Study Guide Test 2: Art History, AP Art History 250, Art History, GACE Test for Art Education - Lundy

trilithon

two posts and a lintel assembled

plan of st. sernin,

typical segmented, Romanesque structure includes multiple semicircular shapes and valued square bays

which of the following accurately characterize color field painting

use of overlapping and interacting areas of thin washes of flat color, Huge canvases that treat the surface as a field of vision

african wooden masks

used in ritual performances with complex music, rhytms, dances and costumes. intenionaly unrealistic

fresco

a painting done on plaster

The hanging gardens consisted of

a series of four brick terraces, rising above the Euphrates river with lush flowering shrubs and tress spilling over the city.

Chiaroscuro

a technique for modeling forms in painting by which lighter parts seemed to emerge from darker areas, producing the illusion of rounded , sculptural relief on a flat surface.

Conceptual artists

abandoned the intention of making traditional, saleable art objects.

dutch baroque artist had the ability to

capture the play of light on different surfaces and to suggest texture

carved in the round

carved to be viewed from all sides

Elements of Baroque: French

classical landscapes and decorative architecture, patron monarch , pretentious style, order and ornament

The fauves ("wild beasts") were given this name by art critics, in part because of their use of

color

which of the following were created by the ancient Egyptians and later used by the ancient Greeks

columns and capitals

Head of Akkadian Ruler - Sargon - legitimate king

combines both naturalism and formal abstract patterning. 2250-2200 BCE, from Nineveh, Iraq. Copper, 1'2 3/8

Velazquez family tree: manet

considered Velazquez techniques totally new

Bill Viola

contemporary installation artist who uses image projection and video.

kwakiutl

decorated houses and canoes ,

Navajo: Feathers

depicted in many ways are symbols of prayers, marks of honor or sources of ideas.

Figure-ground relationship

design principles is considered by Gestalt psychologists to be a basic aspect of human perception

The black- figure technique developed by vase painters such as Exekias during the Greek archaic period relies on the manipulation of

positive and negative space

As indicated by her work, the experimental writer Gertrude Stein shared some of her friend Pablo Picasso's fascination with theories of

simultaneous space and time

Land Art, or Earthworks, can always be described as

site specific

paleolithic mediums

stone, clay and bone

Sun god Ra

the Egyptian god of the sun

Portraiture

the art of creating portraits.

Façade

the face of a building, especially the principal front that looks onto a street or open space.

The philosopher Arthur Danto laid the groundwork for an institutional theory of art that rests on

the idea that art is determined by the artworld.

Pieta, Michelangelo

the pyramidal arrangement derived from Leonard, with the classic composer of the virgins face. Accurate anatomy of Christs body

Ka

the soul that was believed to live on

Daumier

the third class carriage, six months of marriage

Egyptian views on the After life

they believed the spirit (ka) would live on so statues of the deceased, food, clothes and other things were privided for that reason

Goya's "the disasters of war" can be seen as the prototype for which of the following works by Pablo picasso

three musicians

which of the following describe the goals of the artists associated with the Art Nouveu movement

to revitalize the arts with a unifying style of flowing organic forms, to create art suited to the realities of the industrial age

what composition was the Mona Lisa

triangular

artist in pomepi mastered tricks of perspective and effects of light and shadow called

trompe l'eoil

stele

upright stone slab

The Last Supper by Leonardo da Vinci deteriorated rapidly as a really of his decision to

use an experimental paint made of oil and tempera

The Last Supper by Leonardo da Vinci deteriorated rapidly as a result of his decision to

use an experimental paint made of oil and tempera

An important innovation in the Gothic architecture of the abbey church of Saint-Debus was its

use of barrel vaults to create great height in the curch

rembrant late style

used golden brown tones, subtle shading, static brooding atmosphere, scenes simplified with single subject, implied psychological reaction , quiet solemn mood, painted with broad thick strokes

The Hatitian born American artist Joh nJames Audubon is famous for his

watercolors of the birds of America

Durer completed art and graphic art using what technique

woodcut and engraving

totem pole

wooden post carved with animals or other images; often made by Native Americans of the Pacific Northwest to honor ancestors or special events

Variants of Classicism

Neoclassicism, Greek, and Roman. Enlightenment?

Kouroi

Refers to Archaic Greek statues whose poses- rigidly frontal with clenched fists- recall the stance of Ancient Egyptian statues.

Stylization

Refers to an artist's application of an exterior order or design to visual image

Juxtaposition

Refers to the use of unrelated images, materials, etcetera.

the nave of st. sernin

barrel vaults

Foreshorten perspective

"Lamentation Over the Dead Chris"t by Andrea Mantenga

Salon

(1) A large, elegant drawing or reception room in a palace or a private house. (2) Official government-sponsored exhibition of paintings and sculpture by living artists held at the Louvre in Paris, first biennially, then annually. (3) Any large public exhibition patterned after the Paris Salon.

The Barcelona chair designed by Ludwig Mies van der Rhoe

Bauhaus

Reliquary

Boxes or coverings that contained the relics of saints.

Ghiberti

Bronze, doors of florence baptistry, sacrifice of isaac

Collaged pop culture images

Dada art techniques was adopted by the late-twentieth-century punk subculture

Early Christian art

Mosaic, catacombs,

Hellenistic

Nike of Samothrace, Laocoon Group

Axial plan

Object arranged symmetrically on both sides of the center line.

St. Denis

Outside Paris, France, Gothic, 1140-1144

les demoiselles d' Avignon

Pablo Picasso

Classical Art (480-323 B.C)

Peak of Greek art and architecture, idealized figures exemplify order and harmony

San Vitale

Ravenna, Italy, Byzantine, 540-547 CE

Humanism

The Renaissance concept that the artist should be a scholar as well as a craftsman

Tenebrism

The intense contrast of light and dark in painting.

William Michael Harnett's Still Life — Violin and Music

Trompe l'oeil

Artist: Marie-Louise-Élisabeth Vigée-Lebrun Piece: Self-Portrait with Daughter Medium: Oil on Canvas Year: 1789

