebuilt after floods had demolished them in the previous year -mosque, which is what exists today, is composed of a large open space with colonnades on four sides and with seven minarets, the largest number of any mosque in the world. At the center of this large plaza sits the Kaaba, as well as many other holy buildings and monuments. -Today, the Kaaba is a cubical structure, unlike almost any other religious structure. It is fifteen meters tall and ten and a half meters on each side; its corners roughly align with the cardinal directions. The door of the Kaaba is now made of solid gold; it was added in 1982. The kiswa—the large cloth that covers the Kaaba—used to be sent from Egypt with the hajj caravan but today is made in Saudi Arabia. Until the advent of modern transportation, all pilgrims undertook the often dangerous hajj, or pilgrimage, to Mecca in a large caravan across the desert, leaving from Damascus, Cairo, and other major cities in Arabia, Yemen, or Iraq.

The Court of Gayumars, folio from Shah Tahmasp's Shahnama c.1522, 47 x 32 cm, opaque watercolor, ink, gold, silver on paper, folio 20v, Shahnameh of Shah Tahmasp I (Safavid), Tabriz, Iran many artists. from illuminated manuscript.

-blending of painting styles from both Tabriz and Herat. Both cities were major centers for the production of manuscript illuminations. -luminous pigments, fine detail, and complex imagery -Shahnama was written by Abu al-Qāsim Ferdowsi around the year 1000 and is a masterful example of Persian poetry - epic chronicles kings and heroes who pre-date the introduction of Islam to Persia as well as the human experiences of love, suffering, and death. -for the first Safavid dynastic ruler, Shah Ismail I, but was completed under the direction of his son, Shah Tahmasp I in the northern Persian city of Tabriz -Safavid dynastic rulers claimed to descend from Sufi shaikhs—mystical leaders from Ardabīl -manuscript illumination was central to Safavid royal patronage of the arts. -parallels between the content of the calligraphic text and the painting itself. Seated in a cross-legged position, as if levitating within this richly vegetal and mountainous landscape, King Gayumars rises above his courtiers, who are gathered around at the base of the painting. According to legend, King Gayumars was the first king of Persia, and he ruled at a time when people clothed themselves exclusively in leopard pelts -Persian text at the top and bottom of the frame can be roughly translated as follows: When the sun reached the lamb constellation,9 when the world became glorious, When the sun shined from the lamb constellation to rejuvenate the living beings entirely, It was then when Gayumars became the King of the World. He first built his residence in the mountains. His prosperity and his palace rose from the mountains, and he and his people wore leopard pelts. Cultivation began from him, and the garments and food were ample and fresh. -Persianate artists under the Safavids regularly incorporated visual motifs and techniques derived from Chinese sources.12 While the intense pigments of the rocky terrain seem to fade into the lush and verdant animal-laden garden below, a gold sky canopies the scene from above.

Buddha Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint (stone, stucco, paint) The cultural landscape and archaeological remains of the Bamiyan Valley represent the artistic and religious developments which from the 1st to the 13th centuries characterized ancient Bakhtria, integrating various cultural influences into the Gandhara school of Buddhist art.

-considered the largest sculptures in the world before destroyed-175 ft high, 120 ft high (two Buddha statues) -important location close to one of the most important branches of the Silk Route (trade route between East and West -fertile plains amid harsh terrain, made it an ideal location for merchants and missionaries to stop during their travels -Buddhism had long been an important religion in the region, having been introduced during the early Kushan period -nearly 1000 Buddhist caves carved along 1300 meters of cliff face.[1] It is against this backdrop of carved caves that the two monumental Buddha images were carved. -two large Buddha images reflected the international environment of the Bamiyan Valley and were influenced by the art and cultures of India, Central Asia and even ancient Greek culture. For example, both Buddhas wore flowing robes and have been described as having wavy curls of hair. This hairstyle and the flowing drapery are elements rooted in early Gandharan Buddhist imagery that combined Hellenistic Greek traditions of representation with Indian subject matter. -When merchants coming and going happen to witness visions of heavenly deities, whether as good omens or as predictions of disaster, they worship the deities to pray for blessedness. There are several tens of monasteries with several thousand monks, who follow the Hinayana teachings of the Lokottaravada school. To the northeast of the city, there is at a corner of the mountains a rock statue of the Buddha standing, one hundred forty or fifty feet in height, a dazzling golden color and adorned with brilliant gems. To the east there is a monastery built by a previous king of the country. To the east of the monastery there is a copper statue of the Buddha standing, more than one hundred feet tall. It was cast in separate pieces and then welded together into shape -described by Xuanzang as being adorned with metal, color, and gems—not stripped down--scholars agree that both images were covered in pigments of various hues so that they appeared to be made of metal and other materials -debate over the material and treatment of the Buddha's faces;pigments were applied to the stucco that covered the stone surfaces of the sculptures. Stucco helped to even out the textured rock surface -Mullah Omar ordered Taliban forces to demolish the Bamiyan Buddhas in 2001. The destruction was complete. Only outlines of the figures and a few details remain. The direction to destroy the Buddha images was motivated, in part, by the Taliban's extreme iconoclastic campaign as well as their disdain for western interest and funding that had gone to protecting the images while there was an intense and growing need for humanitarian aid in the region. The Taliban's claim that destroying the Buddha sculptures was an Islamic act is belied by the fact that Bamiyan had become predominantly Muslim by the 10th century and that the sculptures had up until 2001 remained a largely intact.

The Ardabil Carpet Maqsud of Kashan. 1539-1540 C.E. Silk and wool The Ardabil Carpet is exceptional; it is one of the world's oldest Islamic carpets, as well as one of the largest, most beautiful and historically important. It is not only stunning in its own right, but it is bound up with the history of one of the great political dynasties of Iran.

-geometric patterns, vegetative scrolls, floral flourishes -central golden medallion dominates the carpet; it is surrounded by a ring of multi-colored, detailed ovals. Lamps appear to hang at either end. -border is made up of a frame with a series of cartouches (rectangular-shaped spaces for calligraphy), filled with decoration. The central medallion design is also echoed by the four corner-pieces. -Carpets are among the most fundamental of Islamic arts. Portable, typically made of silk and wools, carpets were traded and sold across the Islamic lands and beyond its boundaries to Europe and China -decorated the floors of mosques, shrines and homes, but they could also be hung on walls of houses to preserve warmth in the winter -one of a matching pair that was made for the shrine of Safi al-Din Ardabili when it was enlarged in the late 1530s. -the more knots per square centimeter, the more detailed and elaborate the patterns can be. The dyes used to color the carpet are natural and include pomegranate rind and indigo. Up to ten weavers could have worked on the carpet at any given time. The Ardabil carpet has 340 knots per square inch (5300 knots per ten centimeters square). Today, a commercial rug averages 80-160 knots per square inch, meaning that the Ardabil carpet was highly detailed Context: -Ardabil was the home to the shrine of the Sufi saint, Safi al-Din Ardabili, who died in 1334 (Sufism is Islamic mysticism). He was a Sufi leader who trained his followers in Islamic mystic practices. After his death, his following grew and his descendents became increasingly powerful. In 1501 one of his descendents, Shah Isma'il, seized power, united Iran, and established Shi'a Islam as the official religion. The dynasty he founded is known as the Safavids. Their rule, which lasted until 1722, was one of the most important periods for Islamic art, especially for textiles and for manuscripts. -debated the meaning of the two lamps that appear to hang from the medallion. They are of different sizes and some scholars have proposed that this was done to create a perspective effect, meaning that both lamps appear to be the same size when one sat next to the smaller lamp. Yet, there is no evidence for the use of this type of perspective in Iran in the 1530s, nor does this explain why the lamps were included. Perhaps they were included to mimic lamps found in mosques and shrines, helping the viewer to look deeply into the carpet below them and then above them, to the ceiling where similar lamps would have hung, creating visual unity within the shrine. -inscriptions on one end The first three lines of poetry reads: Except for thy threshold, there is no refuge for me in all the world.Except for this door there is no resting-place for my head.The work of the slave of the portal, Maqsud Kashani. Maqsud was probably the court official charged with producing the carpets.

Dome of the Rock Jerusalem. Islamic, Umayyad. 685-692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome The Dome of the Rock is a building of extraordinary beauty, solidity, elegance, and singularity of shape... Both outside and inside, the decoration is so magnificent and the workmanship so surpassing as to defy description. The greater part is covered with gold so that the eyes of one who gazes on its beauties are dazzled by its brilliance, now glowing like a mass of light, now flashing like lightning.