Two major works from the early 1790s, however, are portraits of assassinated revolutionaries and were conceived as pendants. Only one survives: The Death of Marat , which was exhibited with its mate at the Louvre in May 1793, after which the government declared it would hang in perpetuity in the hall of the National Convention. The picture was propaganda. Marat was a deputy in the National Convention and the editor of a populist newspaper. He was a dedicated revolutionary and a defender of the people. But he was also a ruthless man, who was hated and feared. He was so despised that a counterrevolutionary from Caen, one Charlotte Corday, plunged a knife into his chest while he was writing on a portable desk laid across his bathtub, where he spent most of his time due to a lethal skin condition that grossly disfigured him. David, who had visited Marat the day before, shows him expiring in the tub, still holding in one hand the quill with which he defended the French Republic, and in the other the fake petition Corday used to divert his attention before stabbing him. Like The Oath, David presented this scene with realism, attention to detail, sharp lighting, and planarity. But now he pushes the image much closer to the picture plane, almost to the surface of the canvas, with Marat's writing crate and Corday's blood-stained knife dramatically thrust into the viewer's space and the figure of Marat just inches behind. To contemporaries, this must have seemed like modern reportage. No matter that it was a propagandistic lie. Marat's bathroom was quite lavish, not the monastic republican interior seen here, which is so frugal the sheets are patched and a crate is used as a writing surface. Marat was notoriously unattractive, but here he has the physique of a Greek god and a seraphic face. The pose of the slumped arm is unmistakably that of Christ in a Deposition, Lamentation, or Pietà scene, and derives from a Pietà by David's student Anne-Louis Girodet made the year before. The sheets recall Christ's shroud. The mundane writing crate is elevated to a time-worn tombstone. Like West in The Death of General Wolfe , David appropriated religious iconography for secular glorification. He has also given the picture a personal twist, for on the crate he has written "À Marat" ("To Marat") with his signature below. Although a commission, the painting was one that David, as a member of the government, in a sense commissioned from himself, and one that he wanted to make. The dedication certainly makes the picture seem like a personal statement, almost a declaration that the powerful emotions expressed in it are particular to him as much as they are an expression of collective grief. The look of the painting has roots in a long Classical tradition going back to Poussin, Raphael, Caravaggio, and antiquity, but its personal intensity, as we shall see, is not far removed from that of the Romantic era, which is looming just around the corner and will be the subject of Chapter 24.

Old St. Peters

Vatican, Rome, Early Christian, 320-327 CE

Parthenon, Acropolis, early 1st century CE, marble

Was ordered to be built by Pericles and was built by the architects Ikitimos and Kallikrates. I was the center for religion and was dedicated to Athena for being a virgin goddess. Has a 40ft tall gold and ivory statue of Athena in the cella.

Marc Chagall and Giorgio De Chirico are best known for

Weaving childhood memories and dreamlike elements into their paintings

Of the following, the decorative motifs of the eighteenth-century architect Robert Adam are most similar to those found on

Wedgwood pottery

Artist: Benjamin West Piece: The Death of General Wolfe Medium: Oil on Canvas Year: 1700

West shocked the London art world in 1770 when he announced he was working on a contemporary history painting, The Death of General Wolfe, and placing the event in the realistic setting of 1759 Quebec during the French and Indian War. Wolfe won the Battle of Quebec, which became a turning point in the war and made him a national hero. Upon hearing of West's plan, King George III declared he would never purchase a picture with his soldiers shown in modern uniforms, and Reynolds frowned on the picture's breach of decorum, which required an allegorical apotheosis scene. But when exhibited at the Royal Academy, the painting was immediately applauded by the public. The costumes, setting, and Indian warrior all lend the image an air of authenticity, despite inaccuracies and in an era before photography and film, made the audience feel as though it were indeed witnessing its great national hero at the very moment he sacrificed his life for his country. The history of art is filled with mysteries, and among the most common unknowns for art made before 1900 are the authorship and date of a piece, the reason it was made, and its message. Art historians are often forced to rely on speculation, a tactic filled with risk but one that has the advantage of beginning an intellectual dialogue that may lead to firm answers. Benjamin West's The Death of General Wolfe raises probing questions. The most obvious question is, why did West depict this particular subject? The key to the answer may be the figure of William Johnson, who is shown in a green coat to the left. His name and a map with "Mohawk Valley" and "Ontario" on it are etched on his powder horn. These territories had been CEded to him as superintendent of Indian affairs by the Native Americans. More important, he had been the hero at the battles of Lake George and Fort Niagara and therefore was a symbol of the important role that Americans played in winning the French and Indian War. Despite the picture's historicism, West's image is a fiction: Johnson had not been at Quebec, and the Indians aided the French, not the British. West made this picture on the threshold of the American Revolution (the Boston Massacre was in 1770), and his ahistorical inclusion of Johnson was perhaps designed to make the British aware of their indebtedness to the colonists, represented here by Johnson, who as faithful citizens had supported Britain, and of the need to be more conciliatory in granting the concessions they felt they had earned. This interpretation accounts for many of the unusual components in the painting, although the fact that the explanation is so logical is its only proof. Although conjecture, it certainly provides a new way to think about the picture. The painting was also successful because West aggrandized and classicized his figures and the event, in effect creating a modern Classical scene. Contemporary viewers recognized they were in the presence of what amounted to a traditional Lamentation scene, and that their hero was a modern-day Christ or martyr. The surrounding "apostles" express remorse and concern, but their powerful emotions, worthy of Poussin according to contemporary reviewers, are noble and controlled, in keeping with the Classical rule of decorum. Figures strike contrapposto poses, stand in Classical profile, and have the sculptural quality of a shallow ancient relief or Raphael saint, apostle, or Greek philosopher; they are simultaneously modern and Classical. The one unemotional figure is the Iroquois, Rousseau's "noble savage," whom West presents with the grandeur and composure of an ancient river-god. West's painting technique was influenced by that of Hamilton and Mengs, both of whom he knew in Rome, for he first drew and then colored in the figures, allowing crisp contours to ennoble them.

Brevety of life

Willem van Aeist's painting "An Oyster Breakfast"

Monet

Women in the garden, the beach at st andresse, poppies, sunrise, arrival of the normandy train, water lilies

Step Pyramid of King Zoser (2630-2575 bce)

a 200ft high pyramid built to resemble stacked mastabas. it was the first monumental tomb of a pharoah that has survived and it was designed by Imhotep

fauve

a French term meaning "wild beast" and descriptive of an artistic style characterized by the use of bright and intense expressionistic color scheme

stonehenge (actual definition)

a circle of stones with trenches dug up around them

votive figure

a devotional offering to a god or other diety, emphasizing personal worship

Odalisque

a female slave or concubine in a harem, especially one in the seraglio of the sultan of Turkey.

In the 1800s the painting shown created a controversy among art critics primarily because the artist painted

a flatened figure with few shadows and little modeling

OP Art

a style of abstractionism popular in the 1960s, modern technique with which a painter creates optical illusions with the use of dazzling patterns

the abstract expressionist movement is associated with a group of

abstract painters based in New York after the Second World War

Landscape

all the visible features of an area of countryside or land, often considered in terms of their aesthetic appeal.

kagle mask

almond like eyes and lozenge-shaped

Elements of Baroque: Flemish

altarpiece , patron church and monarch, florid style, sensuality

The Garden of Eathly Delights, Bosch

an allegory, warning against the dangers of eroticism. forerunner of surrealism,

Camera Obscura

an experimental optical device (a forerunner of the photographic camera) that created an image by means of a hole for light on the inside of a dark box. The hole acts as a primitive lens and a scene from outside the box can be seen, inverted, inside it.

gothic building vault

arched celing

Howard Carter

archeologist who discovered king tuts tomb in 1922

The layout and design of the Temple of Heaven in Beijing, China

are intended mainly as a symbolic expression of the connection between imperial and cosmic orders.

folk art

art and craft objects made by people who have not been formally trained as artists

What happened to art in the Middle Ages: reign of religion

art became the servant of the church, architecture took the form of lighter more airy buildings, and nudes were forbidden