-one of the first Islamic buildings ever built and earliest surviving buildings from the Islamic world -is not a mosque, debate over function! Context: -Between the death of the prophet Muhammad in 632 and 691/2, when the Dome of the Rock was completed, there was intermittent warfare in Arabia and Holy Land around Jerusalem. The first Arab armies who emerged from the Arabian peninsula were focused on conquering and establishing an empire—not building. -fighting a civil war against Ibn Zubayr. When Abd al-Malik began construction on the Dome of the Rock, he did not have control of the Kaaba, the holiest shrine in Islam, which is located in Mecca. -located on the Haram al-Sharif-holy place for Christians, Jews and Muslims. -center of the Dome of the Rock sits a large rock, which is believed to be the location where Abraham was prepared to sacrifice his son -today, Muslims believe that the Rock commemorates the night journey of Muhammad. One night the Angel Gabriel came to Muhammad while he slept near the Kaaba in Mecca and took him to al-Masjid al-Aqsa (the farthest mosque) in Jerusalem. From the Rock, Muhammad journeyed to heaven, where he met other prophets, such as Moses and Christ, witnessed paradise and hell and finally saw God enthroned and circumambulated by angels. FORM: -Rock is enclosed by two ambulatories (in this case the aisles that circle the rock) and an octagonal exterior wall. The central colonnade (row of columns) was composed of four piers and twelve columns supporting a rounded drum that transitions into the two-layered dome more than 20 meters in diameter. -mosaics in the Dome of the Rock contain no human figures or animals. -vegetative scrolls and motifs, as well as vessels and winged crowns, which were worn by Sasanian kings -building enclosing the Rock also seems to take its form from the imperial mausolea (the burial places) of Roman emperors, such as Augustus or Hadrian. Its circular form and Dome also reference the Church of the Holy Sepulcher. The circular Church of the Holy Sepulcher in Jerusalem was built to enclose the tomb of Christ. The Church of the Holy Sepulcher and the Dome of the Rock have domes that are almost identical in size; this suggests that the elevated position of the Dome of the Rock and the comparable size of its dome was a way that Muslims in the late 8th century proclaimed the superiority of their newly formed faith over Christians. -includes many inscriptions. 240 meters long. verses from Qur'an...core values...bismillah...shahada...God...Mary, Christ, Muhammad...prophets.

Old Man's Cloth El Anatsui. Southern Nigeria. 2003 C.E. Aluminum and copper wire A statement piece to remember his regions history and culture through using elements related to the most influential and culture-shaping events. This piece specifically is meant to serve as a reminder of the uneasy history of trade between Europe and Africa. African tradition liquor. metal from liquor bottles

-would have been laid flat during its construction, it is contorted and manipulated during installation, so that the individual metal pieces can catch the light from every angle. -labels and bottle caps are typically fastened together with copper wire and attached corner-to-corner. -career was forged during the utopia of mid-century African independence movements -alcohol-Europeans brought to trade with Africa; one of the items used in the transatlantic slave trade -luminescent gold colors also recall the colonial past of Anatsui's home country—modern Ghana was previously a British colony called The Gold Coast until its independence in 1957. The fluid movements of the work's surface remind us of the waters of the Atlantic Ocean, which carried slave-ships and traders between Africa, Europe and the New World. -Anatsui's work differed slightly from that of his colleagues in his insistence on abstraction. In some of his first mature works, he used an electric chainsaw to slash geometric patterns into wood. Though abstract, these works were metaphorically rich; Anatsui chose woods of different colors to represent the diversity of African cultures, while the violence of the chainsaw enacted the ruptures imposed by European imperialist expansion.

Sika dwa kofi (Golden Stool) Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and cast-gold attachments The Golden Stool has been such a part of their culture for so long, with so much mythology around it, that we can't be sure exactly when it was made. The color to represent royalty changes between times and cultures. Many of the brighter colors simply weren't available throughout Africa until Europe began to colonize

1700 Osei Tutu-frist king of united Asante. gold stool falls from sky into his lap. represents the soul of Asante people. Stool is always given own throne to sit beside king. Gold represents royalty. Used scale to measure gold. Used brass weights depicting activities in daily life to measure accurate amount of gold. Umbrella-underneath is king. Sandals-king always wears sandals. King is the mediator between people and supernatural. Umbrella-sky-king under sky. sandals-ground-king over the earth. Brass weights some represent proverbs. Has messages conveyed through art. Family bonds-all share one stomach-crocodiles with single stomach. Thoughtful contemplation before action-ram 1874-Europeans destroyed and stole gold and goods. Wanted golden stool, so Asante people hid it away. British governor demands to have the Golden Stool to sit upon--extremely offensive to Asante because NO ONE was allowed to sit on Golden Stool-very sacred, even got its own stool. Yaa Asantewaa (Queen Mother) gathered Asante soldiers to fight British-Asante were defeated, but the Golden Stool remained hidden. Sunsum- aura that you leave behind when you use something a lot. Stools very important in culture-flip your stool over so no one else can use/should use.

Folio from a Qur'an Arab, North Africa, or Near East. Abbasid. c. eighth to ninth century C.E. ink, color, and gold on parchment The Qur'an is the sacred text of Islam, consisting of the divine revelation to the Prophet Muhammad in Arabic. Over the course of the first century and a half of Islam, the form of the manuscript was adapted to suit the dignity and splendor of this divine revelation. However, the word Qur'an, which means "recitation," suggests that manuscripts were of secondary importance to oral tradition. In fact, the 114 chapters of the Qur'an were compiled into a textual format, organized from longest to shortest, only after the death of Muhammad, although scholars still debate exactly when this might have occurred.

Arabic calligraphy. Brown ink. read right to left. -text of each sura is further divided into verses by triangles made up of 5 gold circles located at the end of each verse -each title written in gold and enclosed in rectangle filled with golden vine; rounded palmette extending into the margin of the folio, next to it -wider than they are tall. -carefully calculated where each line started...even lines. -Because figural imagery such as human or animal forms was considered inappropriate for the ornamentation of sacred monuments and objects, artists relied on vegetal and geometric motifs when they decorated mosques and sacred manuscripts. -dimensions of each page were calculated before the parchment was cut, and the text was carefully situated relative to the edges of the pages. Each page of costly parchment (or vellum) in this Qur'an is larger than a standard sheet of printer paper, and contains only nine lines of calligraphy. These materials suggest both the dignity of the sacred text and the wealth of its patron -strokes of relatively uniform thickness, short straight vertical lines and long horizontal lines, and a straight, horizontal baseline--Kufic writing -Scribes also had some freedom in composing a page. They could emphasize individual words and balance the widths of lines of different length by elongating certain letters horizontally (a technique known as mashq). They could also adjust spacing between words and letters, and even split words between two lines, in order to balance positive and negative space across the page. -In this mushaf, the spaces between non-connecting characters within a word are as wide as the spaces that separate different words; difficult to figure out which letters should be grouped together to form words. This deliberate obfuscation would have slowed down readers, and it suggests that anyone who read aloud from these manuscripts had probably already memorized the text of the Qur'an and used the lavish manuscript only as a kind of mnemonic device.

Carson, Pirie, Scott and Company Building, Louis Sullivan department store. c. 1899 and 1903-04 Chicago. early skyscraper. believed building's design should reflect its purpose. 12 stories high. windows. copper base with lavish cast-iron floral ornamentation and HUGE windows; three doors; meant to attract customers into stores. white terracotta facade. open floorplan

Architect: Louis Sullivan Date: 1899 and 1903-04 Location: Chicago Medium: Steel frame, terra-cotta exterior, cast-iron entryway Movement: Art Nouveau Form/Content: Steel-frame skyscraper Tripartite decorative, open, easily-accessible ground level and first floor infinite number of stories for offices all should look the same because they serve the same function distinct attic story and cornice line to cap/mark off vertical endpoint and set it apart from other buildings in the cityscape tweaks the tripartite form to serve a different purpose highlights the horizontal ground floor space rather than the usual vertical trajectory of the middle section gives ground floor larger windows to emphasize the shopping space welcoming, aesthetically pleasing, decorative Art Nouveau decorative program cast-iron ornamentation covers the corner entryway and ground level exterior floral, elaborate, intricate industrial material reflects organic forms (characteristic of art nouveau) Function: Department store rather than emphasizing the upward, vertical lines to accentuate the height of the skyscraper (as would usually be done), Sullivan highlights the ground-floor level entryway to draw shoppers into the store Decorative program also served to distinguish the building from the others around it, as well as attract shoppers Context: Divergence from traditional vertical effect of the ideal skyscraper (even his own earlier skyscrapers) in chicago (birthplace of the skyscraper) form follows function Art Nouveau industrial materials (Chicago boasts: steel manufacturing, train hub) reflect organic forms (aesthetic floral intricacies)

The Horse in Motion Eadweard Muybridge. 1878 C.E. Albumen print Muybridge spent the rest of his career improving his technique, making a huge variety of motion studies, lecturing, and publishing. As a result of his motion studies, he is regarded as one of the fathers of the motion picture. Muybridge's motion studies showed the way to a new art form.

Artist: Eadweard Muybridge Date: 1878 Medium: Photograph Movement: Realism Context: · Photography had advanced far enough to be able to capture moments that the human eye couldn't · Cameras took stills at evenly-spaced points on a horseracing track to create the illusion of continuous motion. · Used a device called a "zoopraxiscope" Function · Motion study of a racing horse and jockey · To establish the impressiveness and potential of photography · Bridged the gap between still photography and moviemaking Content · 4 rows and 4 columns in a rectangle · Each box is a still shot of a racing horse with a jockey · Each still captures a different moment in the horse's stride o Collectively, the photos create a sense of movement; the viewer envisions a running horse instead of a single-moment shot of a horse. Form · 16 still photographs combined in a series · Horse and jockey are in profile (seen from a bystander's view on the side of the track) · While each individual still of the horse and jockey is beautiful, the importance of the work lies in its numbers · Together, the images tell a story o Elevate photography from still to motion by multiplying the images represented

The Stonebreakers, Gustave Courbet, c. 1849 Realism Oil on canvas. represents reality of brutal labor, daily life. Social inflexibility; poor stay poor. labor and working conditions. Rough brushwork like the stones. Focuses equally on all parts of painting, making it appear more "real". big CHANGE from Romanticism!

Artist: Gustave Courbet Date: 1849 (destroyed in 1945) Medium: Oil on canvas Movement: Realism Context: Submitted to the Parisian Salon of 1850-1851 as a reaction to the labor unrest of 1848 (people had demanded better working conditions.) Emphasizes two figures, who will be poor their entire lives, to show the unforgiving passage of time and the lack of social mobility for people of the time. Form: Large canvas sizes were usually reserved for important historical paintings; Courbet instead states the importance of the commonplace workers. Content: Breaking stones down to rubble for pavement; theme of poverty; tattered, ripped, patched clothing; using hammers and smithing tools. Function: To "consider two men breaking stones on the side of the highway...to meet the complete expression of poverty." To show poverty and the struggle of working-class peoples in Europe around 1850, especially given recent injustices and the fact that they were never portrayed in art.

Nadar elevating Photography to Art, Honoré Daumier lithograph from Le Boulevard, May 25, 1863

Artist: Honoré Daumier Date: 1862 (Right after a court decision in 1862 that permitted photographs to be considered works of art. Medium: Lithograph Movement: Realism Context: Nadar was famous for taking aerial photos of Paris since 1858. Daumier depicts Nadar as a bizarre, daring photographer; Nadar's hat is flying off, and in his own excitement to capture the perfect shot, he almost falls out of his balloon. Daumier mocks the new declaration that photography could be equal to "high art;" it's an ironic artwork. Appeared in a journal called Le Boulevard. Content: All buildings in Paris below have "Paris" written on them. Form: Lithograph (printing from a stone or smooth metal plate to produce mass images.) Function: To mock Nadar; to show that ridiculous and dangerous means have to be used to elevate photography to the height and importance of "high art." Serves as a commentary on the 1862 court decision permitting photography to be seen as high art. Also foreshadows modern aerial-surveillance photography; Nadar's balloon was used in the 1870 Siege of Paris for intrusive photography.

Portrait of Sor Juana Inés de la Cruz, Miguel Cabrera domestic scene portrait c. 1750, oil on canvas Castillo de Chapultepec, Mexico

Artist: Miguel Cabrera Patron: Sor Juana Ines De la Cruz Location: Latin America Date: 1750 Style: Portraiture Medium: Oil on Canvas Movement: Art of New Spain = Mexico (Enlightenment/Neoclassical) Form: Realistic Similar to other portraits of the time Red curtains behind her were common in elite portraits (higher status) Religious garments = convey the deep connection she had with her faith Books = communicate her love for learning Function: A Portrait Content: Portrait of Sor Juana, a catholic nun and sister of the jeronimite order in New Spain Portrayed as a hero (Neoclassical) Intellectual rather than traditional Context: Neoclassical Work Sor Juana Sor Juana was considered one of the first feminist of the Americas because she joined a religious order and became a nun in order to pursue her intellectual interests Engaged in debate with philosophers and scientists of the time Instead of marrying, she decided to pursue her intellectual passion in a Carmelite convent before converting to the Jeroimite order (more freedoms) Despite being a nun, she defended her rights as a woman Eventually drew concern from the church Church forced Juana to sell her library and give up her pursuits She was made to sign a document declaring she would cease her education After being denied her intellectual abilities...Sor Juana served as a nurse in an infirmary She caught a disease and passed away Miguel Cabrera Portrayed the nun in a way that gave tribute to her religious AND intellectual purposes Painted after Sor Juana's death (probably based off of other portraits)

The Starry Night Vincent van Gogh. 1889. Oil on canvas It is this rich mixture of invention, remembrance, and observation combined with Van Gogh's use of simplified forms, thick impasto, and boldly contrasting colors that has made the work so compelling to subsequent generations of viewers as well as to other artists. Emotions in painting. a foundational image for Expressionism. clear brush strokes. Struggling at the time with life...reflected in art. breakdown...self-harm...Night landscapes rare at the time.

Artist: Vincent Van Gogh Date: 1889 Medium: Oil on Canvas Movement: Post-Impressionism Content: Landscape view from artist's hospital room in St.-Rémy Mountains in the distance actual steepness exaggerated in painting Composite landscape: Dutch church, crescent moon, Mediterranean cypress tree Wave-like movement flows left to right broken only by verticality of cypress and church steeple Cypress tree a traditional symbol of death and eternal life reaches up to the sky, dominating foreground closest to artist symbolism! Form: Oil on canvas Composite landscape short, thick brushstrokes parts of canvas can be seen through the brushwork did not need to fill in every bit of the composition Function: A landscape study, or a study of the nighttime expression of the artist's internal turmoil (suffered from mental illness) Desire to experiment with stylized techniques Context: Struggle with mental illness painted during his convalescence at mental hospital near St.-Rémy following breakdown in which he mutilated his own ear Post-Impressionist Characteristics: dynamic brushstrokes non-naturalistic vibrant color that exaggerates and accentuates, rather than representing reality painterly in quality inspired Fauvism (later movement)

Woman I Willem de Kooning 1950-1952 Abstract Expressionism Layers and layers of paint with diff textures...quick brushstrokes. many tries; scraped off old drafts. Sexualized woman references with big breasts and big eyes with twisted smile. aggression. inspired by male desire to see sexy women in media. ambiguous figure; no clear body

CONTEXT: Abstract Expressionism- aka The New York School first AMERICAN avant-garde art movement reaction to Minimalist version of abstraction expressionism was more active ACTION PAINTING Willem de Kooning, Woman I, 1950-1952, oil on canvas, Museum of Modern Art, New York CONTENT angry woman baring her great fierce teeth and large eyes "large bulbous breasts" are satirical, reflect those on magazine covers smile is influence by woman selling Camel cigarettes slashing paint onto canvas FORM jagged lines create an overpowering image FORM smile is cut out of a female smile from an ad in a magazine blank stare; frozen grin vague background stereotypes - ironic comment on movie and advertising industries PURPOSE 1/6 in these series of this woman influenced by Paleolithic goddesses to pin-up girls thick and black lines dominate FORM

The Two Fridas Frida Kahlo. 1939 C.E. Oil on canvas. Known for her facial hair on herself in art. Had polio and near fatal car accident, left mostly bedridden, used painting to cope. Split heritage shown on different sides. Holding hands and sharing a bench in front of a stormy sky. Connected exposed hearts with veins. Right represents indigenous culture (Mexican), and left represents more European culture. Right holds miniature sculpture of ex-husband Diego Rivera, and left clamps vein with hemostat. Right is weak, left is strong. Together are strong. Utilized blood as a metaphor of union. The two are one, just different sides of her. Painted during her divorce with Rivera. vibrant colors in a style that was influenced by cultures of Mexico as well as influences from European Surrealism. Her self-portraits were often an expression of her life and pain.

CONTEXT: Surrealism- sought to represent an unseen world of dreams, subconscious thoughts, and unspoken communication. It went in two directions - the abstract tradition of biomorphic forms - the veristic tradition of using reality-based subjects put together in unusual ways Surrealism - meant to puzzle, challenge, and fascinate. NOT didactic or clearly understood Frida Kahlo, The Two Fridas, 1939, oil on canvas, Museum of Modern Art, Mexico City CONTENT: Juxtaposition of two self-portraits left: a Spanish lady in white lace right: a Mexican peasant stiffness and provincial quality of Mexican folk art served as direct inspiration FORM her two hearts are intertwined by veins, which are cut by scissors at one end they lead to a portrait of her husband, artist Rivera painted at the time of their divorce CONTEXT infertile land in the background, figures against a lively sky vein = umbilical cord associating husband as a husband and a son blood on lap suggests many abortions and miscarriages and surgeries bc of polio Kahlo rejected the Surrealism label

Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), Joseph Mallord William Turner c.1840 Romanticism. Oil on Canvas. COLOR. Colorist painting. Hazy effect. Emotionalism. Terror, tragedy. Beauty of nature and divine retribution vs. horrid human act of sacrificing slaves to claim insurance.