The street art movements focus on culture and consumerism most relates to which fo the following movmenets

art pops

Renior

at the concert, luncheon at the boating party, Ball at the moulin de la galette

white temple location

atop ziggurat, Uruk

Roman architect in the renaissance: rules

based their work on theories as expressed in various treatises

Black Figure Painting

blavk figures are silhouetted against a terracotta background

Vermeer artwork was known for

bright pure glowing colors that were perfectly true, perfectly balanced compositions of rectangular shapes lend to serenity and stability.

funerary temple of hatshepsut (1473-1458 bce)

built on an acial plan and utilizes the post and lintel system. was a new type of temple

Great Depresion

caused extreme social difficulties that Dorothea Lange documented by photographing people who suffered its effects

oil painting

developed in Flanders, allowed for more detail, was created from natural elements like rock and limp seed oil

Greek columns

doric (plain) Ionic (swirl), Corinthians (leaves)

Ankh

egyptian symbol of life

stiacciato

flat relief

white temple (3300-3000 bce)

four stories high, dedicated to the gods and had mosaics made of clay on it.

influence of tribal art: cubists

fractured reality into overlapping planes

Greek Art syles

geometric, archaic, kuros, sever style, classcial , hellenistic

The art movement most often associated with the Pre-Raphaelites is which of the following?

gothic revival

megalith

great stone

Frida Kahlo, who grew up during the Mexican revolution showed her support for the establishment of an indigenous Mexican identity by incorporating which of the following in her paintings

herself in Tahuana garb, folk art elements

In reference for the seventeenth-century, the term "genre" refers to works depicted and placed a new value on

historical events

Hagia sophia

holy wisdom, three football fields long, combined roman rectangular layout with huge central dome

mosaics are composed of

human figures were flat, stiff and symmetrically placed

italian renaissance art vs northern

ideal beauty, simplified forms, measured proportions, religious and mythological scenes , heroic male nudes, formal, reserved, fresco tempera and oil paintings, underlying anatomical structure, theory , static and balanced

The paintings of Albert Bierstadt, of the Hudson River School, reinforced the American idea of Manifest Destiny by typically depicting

idealized landscapes bathed in glowing light

relief sculpture

imagery carved into something flat

archaic smile

in Archaic Greek sculpture, the smile indicated that the person portrayed is alive

Where was the Renaissance born

in Florence

influence of tribal art: contemporary

incorporated African masks into their work

Immersive virtual reality art that uses sensors within an installation can best be described as

interactive

Jan Van Eyck

inventor of oil paints, The Arnolfini Marriage, A man in a turban, Cardinal Albergati

Parchment

is a paperlike material made from bleached and stretched animal hides that was primarily used during the Middle Ages for illuminated manuscripts

"Genre painting"

is an art historical term that specifically refers to painted depictions of everyday life that shows ordinary people doing ordinary things.

Trompe L' Oeil Ceilings

is an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions. Forced perspective is a comparable illusion in architecture. During the Renaissance, painting a ceiling was common place. Most ceilings were transformed into trompe l'oeil murals

Which of the following accurately describes this Kwakiutl mask?

it is a stylized and expressionistic portrait

Important tenent of Postmodernism

knowledge is mediated by culture and language

which of the following best states an important tenet of postmodernism

knowledge is meditated by culture and language

Velazquez family tree: Goya

learned subtle gradations of color , glowing highlights

woman from willendorf

limestone, painted with ochre, Vienna Paleolithic, subtractive practice

Marie-Rosalie (Rosa) Bonheur

naturalist who closely observed and painted the anatomy and motion of horses

Marie-Rosalie (rosa) bonheur was best known as a

naturalist who closely observed and painted the anatomy and motion of horses.

gothic buildings: clerestory

nave wall lit by windows

The New York artist Jean Basquiat is most closely associated with which of the following art movements

neo pop

Stonehenge

neolithic stone circle, most famous mysterious work of art

Oil Sketch

or oil study is an artwork made primarily in oil paints that is more abbreviated in handling than a fully finished painting. Originally these were created as preparatory studies or modelli, especially so as to gain approval for the design of a larger commissioned painting.

mural painting

paintings made on wall

linear perspective

parallel lines appear to converge with distance

Elements of Baroque: English

patriots of aristocracy, patron upper class, restrained style, elegance

archaic art ( 600 - 480 b.c.)

period included kuros

incan

peruvian tribe known for precisely contsructed masonry, temples and metallurgy

mesopatamian developments

plow, wagon, wheel and cuneiform

bird, 1941

pollock

Catholic Church in the baroque era

popes began financing magnificent cathedrals and grand works to display their faiths triumph after the Counter Reformation

Mannerism art

popular in Late Renaissance; clashing colors; abnormally elongated limbs; lots of emotion; bizarre themes, Spanish artist El Greco

Akhenaten Style

realism, expressiveness, Daughters of Akhenaten, Queen Nofretete, Limestone relief of Akhenaten,

Greek painting consised of

realistic trompe l'oeil effects

Iconographic

refers to the analysis of the symbols, themes and subject matter in the visual arts.

pre columbian

refers to the period before columbus landed in the new world

middle ages tapestry

refined tapestries minutely detailed with scent of contemporary life. large wool and silk hangings used to decorate stone walls in chateaus and churches

King Tut

reigned from 1336-1327 bce due to his death. When he comes to power he restores polytheism to Egypt. Is associated with the Osirus, the god of the dead

Queen Hatshepsut

reigned from 1473-1458 bce. was married to king tut, her half brother. took the throne from her young son. and she wore the pharaohs traditional linen headwear and a false beard to signify her power.

Elements of Baroque: Italian

religious works, patron church, dynamic style, drama , intensity movement

Navajo: the hand

represents the presence of man, his work, his achievements, his legacy.

Types of prehistoric art

sculpture, cave painting, stonehenge

land art, or earthworks can always be described as

site specific

how long did it take for the Cologne cathedral to be constructed

six centuries

The eighteenth-century painter and graphic artist William Hogarth produced a series of pictures that functioned chiefly as

social satire

the colosseum inspired what modern day building

stadiums

2 important elements of Dutch Baroque

still life and landscape

Composite View

style used in Egyptian art that shows the side profile of a figures face to make important people more recognizable

bison from la madeleine

subtractive , made up of some type of bone, 15,000 - 10,000

T or F: Caravaggio secularized religious art and made saints and miracles seem like ordinary events a

t

St. Peter's Cathedral

ten story building features four large, grooved, spiral column (covered with carved vines, leaves and bees) and four colossal bronze angels at the corners of the canopy. mixture of dazzling colors, forms, and materials produces an overwhelming and theatrical effect.

Cezanne

the basket of apples, mont stevictoire with viaduct

matisse

the joy of life, blue nude, the women with hat, the dessert harmony in red, dance

the importance of scale in eastern art

the larger=more important

Jacques-louis david

the oath of horati, napoleon, coronation of napoleon, marat, the death of socrates

linear perspective created?

the optical effect of objects receding in the distance through lines that appear to converge at a single point.

Illusionism

the principle or technique by which artistic representations are made to resemble real objects or to give an appearance of space by the use of perspective.