Content: A ship (slave ship) sailing directly into a storm, abandoning the slaves that were thrown overboard to drown Fiery sunset, writhing foam and waves Fish with teeth chomping at the slaves' chained limbs A wall of water and grey clouds dooming the ship to shipwreck (as punishment and vengeance for the death of slaves; upsetting of the balance of nature) "Turner's chaotic canvas shows a fierce storm. Body parts, still shackled and being attacked by sharp-teethed fish, can be seen in the central and right foreground." (Gateways, p. 544) Context: J.M.W. Turner (1775 - 1851) Twenty or so years before Impressionist movement; Turner uses techniques that are not yet popular Man vs. nature (popular theme during late 1700s and early 1800s Slavery was banned in Britain, but not in some of the countries it had colonized (e.g. the United States of America) Form: Abstract, fabricated quality Makes it difficult to discern the subject matter and the action of the scene "Turner uses intense colors and turbulent brushstrokes to convey the heightened emotion of the event." (Gateways, p. 544) Function: Wanted to protest any reconsideration on the subject Prevent slavery from ever becoming a normalized practice in the future with a harsh reminder To shock the critics and general audience into seeing just how brutal slavery could be, and why it shouldn't ever come back Tell a story Moral of the story being you are morally condemned if you participate in such a horrific, dehumanizing practice Slave ship is doomed to wreck because of the actions of its captain 'Communicate sympathy and judgment'

Jowo Rinpoche, enshrined in the Jokhang Temple Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with sempirecious stones, pearls, and paint; various offerings The Jowo Rinpoche statue, Tibet's most revered religious icon, was made in India by Vishakarma during Buddha Shakyamuni's lifetime. At the time of the Buddha, there were only two statues of this type. The other one is still at Bodhgaya.

Context: -Buddhism was founded by one individual, Siddhartha Gautama, sometime in 6th or 5th century B.C.E. This man--the historical Buddha (Siddhartha Gautama)--is also known as Shakyamuni -The Jowo Shakyamuni, or Jowo Rinpoche (Rinpoche means "precious one" in the Tibetan language), is a larger than life-size image of the historical Buddha Shakyamuni housed in the Jokhang Temple in Lhasa, Tibet. -Jowo Shakyamuni is seated with his legs in the lotus position or padmasana. His left hand is in the mudra (hand gesture) of meditation (dhyana mudra) and his right hand is in the gesture of "calling the earth to witness" (bhumisparsha mudra). Together, these postures signify the moment of the Buddha's enlightenment. He is shown wearing a thin monk's robe, which drapes over his body and covers his left shoulder. When dressed, Jowo Shakyamuni is presented with a magnificent jeweled crown and robes. -continued restoration and veneration of the Jowo Shakyamuni over the course of its 1300 year history -most sacred and important Buddha image in Tibet because it is believed to have been carved by the celestial architect Viswakarma in India during the lifetime of the Buddha Shakyamuni (6th-5th centuries B.C.E.) -sculpted from a life portrait of the Buddha. The purpose of the statue's carving was to act as the Buddha's proxy after his parinirvana or departure from the world. -sacred power of the Jowo Shakyamuni comes from its actual likeness of the Buddha as well as its having been carved by Viswakarma. -MOST IMPORTANT: thought to be most realistic sculpture of him! Accuracy=more sacred. Lineage of statue very important. -bejeweled, all fancy like

The Saint-Lazare Station Claude Monet. 1877 C.E. Oil on canvas Paris. Impressionism. modern subject. different classes mixing. LIGHT. COLOR. brushstrokes. The effects of color and light rather than a concern for describing machines in detail. Certain zones, true pieces of pure painting, achieve an almost abstract vision. An ideal setting for someone who sought the changing effects of light, movement, clouds of steam and a radically modern motif.

Context: Monet wanted to be remembered as an painter of the 'modern' world. Monet lived in Argenteuil, a province outside of Paris (rural) Monet commuted into Paris via the Gare Saint-Lazare, or the Saint-Lazare Station The station was a symbol of modernity and industrialized commuter railways. Produced in 1876-1877, just a few years before the first Impressionist exhibition. The roads and train stations of Paris had recently been renovated and modernized under Baron Haussmann Unusually modern and industrial for Monet; he usually painted water-lilies Emphasis on the Form Gritty texture Follows a traditional landscape painting Trees frame the center of the painting Diagonal lines of the roof recede backwards into the painting Oil on canvas Function Emphasis on the painting's surface and paint. To capture the industrialization and modernization of Paris. For Monet to establish himself as a relevant, valuable artist in French society as it industrialized Industrialization was such a massive societal shift that it could not go ignored by anyone who felt themselves an engaged member of society. To capture a beautiful moment in time in the busy, urban streets of Paris Comings and goings by train into Paris -- day-to-day Modern bourgeoisie emerging as center of the society Content Locomotive train pulls into the station, under triangular roofing Steam dissolves into the air Perspective lines and foreshortening used expertly to create the realism of the train NO traditional lines or contours; very innovative and atypical modeling.

Liberty Leading the people Eugène Delacroix. 1830 C.E. Romanticism. Oil on canvas Delacroix wanted to paint July 28: Liberty Leading the People to take his own special action in the revolution and his color technique combined his intense brushstrokes to create an unforgettable canvas. Parisian revolt against monarch of Charles X. Peasants and middle classes join forces, and people of all ages join for the cause. Pyramidal composition. Loose brushwork.

Description: Eugène Delacroix, Liberty Leading the People, oil on canvas, September - December, 1830 (exhibited and purchased by the state from the Salon of 1831) 2.6 x 3.25m (Louvre, Paris) Content: Personification of Liberty (central figure) Marching over dead bodies Leading the way to freedom Carrying flag of revolution and a musket in her hands Young boy holding two pistols Represents sacrifice Upper-class gentleman in a top hat, holding a rifle Represents the rich's inability to stay out of the war Materials - medium: canvas; oil on canvas Context: Romanticism/during Romantic period Based on July Revolution of 1830 Lasted 3 days Form: Realistic, but with dramatic, theatrical lighting Soft, rounded lines that embody the figures depicted more so than the sharpness of their objects Depth and foreground but little to no background; shrouded in a cloud of fog (theatrical effect?) Function: Glorification of everyday people who were involved in the war and the role of France's citizens in that war Acknowledgment of the sacrifices civilians made for the sake of revolution against a corrupt governmental regime Takes on a poignant tone as the revolution would be thought by some to have been in vain; pre-Napoleanic rule

Still Life in Studio Louis-Jacques Mandé Daguerre. 1837 C.E. Photography Daguerreotype. He developed the daguerreotype process, produced pictures remarkable for the perfection of their details and for the richness and harmony of their general effect. ACCURACY. Specially chosen objects in order to portray theme.

Description: Louis Daguerre, The Artist's Studio, 1837, daguerreotype Content: Anatomy of a daguerrotype One-of-a-kind image on a highly polished, silver-plated sheet of copper Handful of still lifes, Parisian views, and portraits from the dawn of photography Images of other works of art Sculpture, painting, photography, etc. Context: Louis-Jacques-Mandé Daguerre (1787-1851) Daguerrotypes accompanied the invention of photography Less than 25 of his photos survive the devastating fire on March 8, 1839 Form: "Each daguerreotype is a remarkably detailed, one-of-a-kind photographic image on a highly polished, silver-plated sheet of copper, sensitized with iodine vapors, exposed in a large box camera, developed in mercury fumes, and stabilized (or fixed) with salt water or "hypo" (sodium thiosulphate)." Black and white; no usage of color, only grey areas in between Function: Duality Medium of artistic expression Powerful scientific tool Artists feared photography would eventually supplant painting Photography was in itself an art form; even if not considered such at the time

Lukasa (memory board) Mbudye Society, Luba peoples (Democratic Rpublic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal More detailed information is conveyed on the front and back of the board. On the lukasa's "inside" surface (the front), human faces represent chiefs, historical figures, and mbudye members. The rectangular, circular, and ovoid elements denote organizing features within the chief's compound and the association's meeting house and grounds. Its "outside" surface displays incised chevrons and diamonds representing the markings on a turtle's carapace.