Columns and capitals

were created by the ancient Egyptians and later used by the ancient Greeks

chauvet cave (32,000-30,000 bce)

when discovered cave painting is pushed back 15,000 years

hierarchic scale

where elements are visually arranged at a hierarchy.

couple African sculpture

wood, Dagon, Mali

standard of ur

wood, inlay shells and stone

The Red Model by Renè Magritte

Disimilar elements are juxtaposed to create unsetting contrast.

152. House in New Castle County

Form: - Wood frame - Post-modernist Content: - Rear façade: Flat, classical, cartoony columns - Music room: quirky chandelier, colors, weird vaulting Function: - Show post-modernist ideals - We live in a diverse society, not simple - House designed for a family of three o Wife: musician (all the instruments and music room) o Husband: bird watcher (windows facing the woods) - Irony of using classical elements Context: -Robert Venturi, John Rauch, Denise Scott Brown 1978-83 -Delaware, USA -Post modernism: whimsical, fun, playful "less is a bore"(modernist doesn't embody what the world is really like)

25. Lamassu

Form: - alabaster -limestone Content: -god-like figures -animal body, human head -5 legs Function; -support doorways of Assyrian palaces -intimidate those who enter Context: - from the citadel of Sargon II (modern day Iraq) - 720-705 BCE -Sumerian

7. Jade cong

Form: - carved jade -low reliefs -abstract designs - square with a circle inside Function: -jade usually appears in burials of high ranked people Content: -low reliefs decorations on this refer to spirits/ deities Context: - Liangshzu, China in 3300-2200 BCE -jade in China is linked with virtues like beauty, durability, and subtlety

198. Borobudur Temple

Form: - relief sculptures - elevates - clockwise up and around Content: -72 stupas, 1460 reliefs, 9 platforms in sets of 3, 504 Buddha statues -narrate Buddha's teachings -Jataka tales (Buddha's past lives) Function: -built as monument to Buddha -pilgrimage site/shrine -narrative guides you -physical and spiritual journey to higher state of consciousness Context: -Buddha- poet, thinker, and architect of this temple -Saliendra dynasty commissioned this (the leaders of maritime power

209. Taj Mahal

Form: -Iwan -Onion domes -cross axial plan -fused aspects of other Islamic traditions -marble, stone masonry -stone inlay -symmetrical harmony Content: -charbagh- Persion garden into 4 quadrants representing paradise on Earth -flowing water throughout -Arabic text from the Quran -chartriss -mosaics -cenotaphs: inscriptions (symbol of tombs, tombs are actually empty) -minarets Function: -resting place for Shah Jahan's wife, Mumtaz Mahal -India 1632-53 CE -architect: Usted Ahmad Lahori -Mughal Empire

213. Nan Madol

Form: -basalt boulder -prismatic columns -headers and stacker (use of stacking) Content: -90-100 manmade structures -lagoon -"floating world" -92 artificial islands -canals running throughout site Function: -great lost city -ceremonial complex -political center -tombs, dwellings, administrative centers Context: -Pohnpei, Micronesia -Saudeleur Dynasty 700-1600 CE

95. The Virgin of Guadalupe

Form: -based upon the original -oil on canvas on wood inlaid with pearls Content: -artist signature -traditional view -story of Juan Diego (Aztec man) -roses with her image -radiating light off Mary -indigenous coming to Roman Catholic Church -dark-skinned people portraits FunctionL -tribute to Mary and show her as divine Context: -1698 CE, Spanish Colonial -Mexico City, Basiclia of Guadalupe -artist: Miguel Gonzalez

19. Code of Hammurabi

Form: -black-stone stele with words carved in it -basalt -frontal shoulders, everything else profile Content: -divine law code carved in stone -sun god, Shamash, giving laws to Hammurabi to be king -god is bigger (hierarchic scale) Function: -tells us where the laws came from -exercises justice and divine authority to carry out the law Context: - Babylon (modern day Iran) -Susian (1760-1750 BCE)

188. Basin

Form: -brass inlaid with gold and silver -very detailed, interconnected Content: -battle scenes on interior -sea animals interconnected designs -men on horseback -men hunting -artist's signature (6 times) Function: -orginially: washing hands at ceremonies -later: used for baptism in the French royal family (St. Louis) Context: -Mumluk artists -1320-40 (14th century) -Egypt and Syria

41. Seated Boxer

Form: -bronze -realistic- shows the exhaustion of a real athlete Content: -boxer seated naked with only his boxing gloves -copper shows blood -cuts and bruises Function: -show a boxer after a fight Context: -Greek 100 BCE -Hellenistic

165. Painted Elk Hide

Form: -elk skin Content: -animal hide painting of the Sun Dance Function: -record history Context: -Constigo -Wyoming

117. Horse in Motion

Form: -impressionism -Albumen print -still photos/filmmaking -take pics of horse using trip wire on cameras set up that could take pics at 25th of a second -cut up and put on cylinders Content: -chronophotography -motion -horse with jockey Function: -photography on rise Context: -Eadweard Muybridge 1878 CE

195. Longmen caves (grottoes)

Form: -limestone -guardians and vajrapani are more in motion and engaging figures Content: -110k Buddhist statues, 60 stupas, 2800 inscriptions carves on steles -the Vairocana Buddha (representing the celestial Buddha) with bodhisattva, a heavenly king, and a thunderbolt holder on the sides Function: -signifies the arrival of Buddhism in China Context: - Luoyang, China- Tang Dynasty - 493-1127 CE

98. The Tete a Tete from Marriage a la Mock

Form: -looks like French Rococo (uses to make fun of the French Content: -critques upper-class for getting married because of bloodlines and family -shows the couple is married but not faithful to eachother -man being sniffed by dog because smell of another woman's perfume -woman has been out all night trying to become popular -part of a series (arranged marriages end badly, marriage should be about love) -sign that sex occurred before husband came back home (flipped over chair) -merchant gives up on couple because they won't take finances seriously Function: -satire from British to French -art being made for the growing middle class Context: -artist: William Hogarth (social critic) -1743 CE

34. Doryphoros (spear bearer)

Form: -marble (Roman); bronze (Greek) -contrapposto: shifted weight -not meant to portray a specific person but rather specific characteristics of a Greek Function: -portray the physical perfection of a human figure Content: -everyone is imperfect but brings together different body proportions to make physical -missing its spear -athlete and warrior -gazes off in the distance Context: -Artist= Polykleitos of Argos in 450 BCE -Roman copy of the Greek original

43. Augustus of Prima Porta

Form: -marble, over life-size -elevated to be more god-like -contrapposto Content: -Augustus barefoot -cupid riding dolphin (shows divinity -breastplate is about the Pax Romana: the power of empire is due to the military Function: -shows Augustus as a god because he thought he was (barefoot and cupid riding dolphin signs of this) -shows him as civic ruler (judge's robe) and warrior (breastplate) Context: -Imperial Rome (early empire) 1st century CE

196. Gold and jade crown

Form: -metal work with gold and jade Content: -3 prongs in the back; prongs look like antlers coming out the sides -jade pieces hanging down- connected by thin wiring Function: -queen crown Context: -found in tomb of a queen -Silla Kingdom, Korea -Three Kingdoms Period -5th-6th century CE

159. City of Cusco

Form: -plan in shape of a cat and at the head is a fortress -intricate stone work -trapezoid shapes -andesite Content: -city is divided by social class -massive stone walls without using mortar -foundation of city is all that is left today -Qorikancha (central temple dedicated to the Sun God, Inti) walls covered in gold to show the shrines' significance -Saqsa Wayman: forstress that looks down on the city, zig-zagging walls, stones were quarried and hauled with incredible manpower Function: -capital of Incan empire Context: -Central Highlands, Peru Inka empire -Commissioned by Pachacuti 1440 CE

211. Under the Wave off Kanagawa

Form: -polychrome and woodblock priint made of ink and color on paper -Ukiyo-e: Japanese woodblock prints made during Edo Period -part of series of 36 showing Mt. Fuji in each -genre scene in series/travel -flat colors, high angles, cropped, large foreground, nature specific -large foreground Content: -text: name of series, artist, censor's seal -crashing wave (dragon claws) -Mt. Fuji in background (small in comparison) Function: -show moutain and wave's resemblance -show Dutch influence -genre scenes in seires'travel of the sacred Mount Fiji Context: -artist: Katsushika Hokusai -1830-33 CE Edo Period

186. Great Mosque (Masjid-e Jameh)

Form: -stone, brick. wood. plaster, and glazed blue ceramic -each entrance corbelled Content: -built around a courtyard with 4 arches coming from it -madrassa- place for Islamic instruction -iwan: vaulted space that opens on one side to the courtyard) Function: -prototype for future iwan-mosques -connects political, commerical, social, and religous activities within the city Context: -Isfahun, Iran- 700 CE -Islamic, Persian- Timrud and Safavid dynasties

101. The Swing

Form: -style: Rococo- love, pastels, aristocracy, arabesques, delicate paint application -oil on canvas Content: -ideal love gardens with sculptures -cupid whispering -attendant swinging her=elite -foot with expensive shoe -French garden -"peeping tom" in lower left Function: -made for aristocrats to decorate buildings -show the pleasures and decadence enjoyed by the elite Context: -1767 CE (18th century) -artist: Jean-Honore Fragonard -Enlightenment

22. Akhenaton, Neferiti, and three daughters

Form: -sunken relief piece, limestone, hieroglyphics Content: -couple receiving blessing from Aten (the sun god-rays shown) -show husband and wife seated with their children -rays shining upon the family showing their divinity Function: -shows intimacy of the family -conveys realistic fidgetiness of children -state religious shift in evolving Egyptian art Context: -New Kingdom (Amarna) 1350 BCE

31. Temple of Minerva and sculpture of Apollo

Form: -temple: wood, mud brick, tufa (volcanic rock) -sculpture: terra cotta -animated and moving sculpture (estruscan) Content: -Apollo apart of a narrative of Herakles, acroterion (roof sculpture) -deep porch, 3 cella (entrance is emphasized) -archaic Greek smile Function: -Estruscan temple made to be a place to worship the Estruscan gods and goddesses -acroterians probably shows a mythic event Context: -Veii (near Rome, Italy) -Imperial Rome 2nd centry BCE -sculpture made by Vulca

11. Terra cotta fragment

Form: -terra cotta with dentate stamping Content: -dentate designs (circles, hatching, dots) Function: -unknown Context: - Lapita peoples - Solomon Islands, Reef Islands in 1000 BCE

208. Jahangir Preferring a Sufi Shaikh to Kings

Form: -texts, geometry, natural world -Persian traditions -proportions play into importance Content: -manuscript pages -Mugal leader sitting on throne -text describing reign -children dressed up -guy at bottom is the court artist -Suffi: Muslim mystic giving gift to Jahangir -combo of the sun and moon symbolizing ruler's emperorship and divine truth Function: -Mughal painting skill -cross-cultural nature of Art -artist puts himself at lowest class Context: -artist: Bichitr (Hindu) -1620 CE -signed

172. Power Figure (Nkisi n'kondi)

Form: -wood with screws, nails, blades, cowrie shell, -46" high -geometric abstraction: emphasis on belly and neck -each one is unique and has different stuff in it Function: - used to address issues in the community like political unrest and social strife Content: -container in the belly that holds powerful materials indicated to activate the spiritual to protect the patron Context: - created by a nganga (holy person) of the Kongo peoples in the Democratic Republic of the Congo in the late 19th century

222. Malagan Display and Mask

Form: -wood, pigment, shell, fiber -anthropomorphic mask Content: -masks uniquely decorated for a deceased and worn by dancers in ceremonies celebrating the dead Function: -used in rituals that took place in Papua for the deceased people of their clans -displayed in village for temporarily -shows family importance Context: -New Ireland Province, Papua New Guinea -20th century

241. Pure Land

Form: -Color photograph on glass -Huge scale -Basic iconography Content: -Artist= Model/musician/performer (hybrid) -Self portrait -Buddhist figures -Creative interpretation of Japanese art forms -Animated figures of lighthearted aliens play musical instruments on clouds -Her as a deity that comes blessing and bearing good things Function: -Romanticized views of pop culture -Looking back on Buddhist tradition but there are futuristic aliens and stuff -Religious sense while incorporating religious background Context: -1998 CE, LA, California - Mariko Mori: Japanese artist -Constructs this whole thing (set designer)

135. Villa Savoye

Form: -Domino House: concrete slabs -Reinforced concrete -Open floor plan -Natural lighting -Simplistic white Content: -Garage (green) that is very big and can fit limo cars in it for their chauffeurs -Slender columns -Non-load bearing walls -Horizontal windows -Roof garden -Spiral staircase or ramps to go up -Ribbon fenestration (windows wrap around house) Function: -Weekend home for the Savoye Family Context: -artist: Le Corbusier (architect) -Poissy-sur-Seine, France -Designed the furniture too

234. Earth's Creation

Form: -Dump dot technique using brush to pound color into canvas creating layers of color and movement Content: -4 panels, 11 meters wide Function: -Simulates the color and lushness of the "green time" in Australia after the rains when the outback flourishes -History of Australia Context: -Emily Kame Kngwarreye. 1994 CE. Alice Springs, Australia

246. Stadia II

Form: -Ink and acrylic on canvas -Gigantic scale painting -Architectural drawing, using photographs -Global modernism Content: -Flags, corporate icons -Sweeping lines create a vibrant pulse -Stadium architecture -Multi-layered lines to create animated effect Function: -Sense of memory and time -Invoking individual memories/experiences -Form of this suggests excitement of a competition held in a circular space like a stadium, arena, etc. Context: -2004 CE -Works with assistants -Her art is about place - Julie Mehretu: Artist from Ethiopia, lives and works in NYC

124. Carson, Pirie, Scott and Company Building

Form: -Medium: iron, steel, glass, and terra cotta -Horizontal emphasis -Decorative elements Content: -Maximum window areas to admit light -Terracotta tiles to decorate exterior -Heavy cornice at top of building (historical touches) -Elevator and glass (modernistic) -Grand entrance Function: -Horizontal emphasis symbolizes continuous flow of floor space -Expressing democracy and capitalism -Shopping Context: -influence of Art Nouveau in decorative touches "form follows function" -Louis Sullivan, 1899-1903 CE