FORM: -small enough to hold in the left hand. The board is "read" by touching its surface with the right forefinger -carved geometric designs on the back and sides, and complex clusters of beads of various sizes whose colors have faded over time. The board is narrower at the center making it easy to hold. -typically arranged with large beads surrounded by smaller beads or a line of beads -arrangement of beads depict the message CONTEXT: -Luba Peoples. History told orally from gen to gen. Oral narrative reinforces the foundations upon which Luba kingship is established and supports the current leadership. Is also referenced in order to interpret current situations. -recounting of the past is performative and includes dance and song. The master who has the skill and knowledge to read the lukasa will utilize it as a mnemonic device, touching and feeling the beads, shells, and pegs to recount history and solve current problems. -Luba had access to a wealth of natural resources including gold, ivory, and copper, but they also produced and traded a variety of goods such as pottery and wooden sculpture. FUNCTION: -For the Luba people, kingship is sacred, and the elite Mbudye Society (whose members are considered "men of memory," and who have extensive religious training) use the lukasa to recount history in the context of spiritual rituals. Diviners (who have the power to predict the future) can also read the lukasa. -allow readers aid in remembering Luba history/myths/origins

Great Mosque of Djenné Mali. Founded c. 1200 C.E.; rebuilt 1906-1907. Adobe. As one of the wonders of Africa, and one of the most unique religious buildings in the world, the Great Mosque of Djenné, in present-day Mali, is also the greatest achievement of Sudano-Sahelian architecture. It is also the largest mud-built structure in the world. We experience its monumentality from afar as it dwarfs the city of Djenné. became a political symbol for local residents and for colonial powers like the French who took control of Mali in 1892. become the epicenter of the religious and cultural life of Mali, and the community of Djenné. unique annual festival called the Crepissage de la Grand Mosquée (Plastering of the Great Mosque). third reconstruction, completed in 1907. 1st construction: King Koi Konboro—Djenné's twenty-sixth ruler and its first Muslim sultan—decided to use local materials and traditional design techniques to build a place of Muslim worship. required re-plastering, otherwise rainy seasons destroyed. 2nd-more massive, low minaret towers, rectilinear plan, partly enclosed by exterior wall. earthen roof for festival- used mixture of butter and fine clay from the alluvial soil of the nearby Niger and Bani Rivermixture of butter and fine clay from the alluvial soil of the nearby Niger and Bani River complex network of factors that affect world heritage: armed conflict and civil unrest, environmental threats, urban development, and lack of cooperation between agencies can all undermine the fate of monuments like the Great Mosque.

Form: -Made from cylindrical adobe (mud brick) -made by hand with contribution from the whole society-- complex organization of society -"rectilinear and partly enclosed by a wall" -Supported by massive pillars -Topping the conical pillars are ostrich eggs - Contains a mihrab Function: -sign of the chief's religious devotion to Islam - Mosque, center for prayer and community. Still has a practicing congregation - political symbol to Europe - "Epicenter for religious and cultural life" - Location of Crepissage, a festival dedicated to the replastering of the mosque. - The replastering is a communal effort. Content: - 3 minerets - Earthen roof - Qibla faces Mecca -Terracotta lids cover holes on the roof -Timber poles poke out of the mosque called torons for decoration and climbing the mosque for replastering -stairs symbolize transition from everyday life of the marketplace to a sacred place. -special court reserved for women and a principal entrance with earthen pillars, that signal the graves of two local religious leaders. Context: -oldest known city in Sub-Saharan Africa -largest mud-brick structure in the world - Has been rebu'ilt 3 times, the original, in 1830s, then by the French in 1906 - Current version built in 1907 - African chiefs quickly adopted Islam -built in a marketplace - Built by first converted Muslim ruler in Djenné (Koi Konboro) - Islamic culture had a huge impact on the region. -Mali emerged as a powerful empire, allowing it to be very prosperous - Ostrich eggs represent fertility and purity - Tombs of great regional Islamic scholars are adjacent to the mosque.

The Kiss Gustav Klimt. 1907-1908 C.E. Oil and gold leaf on canvas This one employs intense ornament on the embracing couple's gilded clothing, so thoroughly intertwined that the two bodies seem to be one. lots of GOLD...reference to Christian art possibly?? Halo kinda? Seems the figures blend slightly into bg as if they lose themselves in the kiss. Delicate patterning. Squares for men. Round for women. both crowned. intimacy.

Form: oil on canvas, golf leaf Function: suggest all consuming love and passion— permanence Content: a kissing couple on a precipice little of the human form is seen her face calm and passive, but with eyes closed very passionate his neck a sense of physical power and desire large, richly designed patterning on clothing male is more rectangular; female more circular reminds us of a religious icon with the gold - v byzantine, v medieval Context: Art Nouveau Brussels, Barcelona, Paris, Vienna 1890-WWI seeks to eliminate separation of artistic mediums and combine them all into one a lot of vegetal and floral patterns, complex design, undulating surfaces During Modernization of Vienna in a time of chaos, an eternal and universal kiss

The Steerage Alfred Stieglitz. 1907 C.E. Photogravure The Steerage is considered Stieglitz's signature work, and was proclaimed by the artist and illustrated in histories of the medium as his first "modernist" photograph. took pictures of life as it happened; focused on the composition and the art of the photograph rather than the subject matter. he neglected talking about the subject matter because his political opinions on immigration were conflicting and he instead used the photo to argue that photography = fine art

Form: photograph function: to show the social divisions of society to show photography as a fine art Content: Diagonals and framing effect of ladders, sails, steam pipes, etc depicts the poorest travelers on a ship from US to Europe visas expired? turned away from the US? steerage = the part of a ship reserved for passengers with the cheapest tickets Context: 1902-1917 was Alfred Stieglitz's Gallery 291 most progressive gallery in US Photography showcased right next to avant garde and modern works Photography is becoming its own art form Stieglitz arranged little in his photographs—took pictures of life as it happened emphasized clarity and realism (aka, a camera's strengths) he was way more focused on the composition and the art of the photograph rather than the subject matter he neglected talking about the subject matter because his political opinions on immigration were conflicting and he instead used the photo to argue that photography = fine art Photo published in 1911 in Camera Work he was influenced by cubists

The Migration of the Negro, Panel no. 49, Jacob Lawrence Documents African American migration to North. From personal experience. Flat color, simplified shapes. Moving, change. Running from racism from South, but encountered other racism in North. Captioned images. A series. Segregation. North: employment opportunities. South: child labor, no education, arrested for slightest provocation, glorified movement to North. Isolation between whites and blacks. Gold barrier zig zag. Whites refuse to look at blacks. Only whites have facial expressions. Blacks have submissive posture.

Form: - Tempera on hardboard - this is a return from the Italian masters - flat simple shapes - unmodulated colors - geometrical forms - tilted tabletops to show surface - forms hover in large spaces Function: - In a series that aims to depict the migration of African Americans from the rural south to the urban north after World War 1 Content: - involved a public restaurant in the north that is deeply segregated which is shown through the yellow pole dividing the races Context: -In the Harlem Renaissance - this was a period in which African Americans migrated in great numbers to a NYC neighborhood (Harlem) - in the early 20th century (after world war one)

Spiral Jetty Robert Smithson 1970 Environmental and Sight-Specific Art Postmodernism. Meant to show the power and beauty of nature over man. Great Salt Lake in Utah. Wanted to create artwork unique to area; inspired by the spiral shape of salt crystals on rocks. Meant to slowly come apart naturally over time. Represents the short time of life and changes over time. basalt, limestone, earth

Form: - mud, salt crystals, rocks, water coil - on the Great Salt Lake in Utah - this was a very abandoned place, extremely remote - used a tractor with native stone to create the jetty - 1970 Function: - jetties are supposed to be piers, but here it is in the middle of nowhere Content: - a spiral jetty in the Great Salt Lake - the artist was very interested in the blood red color of the water due to the presence of the basteria that live in the high salt content Context: - this is an example of Site Art - sometimes referred to as Earth art- is dependent on its location - the original environment must be fully intact to understand the work fully - time = 1970s-present day Cross-Cultural Comparisons: Spirals and Circular Construction Stonehenge

Seagram Building, Ludwig Mies van der Rohe, Philip Johnson office building. inspired by glass, steal skyscrapers. 1950s NYC. Bronze and glass with steel (hidden on inside). Every year, rubbed with oil so doesn't oxidize. Inspired by classical architecture. Seagram was liquor company. lights and darks, texture, bars on outside for decor. appears to be levitating with smaller glass base.

Form: - steel frame with glass curtain wall and bronze - set back from the street on a wide plaza that is balanced by reflecting pools - the bronze veneer gives the building a monolithic look - this model of skyscraper became the main model after World War 1 Function: - wanted the structural elements to be visible Content: - a depiction of "less is more" (this is important because this comes to be rejected by pop art) - reflection of the minimalist movement in painting - interplay of verticle and horizontal lines Context: - International style of architecture - thought that a house should be a "machine for living" - clean space and white lines - the internal structure is a skeleton system that holds the building up from within - no ornamentation, no paint applied to the exterior

The Portuguese Georges Braque. 1911 C.E. Oil on canvas Analytic Cubism In this canvas, everything was fractured. The guitar player and the dock was just so many pieces of broken form, almost broken glass. By breaking these objects into smaller elements, Braque was able to overcome the unified singularity of an object and instead transform it into an object of vision. Incorporates a lot of planes intersecting, with little shapes defining ambiguous details. different angles combined into one painting? Uses letters and numbers. Challenges viewer's perception of 2D and 3D figures

Form: Oil on Canvas Function to show all sides of a subject Content: neither naturalistic nor conventional fractured forms clear edged surfaces on the picture plane—not recessed in space nearly monochrome not a portrait of a portuguese musician, but rather an exploration of shapes only realistic elements are stenciled letters and numbers Context: Analytical Cubism (1907-1912) first phase of cubism highly experimental, jagged edges, sharp and multifaceted lines Worked with Picasso to develop this style "By breaking these objects into smaller elements, Braque and Picasso are able to overcome the unified singularity of an object and instead transform it into an object of vision" (Khan Academy - Analytical Cubism)

Improvisation 28 (second version), Vasily Kandinsky 1912 German Expressionism Oil on canvas. believed artists must express innermost feelings through color, form, line, and space. Did not believe in depicting real life. According to scientific theories he enjoyed reading, material objects had no real substance. First artist to go full on abstraction in paintings. Inspired by musical compositions. Like music, art can represent something and take someone somewhere without depicting a material object. Abstracted art. Biblical references...flood...fire...mane of horses... Intense COLOR to evoke emotional response. Intersecting jagged lines. created during WWI, represents chaos of world.

Form: oil on canvas Function: to have the viewer respond to a painting the way one would respond to an abstract musical composition like a concerto, sonata, or symphony title derived from musical compositions; gave musical titles to his works like "composition" and "improvisation" Content: movement towards abstraction representational objects suggested rather than depicted strong black lines colors shade around line forms Context: Expressionism inspired by the Fauve movement Die Brüke (The Bridge) movement they saw themselves as "the bridge" from traditional to modern painting violent juxtapositions of color Der Blaue Reiter (The Blue Rider) movement german group, named because the founders liked horses and the color blue abstraction a way to conceive the natural world in terms that went beyond representation if there are recognizable forms then our conscious minds will take over, and we would close off our emotional ability to respond to color and form Kandinsky big part of Der Blaue Reiter wrote essay called Concerning the Spiritual in Art which outlines his theories on color and form for the modern movement felt that sounds and color were linked (synesthesia) art should express an inner spiritual necessity Russian one of the first artists to make non-objective, or completely abstract, paintings

Templo Mayor, Main Aztec temple Mexico City. Templo Mayor...destroyed by Spaniards with conquest in 1519. Layers and layers (7)...temples within temples. rumble/ruins encased in outer structure/larger pyramid surfaced with stucco. Brightly painted and decorated with sculptural forms. Dedicated to Huitzilopochtli god of war and sun, and Tlaloc, god of agriculture and rain. Part of sacred precinct temples dedicated to other minor deities. Masonry. Amazing buildings built on water. Sweeping temples with lots of stairs and two twin temples on top. Chacmool and stone altars...likely used for sacrificial rituals. Built on top of ruins...used sacred artifacts and destroyed them/repurposed them for Spaniards own religion and goals. Traditional Olmec Style Mask: Olmec culture 1500-1200 BCE, Gulf Coast of Mexico. Green stone, polished. Baby face. Upturned lips. Almond eyes. Buried offering. Found in Aztec temple, meaning they were fascinated by ancient cultures. Evidence of large trading networks. The Sun Stone/Calendar Stone circular shape. rays eminating from center. originally painted. supposed to be on ground. unfinished. tongue sticking out, representing sacrificial knife. possibly Tonatiuh Aztec Sun god. possibly holding with clawed hands human hearts. records of origin of Aztec cosmos. creation of five eras, "suns". Center represents movement. current era/sun is fifth-called "four movement". Previous eras: 1- "4-Jaguar"=death by jaguar...devoured by jaguars. 2- "4-Wind"=death by high winds 3- "4-Rains of Fire"=death by rains of fire 4- "4-water"=death by water prophesizing that fifth era will die of earthquakes. current era was created bc gods had sacrificed themselves. so humans must feed them through offerings. sacrifices...animals, bloodletting, humans. cardinal directions. thought divided into quarters by directions. solar calendar.

Identify: Mexica (Aztec people) Unknown artist Tenochtitlan, Mexico 100 by 80 meters, 90 feet high Tenochtitlan, Mexico (present day mexico city) 1325 CE Rebuilt 6 times Myth Summary associated with war god aspect of temple: Huitzilopochtli's mother, Coatlicue (Snakes-her-skirt), became miraculously pregnant. Her daughter, Coyolxauhqui, became angry when she heard this, so with her 400 brothers, she attacked their mother. Right away, Caotilcue's son, Huitzilopochtli emerged out of her womb, fully grown, clothed and armed to defend his mother on the mountain called Coatepec (Snake Mountain). Eventually, Huitzilopochtli defeated his sister and brothers, then beheaded her and threw her body down the mountain and her body broke apart. Huitzilopochtli became the patron deity of Mexica. Form: Volcanic stone and covered in stucco the post classic period and Mesoamerican style A large symmetrical building with twin staircases leading up to two identical temple towers Was a focal point of the society and taller than all the other buildings Content: Main temple of the Mexica people Design is inspired by Mexica mythology Either side of the temple was dedicated to and represented the two primary gods Wooden statues of the two gods were inside of the two temples God of war and sun on one half Huitzilopochtli Included sacrificial stone and standard bearer figures and serpants This side of the temple represents snake mountain or Coatepec South side of the temple Painted red → symbolic of the dry season during the winter solstice Steps leading to Huitzilopochtli's were painted bright red, symbolizing war and blood Stairs also had sculptures of snake heads with feathers God of rain/agriculture on the other half Tlaloc Included altar of the frogs and chacmool sculpture to receive offerings This side of temple symbolized the mountain of sustenance, which produced rain and allowed crops to grow North side of the temple Painted with blue stripes → symbolic of the wet season during the summer solstice Stairs leading to Tlaloc temple were blue and white, again representing water Stairs also had sculptures of snake heads with blinkers These halves were very contracting to each other, showing a value in balance and harmony of opposites in nature from life and death, peace and violence, power and humility. Function: A place of worship for their gods, Tlaloc and Huitzilopochtli Rituals, ceremonies and reenactment of their myths Panquetzaliztli ("Banner raising") performed Honored Huitzilopochtli's triumph over Coyolxauhqui Gifts were offered to Huitzilopochtli Tamales were eaten and there was dancing Reenact the myths associated with Coatepec A representation of Aztec warfare and conquest as well as their power Context: Aztec empire was from 1345 - 1521 CE Tenochtitlan, Mexico (present day mexico city) Sacred precinct and center of former mexica empire On on island in the middle of lake Texcoco Means "The Greater Temple" A UNESCO world heritage site Taken apart and destroyed by the Spanish in 1521, remains were buried When the Coyolxauhqui stone was found, the site of Templo Mayor was also rediscovered Now the temple is an excavation site of ruins Thousands of ritual objects have been recovered related to the temple Included objects from other cultural traditions showing the Mexica awareness, value, and appreciation of past culture, such as the Olmec mask The aztec Invasion of neighboring territories to spread Aztec ideas and religion Tenochtitlan dominated smaller city states to establish itself as the capital around the 12 cent CE Constant threat of military intervention maintained the order Tenochtitlan could hold 200,000 people by the 16th century Was a Trade center Gold, pottery, food exports Coyolxauhqui Stone Form: C. 1500 Volcanic stone Found in Templo Mayor in 1978 A Monolith relief carving and was originally painted red orange white and blue Content: Connected to warfare and the sun→ was located at the base of the huitzilopochtli side of temple Depicts the Aztec goddess Coyolxauhqui (Bells-Her-Cheeks), sister of the patron god, Huitzilopochtli (Hummingbird-Left), who was killed by her brother when she attempted to kill their mother. Graphic imagery depicts themes of death and chaos. She is beheaded and dismembered Items mark her status, but the goddess is naked connecting to motherhood but Also symbolizes Humiliation and defeat Function: A sacrificial stone Used to transformed temple into a symbolic coatepec ("snake mountain") by placing it at bottom of structure to reenact their myths to honor Huitzilopochtli During the monthly festival of panquetzaliztli, war captives were killed and rolled down the structure so that they landed on the monolith to reenact and symbolize the defeat of Coyolxauhqui who fell off the snake mountain Ritual was to assert power and authority over enemies of Mexica and make them fear Mexica War captives were killed in a way that mirrored the death of Coyolxauhqui Calendar Stone Form: called the sun stone From 1502-20 CE Discovered in 1790 Basalt, Originally painted Content: angry face resembles sun with open mouth and ear spools to symbolize elite. Possibly of Tonatiuh the Aztec sun god Related to aztec myths of the five suns which is the creation all previous eras of the world including the current, or fifth era/ sun called four movement Prophesied the 5th era will end in death by earthquakes, relating to the volcanic landscape 20 symbols → the days of the calendar Arrows point in cardinal directions to symbolize quadrants of the universe Tenochtitlan was also divided into four quadrants, capital represents center of universe Fire Serpents represent time→ carry sun across the sky Includes a Symbol of Montezuma II→ dates to his reign Function: Modern day Emblem of mexican culture Records the origins order and structure of the universe Tells story of cosmos History of creation and time Olmec-style mask Form: C. 1200-400 BCE Small Polished sculpture made of jadeite Recovered at the site of Templo Mayor From Olmec culture, before the Aztecs In Gulf coast of mexico→ distant in geography and time Content: Human face comparable to a baby's with distinct Olmec style Function: Was and Offering buried in the temple in 1470 Aztec collected them and ritually buried them to offer to gods Aztec collected objects from many different culture→ connection between cultures Shows the vast trade networks of mesoamerica Context: It was from 1000 years prior to Mexica's existence in Teotihuacan → Mexica people saw it as valuable and historically significant Shows Aztecs revered past culture and cared about history Olmecs thrived and had enormous pyramids that the Aztecs admired and believed the fifth sun was born Themes: religious/sacred spaces Myth power/ authority Sacred space Objects of wealth and status Ritual objects of belief War and Violence Sacred/Profane Narrative Art Sacred space Main Aztec Temple, the center and focal point of the empire and capitol. Center of important rituals Coronation Most important religious structure to honor two of the most important gods. Huitzilopochtli - Patron god of warfare= power and success Tlaloc - god of rain/ agriculture= vital to survival Conflict/ harmony: This temple demonstrates the harmony in the society to come together for the festival monthly to honor their deities Yet it demonstrates the value of violence and war in order to declare their society's power. Their patron god that the temple is dedicated to and honored during the festival is the god of war. They honor him by sacrificing enemies to instill fear in others. Conflict within the identities of the gods Tlaloc both gave life with the rain and took it away with floods and droughts Harmony or conflict between gods and people depending on the actions of humanity Sacrifices = payment to the gods for creating the world Calendar dictated when the sacrifice must be blood War/Violence: The aztec values were built upon imperialization and war Respect and valour was accumulated from war victories Conquest was the reason they were able to expand their empire The Coyolxauhqui stone depicts graphic death and destruction Work seen as a victorious triumph over god Idealized violence Power and authority The size of Templo Mayor dwarfed that of the surrounding architecture Theme of architecture dedicated toward the gods being physically greater and larger than everything else Large size demonstrated the power and authority of the two gods Human constructed architectural mountain Tlaloc was associated with mountains Knowledge and belief (calendar stone) This stone depicts the creation story of aztec myths, the origin and structure if the cosmos It combines religious beliefs with their understanding of time and their place in the universe. Religious belief in gods, and the five eras of the sun, but also knowledge of cardinal directions and the sun as the center of all things as well as awareness of time passing Cross-Cultural connections: White Temple and its Ziggurat (12) In Uruk Iraq Elevated focal point to the city that demonstrates the connection and honor to a god and the god's power over the city. Similar use of layers in the building although not as many as Templo Mayor with a large base that then reaches towards the heavens and the gods with each additional level. Chavin de Huántar they are both spiritual centers dedicated to their most important gods and are the focal point the binds the society. They are also pivotal centers for trade and connection between cultures. Lukasa (memory board) (177) → the calendar stone Both relate to the spiritual history of the cultures and records of past events A Lukasa records historical events, lineages, rituals of the culture. spirits record the information Calendar stone depicts the history of the universe's creation as well as time, is a record of the sun god, and is very mysterious. Both describe structure of their spiritual history and the universe and they explain the past in order to navigate the present and future. they build organization and order within society to trust the history and leaders and fear the gods