237. Pisupo Lua Afe

Form: -Mixed media piece -Life-size cow Content: -Reused corn beef cans -Smalled concealed wheels Function: -Canned food was Pacific Islanders' favorite source of food -Canned food led to more health problems for people (obesity) -Canned meat often given as gifts on special occasions -Industrialization in the Pacific Islands -Reflect on the ironic impact and exploitation of the Pacific's resources Context: -Michael Tuffery 1994 CE -Corn beef was favorite food in Polynesia -Theme of recycling emphasized by the reuse of these cans

227. Summer Trees

Form: -Paint movement (abstract expressionism) -Korean tradition of ink -Ink wash painting (ink blend together) Content: -Abstract group of pine trees -Parallel brush strokes Function: -Modern but rooted in tradition -Song's exploration of tone -Reference to "literati painting" (ink wash painting) -Express her Korean identity -Could be her statement of optimism in the rediscovery of traditional values recreated in modern times -Trees represent a gathering of friends? Context: -Song Su-nam 1983 CE -Korean artist that grew up in the 30s-40s, lived through the Korean War

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom

Form: -Panchayatana plan (one main room with 4 surrounding, on a platform) -Mandala (cosmic map of the world) -Enter a grand space -Corbelled gallery roofing Content: -Water surrounding temple -Angkor Thom: Buddhist part -Angkor Wat: Hindu part -Sculptures in rhymic dance poses -Horror vacui of sculptural reliefs Function: -Meant to be a tomb, express the divine power of a leader -Built complex to show his power and might Context: -Hindu and Buddhist parts of a medieval capital of Cambodia -Cambodia, Hindu, Angkor Dynasty 800-1400 CE

215. Ahu'ula (feather cape)

Form: -Semi-circular form/crescent shaped -Feathers woven into fiber: knotted into fiber base Function: -Power of Ruler: identified with divine power -Symbol of individual leader -Worn into battle for protection/intimidate enemies -Given as gifts to reinforce political transactions Content: -Only worn by men elite (usually royal) -Feathers signifying wealth and power Context: -Worn in battle and during rituals -Late 18th century CE, Hawaii

187. Folio from a Qu'ran

Form: -ink, color, and gold on parchment -wide page rather than vertical like normal Content: -brown Arabic ink read from right to left -vegetal and geometric motifs because animal and human figures not allowed Function: -made for a wealthy patron -Mus'haf: a codex Qu'ran (bound version) Context: -Arab, North Africa, or Near East- Abbasid -8th-9th century

Madonna Enthroned

Giotto, from the Church of Ognissanti, Florence, Italy, c. 1305_1310

Jan vermeer

Girl with the pearl earring

Ka statue of Khafre location

Giza (near his pyramid)

Lyre Soundbox (2600-2500 bce)

Made from gold, wood, lapis lazuli and shell. Found in the tomb of Paubi, and in 4 registers animals with human characteristics are depicted.

Akhenaten and Nefriti and their children (1353-1336 bce)

Made from limestone and created in the Amarna period. Depicts the royal family and their relationship to the sun god Aten. Differs from previous art because it isn't a image that depicts power or individual divinity but everyday human interaction.

Peplos kore, Athens, (530 bce)

Made from marble and with her being fully clothed it portrays modesty

Resurrection , El Greco

Mannerism, consist of immensely long bodies, harsh light, strong colors, twisted figures, sense of movement, and intense emotionalism

The Holy trinity with the virgin and st john

Masaccio

Founder of early renaissance

Massaccio

Hopi Kachina doll

1972, national museum of the American Indian

Statues from the Abu Temple at Tell Asmar

2,900 - 2,600 bce (Tell Asmar, Iraq)

Woman "Venus" of Willendorf

24,000 bce (Willendorf, Austria)

pompei was a luxurious resort community with a population of

25,000

How many years ago was art invented?

25,000 years ago

Uruk Vase

3,300 - 3,000 bce (Uruk)

Warka Head

3,300 - 3,000 bce (Uruk)

White Temple

3,300 - 3,000 bce (Uruk)

Bronze Age in Mesopatamia

3,500 bce

Chauvet Cave

32,000 - 30,000 bce (Ardeche Valley, France)

neolithic (Europe)

4,000- 1,500

The Book of the Dead

A collection of spells and prayers that Egyptians studied to obtain life after death

Engaged Column

A column that is not freestanding but attached to a wall (decorative)

Chevet

A complex of elaborate architectural structures at the eastern end of a church (gothic) usually consisting of a semicircular or polygonal apse with radiating chapels and many buttresses

hieratic scale

A composition in which the size of figures is determined by their thematic importance

Artist: Angelica Kauffmann Piece: Cornelia Presenting Her Children as Her Treasures (Mother of the Gracchi) Medium: oil/canvas Year: 1785

A classic example of Kauffmann's moralistic pictures is Cornelia Presenting Her Children as Her Treasures (Mother of the Gracchi) of about 1785. Here she champions child-rearing and family duty over materialism. While portraying a woman as a mother, she nonetheless counters traditional male stereotyping by presenting her subject as proactive and in control. In this second-century bce story from Roman history, a visiting friend has just shown off her jewelry to Cornelia Gracchus. Instead of displaying her own gems, Cornelia proudly presents her children, two of whom, Tiberius and Gaius, would become great politicians. To prepare her sons for leadership, Cornelia acquired the finest tutors in the world, and it was said that she "weaned" them on conversation, not her breasts. She remained an ally and advisor to both, and in addition to her reputation for virtue and intelligence, she was one of the most powerful women in the history of the Roman Republic. Kauffmann, a woman artist struggling in a man's world, must have identified with the successful Cornelia, whose features in the painting resemble the artist's own. In Cornelia Presenting Her Children, Kauffmann has created an austere and monumental painting that reinforces the strength and nobility of the mother. The picture is dominated by the bareness of the floor and walls, the carefully modeled statuesque figures, and a stable composition anchored by a solid triangle culminating in Cornelia. The Cornelia theme was not unique to Kauffmann, but was quite popular with other artists. Not only did it illustrate virtue, it also reflected the new interest in the importance of the family unit that stemmed from the Enlightenment teachings of Jean-Jacques Rousseau, who advocated that parents should nurture their children at home, rather than sending them off to wet nurses and nannies until they were adolescents.

Transept

A cross arm in a basilican church placed at right angles to the nave and usually separating it from the choir or apse.

art deco

A decorative style, popular in the 1920's, characterized by its geometric pattern and reflecting the rise of industry and mass production in the early twentieth century.

cubist

A form of abstraction that emphasizes planes and multiple perspectives.

Cuneiform

A form of writing developed by the Sumerians using a wedge shaped stylus and clay tablets.

cuneiform

A form of writing developed by the Sumerians using a wedge shaped stylus and clay tablets.

Krater

A greek name for a vessel made to mix water and wine.

iconostasis

A solid screen, covered with icons, at the front of the church, dividing the sanctuary from the body of the building.

Crypt

A space, usually vaulted, in a church that sometimes causes the floor of the choir to be raised above that of the nave; often used as a place for tombs and small chapels.

ka statue of Khafre (2500 bce)

A statue of Khafre meant to symbolize his power and the unification of upper and lower Egypt

Naturalism

A style of art that aims to depict the natural world as it appears.

Artist: Christopher Wren Piece: St. Paul's Cathedral London Year: 1675-1710

A few years later he began his designs for the rebuilding of the almost totally destroyed St. Paul's cathedral. Wren favored central-plan churches and originally conceived of St. Paul's in the shape of a Greek cross with a huge domed crossing, based on Michelangelo's plan of St. Peter's. This idea was also inspired by a previous design by Inigo Jones, who had been involved with the restoration of the original Gothic structure of St. Paul's earlier in the century. Wren's proposal was rejected by the church authorities, however, who favored a conventional basilica. In the end, the plan is that of a Latin cross the same followed for most Catholic churches, including St. Peter's. This was an ironic outcome given that the building program could have provided an opportunity to create a new vocabulary for the Protestant Church of England. Wren visited France and met with Bernini, who was in Paris at the invitation of Louis XIV to design and complete the Louvre. The influence of this trip can be seen on the façade of St. Paul's (as well as in Wren's new street plans for London), where the impact of contemporary architecture in Paris can be discerned—the double columns of the Louvre and the three-part dome of Hardouin-Mansart's church of the Invalides. Unlike St. Peter's, St. Paul's dome rises high above the main body of the building and dominates the façade. It looks like a much-enlarged version of Bramante's Tempietto. St. Paul's is an up-to-date Baroque design that reflects Wren's thorough knowledge of the Italian and French architecture of the day. Indeed, Wren believed that Paris provided "the best school of architecture in Europe," and he was equally affected by the Roman Baroque. The lantern and upper part of the bell towers suggest that he knew Borromini's Sant'Agnese in Piazza Navona, probably from drawings or engravings. The present structure reflects not only the complex evolution of the design but also later changes made by the commission overseeing construction, which dismissed Wren in 1718. For Wren as for Newton (who was appointed a commissioner of St. Paul's in 1697), mathematics and geometry were central to the new understanding of the universe and humanity's place in it. In Wren's Five Tracts, written toward the end of his life and presented by his son to the Royal Society in 1740, he stated that architecture must conform to "natural reason," which is the basis of eternal Beauty. In other words, architecture must use rational (that is, abstract) geometrical forms, such as the square and the circle, as well as proportion, perspective, and harmony—but it must not sacrifice variety. Such rationality and diversity are clearly evident in Wren's design for St. Paul's

Still-Life

A term used to describe paintings (and sometimes sculpture) that depict familiar objects such as household items and food.

Western Art

A traditional way to enhance a viewer's perception of space and distance in a landscape image is to make background colors cooler and lighter in value.

Drypoint

A type of intaglio printmaking in which a sharp metal needle is use to carve lines and a design into a (usually) copper plate. The act of drawing pushes up a burr of metal filings, and so, when the plate is inked, ink will be retained by the burr to create a soft and deep tone that will be unique to each print. The burr can only last for a few printings. Both the print and the process are called drypoint.

Artist: Caravaggio Piece: The Musicians Medium: Oil on Canvas Year: 1595

Another aspect of Caravaggio's work is his focus on the sensual and erotic nature of both music and young men, who are depicted as seducing and soliciting. We see these elements in The Musicians, with its four androgynous, seminude youths. Actually, it has been suggested that the painting shows two youths seen from two points of view. The musicians are half-length, but life-size; their blushed cheeks and full lips suggest erotic, sensual pleasures, enjoyed with each other and offered to a particular viewer. That viewer (the patron) was Cardinal del Monte, the influential, cultured patron and art collector, who arranged the St. Matthew commission for Caravaggio and who commissioned other homoerotic paintings from him. The lute, violin, horn (at back right), and the music sheets surrounding or being used by these half-draped men, and even the grapes being plucked at the left, suggest a contemporary bacchanal. The erotic undertones are part of the sensuality and passion that will be explored in the Baroque and frequently imitated in later works of art by other artists.Caravaggio carried a sword and was often in trouble with the law for fighting. When he killed a friend in a duel over a game, Caravaggio fled Rome and spent the rest of his short life on the run. He first went to Naples, then Malta, then returned briefly to Naples. These trips account for both his work in these cities and his lasting influence there. He died traveling back to Rome, where he hoped to gain a pardon. In Italy, Caravaggio's work was praised by artists and connoisseurs—and also criticized. Conservatives regarded Caravaggio and his work as lacking decorum: the propriety and reverence that religious subjects demanded. But many who did not like Caravaggio as a man were nevertheless influenced by his work and had to concede that his style was pervasive. The power of his style and imagery lasted into the 1630s, when it was absorbed into other Baroque tendencies.

Hagia Sophia (Holy Wisdom)

Anthemius of Tralles and Isodorus of Miletus, Constantinople (now Istanbul), Turkey, 532-537 CE

Chauvet Cave location

Ardeche Valley France

Georges Seurat's paintings

Are more notable for containing static figures and a sense of optical surface movement.

Rosetta Stone

Artifact that unlocked the mystery of Egyptian hieroglyphics

Artist: Rosalba Carriera Piece/Person: Charles Sackville, Second Duke of Dorset Year: 1730

Artists chose pastels primarily to make portraits, applying flicks of color to suggest animation, emotion, or expression and thus giving the sitter a more vivid and lifelike appearance. One of the greatest pastel portraits is Rosalba Carriera, a Venetian artist known for revealing the psychological intensity of her sitters. Carriera was famous in her own time and had an international clientele of British, French, German, and Polish patrons. The intimacy and immediacy of her technique, combined with the indistinct, even hazy, quality of resulting images, suggest a tantalizing allusive sensuality, as seen in this portrait.

Greek Vase Painting told what type of stories

- told storeis about gods and heroes of Greek myths as well as such contemporary subjects as warefare and drinking parties.

what three major shifts occurred that had far reaching effects on western civilization

1. cultural leadership moved north from the Mediterranean to France, Germany and the British isle , 2. Christianity triumphed over paganism and barbarism, 3. emphasis shifted from the here and now to the hereafter and with it from the body as beautiful to corrupt

Hall of the Running Bulls, Lascaux Cave

15,000 bce (Lascaux Dordogone, France)

16. Standard of Ur

Form: - wood inlaid with shell, lapis lazuli, and black limestone -mosaic -hierarchic scale to show who was more important in society -front shoulds, body in profile Content: -2 sides: war side and peace side -war side: shows Sumerian king on larger scale descending from his chariot to inspect captives, lower register shows him riding over dead bodies in his chariot -peace side: food brought to a banquet, ruler wears a kilt of wool (larger scale) Function: - shows the different classes of people -democratic leadership Context: - found in the Royal Tombs at Ur (modern day Iraq) - 2600-2400 BCE Sumerian

183. The Kaaba

Form: -calligraphy on cloth covering the cube (kisna) -corner points on the cardinal points -granite with silk curtain -set in a mosque Content: -kaaba in middle of Mecca -kaaba filled with pagon god statues and the Black Stone Function: -holds relics of Muhammad -walking meditation in counter-clockwise motion -place of pilgrimage-hajj (one of the 5 pillars) Context: - Mecca, Saudi Arabia -pre-Islamic monument -631-632 CE