Pyxis of al-Mughira Umayyad. c. 968 C.E. Ivory The Pyxis of al-Mughira, now in the Louvre, is among the best surviving examples of the royal ivory carving tradition in Al-Andalus (Islamic Spain). It was probably fashioned in the Madinat al-Zahra workshops and its intricate and exceptional carving set it apart from many other examples; it also contains an inscription and figurative work which are important for understanding the traditions of ivory carving and Islamic art in Al-Andalus.

Made by artists of the Madinat al-Zahra workshops during the Umayyad dynasty c. 968 The material is carved ivory with traces of jade Was likely made in Umayyad-ruled Spain The Pyxis is 16cm tall and 11cm wide, and made of carved ivory from an elephant tusk There is inlaid jade and several other precisions stones Ivory was durable, smooth, elegant, and easily carved This made it highly desirable for the creation of pyxides (the plural of pyxis) Highly portable, they were often given as gifts. In Al-Andalus, ivory objects, including 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, such as the Berbers, who are the indigenous peoples of North Africa, many of whom converted to Islam and swore their allegiance to the Umayyad Caliphs in Spain. The practical function was to carry perfumes and other cosmetics The pyxis is decorated with four eight-lobed medallions These medallions are surrounded by figures and animals, including falconers, wrestlers, griffons, peacocks, birds, goats and animals to be hunted Each medallion has princely iconography Although Islamic art is commonly viewed as an-iconic, human and animal figures play an important role in iconography A Pyxis is a cylindrical contained for holding cosmetics This was a coming of age gift for al Mughira, the 18-year-old daughter of the caliph of the Umayyad dynasty Best surviving example of the tradition of carved ivory in Islamic Spain Spain was home to some of the most impressive Islamic art and architecture Ivory was part of the mediterranean art tradition, so this work is an example of local artistic tradition blended with Islamic themes This comes from the royal workshop of Madinat al-Zahra, which was one of the wealthiest cities in Umayyad-ruled Spain The work is currently located in the Louvre

Lipstick (Ascending) on Caterpillar Tracks, Claes Oldenburg Painted steel, aluminum, and fiberglass, 21' high. Morse College, Yale University, New Haven (gift of Colossal Keepsake Corporation). he created (in secret and without a fee) as a gift to his alma mater. He installed the 21-foot-tall sculpture on Ascension Day, May 15, 1969, on Beinecke Plaza across from the office of the university's president, the site of many raucous protests against the Vietnam War. Lipstick was to be a speaker's platform for protesters, and originally the lipstick tip was a droop- ing red vinyl balloon that the speaker had to inflate, underscoring the sexual innuendo. Originally, they made the base of plywood, and the red vinyl tip of the lipstick could be comically inflated and deflated—although the balloon mechanism didn't always work. The original remained in Beinecke Plaza for ten months before Oldenburg removed it in order to remake the form in metalVandalism and exposure to the elements (the original tractor was plywood) caused so much damage to Lipstick that it had to be removed. Oldenburg reconstructed it in metal and fiberglass. In addition to its feminine associations, the large lipstick tube is phallic and bullet-like, making the benign beauty product seem masculine or even violent.

POP ART gathered momentum in the 1950s, climax in the 1960s uses materials from everyday life -- items of mass popular culture glorifies the commonplace, bringing the view face to face with everyday reality art is not satirical reaction against Abstract Expressionism Claes Oldenburg, Lipstick (Ascending) on Caterpillar Tracks, 1969-1974, cor-ten steel, aluminum, and cast resin, painted with polyurethane enamel, Yale University, New Haven, Connecticut first installed in Beinecke Plaza, New Haven in 1969 FUNCTION: platform for public speakers; rallying point for anti-Vietnam protests put up secretly tank shaped base = anti-war male and female forms unite (tank and lipstick) FUNCTION death, power, desire, and sensuality themes inexpensive and perishable materials FORM originally: plywood tracks and inflatable vinyl balloon tip refurbished: steel, aluminum, and fiberglass reinstalled in 1974 front of Morse College @ Yale

Marilyn Diptych Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas photograph of Marilyn Monroe. Marilyn Diptych he has produced effects of blurring and fading strongly suggestive of the star's demise. The contrast of this panel, printed in black, with the brilliant colors of the other, also implies a contrast between life and death. The repetition of the image has the effect both of reinforcing its impact and of negating it, creating the effect of an all-over abstract pattern. references a form of Christian painting (Diptych, a common thing in christian art). Influences from pop culture and Abstract Expressionism: -monumental scale (more than six feet by nine feet) demands attention and announces the importance of subject matter -seemingly careless handling of paint -"allover composition" or even distribution of form and color across entire canvas, so the viewer doesn't focus on one particular spot. based off a photo: heightened contrast between the lit and shadowed areas of her face reference camera flash. flat color and repetition makes her look flat and emotionless; suggests "Marilyn Monroe," a manufactured star with a made-up name, is merely a one-dimensional (sex) symbol—perhaps not the most appropriate object of our almost religious devotion. her purple, garishly made-up face resembles an embalmed corpse, while the lighter tones of some of the faces on the right make it seem like she is disappearing. Said that repetitive exposure to image desensitizes us. by repeating Monroe's mask-like face, he not only drains away her life, but also ours as well, by deadening our emotional response to her death. by making her face so strange and unfamiliar, he might also be trying to re-sensitize us to her image, so that we remember she isn't just a symbol, but a person whom we might pity. he may even be forcing us to relive, and work through, the traumatic shock of her death. more than a mere celebration of Monroe's iconic status. invitation to consider the consequences of the increasing role of mass media images in our everyday lives

POP ART: A reaction against abstraction expressionism Glorifies + magnifies the commonplace Bridges the gap between "high" art & pop culture Often centered around mass production & replication rectangular screen-printed photographic images on a rectangular background (50 images of a film still from Niagara (1953) are used) Left: Color = Marilyn's life Right: Black & White = Marilyn's death Repetition = used to drain the image of meaning (to create physical and emotional flatness) = fight against the notion that art must be unique (the grid makes the piece appear to automatic & organized) Mocks the "cult of the celebrity" (the tendency of people to care too much about famous people ) Bold & artificial colors are used to emphasize Marilyn's media-based facade HUGE = demands our attention "Diptych" is used intentionally in the title to draw on connotations of triptychs from medieval times (AKA just as people once worshiped triptychs, you now worship the media!)

The Bay Helen Frankenthaler. 1963 C.E. Abstract Expressionism. Acrylic on canvas The colors on the canvas don't have to represent something in particular, but can have a more ambiguous, emblematic quality for the viewer. The basic act of responding to color, the way one would respond to a sunset, or to light from a stained-glass window, simplicity and pure emotion through clarity of color and form. paint poured onto the canvas when it was wet. soak-stain method with diluted acrylic paint. Acrylics gave her more flexibility with viscosity and movement than oils, and allowed her more control as she poured that thinned paint onto the taut unprimed canvas so that it would get absorbed into the weave of the fabric. As a substitute for the action of the brush, Frankenthaler would lift the canvas and tilt it at various angles so that the paint would flow across the surface. Let the painting reveal itself. Color Field painting, painting characterized by simplicity of line and a focus on color as the subject. believed abstraction could reach a more universal and expansive mode of visual communication

The Bay; Helen Frankenthaler; c. 1963; Acrylic on canvas; Detroit, Michigan; Color Field paintings Form: painted on unprimed canvas to better absorb the paint Uses a very runny paint Function: Art for art's sake no set function or message being delivered Content: Landscape is the base of the imagery There is not any depth like in earlier works very 2 dimensional looking Context: color field painting very popular in the 1960's Helen Frankenthaler worked in an avant-garde New York school

Shiva as Lord of Dance (Nataraja) Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze Cosmic and psychological and spiritual power It combines in a single image Shiva's roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Chola Dynasty heralded a golden age of exploration, trade, and artistic development. A great area innovation within the arts of the Chola period was in the field of metalwork, particularly in bronze sculpture. The expanse of the Chola empire stretched south-east towards Sri Lanka and gave the kingdom access to vast copper reserves that enabled the proliferation of bronze work by skilled artisans.

one of many examples of moveable images of deities created under the Chola kings and still used in Hindu rituals today. Shiva dances as Nataraja (Lord of the Dance). Shiva's right foot stands upon the dwarf, the demon Apasmara, the embodiment of ignorance, eliminating it. Shiva extends all four arms, two of them touching the flaming nimbus ("light of glory") encircling him. he is frozen in the moment of his dance within the cosmic circle of fire that is the simultaneous and continuous creation and destruction of the universe. fire ring=encapsulated cosmos of mass, time, and space, whose endless cycle of annihilation and regeneration moves in tune to the beat of Shiva's drum and the rhythm of his steps. two upper hands also hold a small drum (right hand) and a flame (left hand). His lower right hand with his palm raised and facing the viewer is lifted in the gesture of the abhaya mudra, which says to the supplicant, "Be not afraid, for those who follow the path of righteousness will have my blessing." lower left hand-stretches diagonally across his chest with his palm facing down towards his raised left foot, signifies spiritual grace and fulfillment through meditation and mastery over one's baser appetites. In his upper left hand he holds the agni, the flame of destruction that annihilates all that the sound of the damaru has drummed into existence. combines the expressive qualities of stone temple carvings with the rich iconography possible in bronze casting. image of Shiva is taken from the ancient Indian manual of visual depiction, the Shilpa Shastras (The Science or Rules of Sculpture), which contained a precise set of measurements and shapes for proportions of the divine figure. Arms long like stalks of bamboo, faces round like the moon, and eyes shaped like almonds or the leaves of a lotus. The Shastras were a primer on the ideals of beauty and physical perfection within ancient Hindu ideology. worshipers insert poles into the holes on the base of the Shiva statuettes to carry them; when Hindus worship the Shiva Nataraja, they dress the image, cover it with jewels, and garland it with flowers. only bronze showing-face, but also covered with colored powders and scented pastes Shiva-god of destruction, but not necessarily a bad thing-Hindu people believed that everything must come to a natural end in order for something new to be born--thus, Shiva brought about the end that would then start the next cycle From the 11th century and onwards, Hindu devotees carried these statues in processional parades as priests followed chanting prayers and bestowing blessings on people gathered for this purpose. In a religious Hindu context, the statue is the literal embodiment of the divine. When the worshiper comes before the statue and begins to pray, faith activates the divine energy inherent in the statue, and at that moment, Shiva is present.

Transformation mask worn by dancers during ceremonies, they pull strings to open and move the mask when opened, impression of a bird spreading its wings. there are also diff kinds. like whale and "Thunderbird" bird with thunder serpents surrounding. worn during a potlatch, a ceremony where the host displayed his status, in part by giving away gifts to those in attendance. These masks were only one part of a costume that also included a cloak made of red cedar bark. During a potlatch, Kwakwaka'wakw dancers perform wearing the mask and costume. The masks conveyed social position (only those with a certain status could wear them) and also helped to portray a family's genealogy by displaying (family) crest symbols. Animal transformation masks contained crests for a given numayn (group that shared a common ancestor). Ancestral entities and supernatural forces temporarily embody dancers wearing these masks and other ceremonial regalia.

open closed Kwakwaka'wakw Northwest coast of Canada wood paint, graphite, cedar, cloth, string bilaterally symmetrical Because they are made of wood and other organic materials that quickly decay, most masks date to the nineteenth and twentieth centuries (even though we know that the practice extends much farther into the past) Prior to contact with Russians, Europeans, and Euro-Americans, masks like the Brooklyn Museums's Thunderbird Transformation Mask, were not carved using metal tools. After iron tools were introduced along with other materials and equipment, masks demonstrate different carving techniques. Earlier masks used natural (plant and mineral based) pigments, post-contact, brighter and more durable synthetic colors were introduced 1885 until the 1950s because they were considered immoral by Christian missionaries who believed cannibalism occurred (for its part, the Canadian Government thought potlatches hindered economic development because people ceased work during these ritual celebrations).

Great Stupa at Sanchi Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E. - 100 B.C.E. Stone masonry, sandstone on dome It was probably begun by the Mauryan emperor Ashoka in the mid-3rd century bce and later enlarged. Solid throughout, it is enclosed by a massive stone railing pierced by four gateways, which are adorned with elaborate carvings (known as Sanchi sculpture) depicting the life of the Buddha.

tall stone fence and four toranas ("gates"), the Sanchi stupa dates from about 50 bce to 50 ce. The solid earth-and-rubble dome stands 50 feet high. In accordance with Bud- dhist ritual, to venerate the Buddha's relics, worshipers enter through one of the gateways to the stupa, walk on the lower circular path, then climb the stairs on the south side to circumambulate the sacred mound in a clockwise direction at the second level. Carved onto different parts of the Great Stupa are more than 600 brief inscriptions of donors to the project. Veneration of the Buddha was open to all reliefs on the stupa's four toranas depict episodes from the Buddha's life and tales of his past lives (jatakas). carved on the east torana is a scantily clad, sensuous woman called a yakshi. These goddesses, worshiped the domed shape of the stupa came to represent a person seated in meditation much as the Buddha was when he achieved Enlightenment and knowledge of the Four Noble Truths. The base of the stupa represents his crossed legs as he sat in a meditative pose (called padmasana or the lotus position). The middle portion is the Buddha's body and the top of the mound, where a pole rises from the apex surrounded by a small fence, represents his head An energetic and circular movement around the stupa raises the body's temperature. Practitioners do this to mimic the heat of the fire that cremated the Buddha's body, a process that burned away the bonds of self-hood and attachment to the mundane or ordinary world. Attachments to the earthly realm are considered obstacles in the path toward Enlightenment. Circumambulation is not veneration for the relics themselves—a distinction sometime lost on novice practitioners. The Buddha did not want to be revered as a god, but wanted his ashes in the stupas to serve as a reminder of the Four Noble Truths.

Basin (Baptistère de Saint Louis), Mohammed ibn al-Zain Egypt, Syria. Mamluk people. 1320-1340 CE Mamluk known for metal and textile work. usually would have inscriptions, but this only has figures and patterns. everything except lower part of inside is covered in forms. animals, people on horseback. hunting. battle. violence. coat of arms. roundels. royal figures. holding leopard by leash. holding goblet . movement and energy. symbol of royal French family....also of Sultan..possible alterations made. signed name.

used to baptize children of royal family of france.