33. Niobides Krater

Form: -calyx krater (type of painted pot) -stiffness in the figures contrast the other relaxed side of the vase -sense of depth perception -red figure technique with white highlight Content: -one side: mortal woman named Niobe with 12 children would always brag to the goddess Leto that she had more children so Apollo and Artemis (Leto's children) take revenge for their mother by killing all 12 children -other side: Hercules (identified with club and lions skins) is actually a sculpture (contraposta) and Greek soldiers are offering tribute and prayer to protect them before going into battle Context: -460-450 BCE -not signed

162. All-T'oqupu Tunic

Form: -camelid fiber and cotton -squares filled with geometric motifs -no repetitive geometric figures Content: -more colors=higher status -dyes from different regions of the Incan empire Function: -elite men's tunic Context: -Inka empire 1450-1540 CE -foreigners wore black

182. Buddha

Form: -cut rock with plaster and polychrome paint - carved into niches on the side of a cliff Content: -staircase that ascended up to the Buddha's shoulder for travelers -mutras: hand gestures -hair in bun and big ears Function: -was the largest Buddha sculpture in the world until it was blown up in 2001 by Taliban -travelers were Buddhists who offered gifts of thanks or prayers to the statue Context: -Bamiyan, Afghanistan- Gandaran 400-800 CE -located on crossroads of the Silk Road

64. Gold Haggadah

Form: -illuminated manuscript -pigments and gold leaf on vellum (animal) Content: -Left: plagues of Egypt -Middle: scenes of liberation (Israelites leave) -Right: Passover Function: -book used by a wealthy Jewish family to tell the story of Passover around the sedar table each year Context: -Late Medieval Spain 1320 CE -similar to Christian Gothic manuscripts

190. The Court of Gayumars

Form: -ink, opaque watercolor, and gold on paper -clothing identifies who they are not their faces -minute scale drawing and detail Content: -opening page of the Shahnama -Gayumar is surrounded by his son and grandson he looks down on the court to address them Function: -telling ancient history of Persia Context: -folio from Shah Tahmasp's Shahnama -artist: Sultan Mohammad -1522-1525 CE

192. Great Stupa at Sanchi

Form: -mandala plan (map of the cosmos) -sandstone Content: -4 gateways -hemispherical dome -yakshis and yakshus- nature goddess/god Function: -monastery -reliquary mound holds Siddhartha's relics -symbolic representations of the Buddha (footprints, lion, elongated pathway, empty seat) -no actual pictures of Buddha's face -show inclusiveness of Buddhism Context: -300-100 BCE Madya Pradesh, India -late Sunga dynasty

78. Entombment of Christ

Form: -manneristic: shows great knowledge of Renaissance but distorts it -figures stylized and elongated -primary colors and white -roundalls above of Evangelists -space is nonsensical -1D (no depth) Content: -no symbols of holiness (no cross, etc.) -Mary proportionately larger -everyone mournful -lower Jesus from the cross -chaotic figures/constant movement -self portrait -non balance (lots of different directions) Function: -altar piece -doesn't look Renaissance Context: -artist: Jacob de Pontorina -Florence, Italy 1525-1528 -family chapel

65. Alahambra

Form: -whitewashed adobe stucco, wood, tile, paint, and gilding -complex arches -elevated on top of a hill (power) -arabesques (organic/natural designs- flowers/vines) on arches Content: -court of lions: courtyard with gardens and water- luxurious -4 quadrants -channels of water run throughout Function: -complex of palaces -some markets -garden provokes sense of paradise/heaven -palace of Nasrid Context: -Granada, Spain- Nasrid Dynasty 1354-1391 CE

79. Allegory of Law and Grace

Form: -woodcut, letterpress -Protestant -German text Content: -written in people's voice -left: being chased by death (shows 10 commandments) -right-washes over with Holy Spirit (can only be saved by God's grace Function: -propaganda during Reformation -debates between Catholics and Luthers on how to get to heaven Context: -artist: Lucas Cranach the Elder (High Renaissance North 1530 CE) -German; worked with Martin Luther

220. Tamati Waka Nene

Form: -19th century European academic style of painting Content: -Portrait of Tamati Waka Nene (Maori chief/warrior) 0Kiwi feather cloak, green stone earring -Moko: facial tattoos Function: -Record likenesses and bring ancestral presence into the world of the living not just a representation of Tamati but an "embodiment" of him -After a person has died, portrait may be hung on walls of family homes or in community center -Nene represents the time of change that was occurring in the Maori world Context: -Artist: Gottfried Lindaur -1890 CE

214. Maoi on platform (ahu)

Form: -Mostly volcanic tuff but some are basalt -Missing inlaid coral eyes -Emphasis on head and ears -Vary in size -Later backs were reworked -On platforms (ahu) facing the sea -Basalt base Function: -Ancestors/rulers "mana" protection -Connect with ancestors -Guardian figures Content: -Ancestors watching the sea Context: 1100-1600 CE, Easter Island, Rap Nui

Arena Scrovegni Chapel

Giotto, Padua, Italy, c. 1305-06

Frida Kahlo, who grew up during the Mexican Revolution, showed her support for the establishment of an indigenous Mexican identity by incorporating

Herself in Tehuana garb and Folk art elements

Artist: ArJacob van Ruisdael Piece: Bleaching Grounds Near Haarlem Medium: Oil/canvas Year: 1670

Identifiable city views—panoramic landscapes with their outlying countryside and picturesque sand dunes, showing Amsterdam, Haarlem, Deventer—became popular throughout the century. In the art of Jacob van Ruisdael (ca. 1628-1682), these views become testaments to the city skyline—and to the sky, which might occupy three-quarters of the painting, as it does in this painting of Haarlem . Ruisdael did many paintings of Haarlem, known as Haarlempjes (little views of Haarlem). The church spires, windmills, and ruins are all identifiable, as is the major church, the Grote Kerk (Big Church), known before the Reformation as St. Bavo. In the foreground are the bleaching fields, where both domestic and foreign linen was washed and set out to be bleached by the sun. Haarlem water was well known for its purity and so the city was famous for its linen bleaching and beer production.

Artist: Corot Piece: View of Rome Medium: Oil on Paper, mounted on Canvas Year: 1826-1827

In 1825, Corot went to Italy and produced his first major body of work, about 150 small paintings, most of famous sites. View of Rome , an oil on paper, is typical. Made on the spot in an hour or so, it is a literal, objective presentation of "the truth of the moment," as Constable would say. We are convinced we are looking at the Castel Sant'Angelo and St. Peter's Basilica and real, not stylized clouds. We can feel the sun's intense heat bouncing off the stone and see the clear late-afternoon light crisply delineating the buildings and bridge. Without idealizing his landscape, Corot displays an instinct for Classical clarity and stability that recalls Poussin and Claude. Strong verticals and horizontals anchor his composition to its surface of creamy brushwork, and his buildings, no matter how loosely painted and insignificant, have a monumental presence. Nature inspired Corot to create little poems of beautifully harmonized tones and colors, generally browns and greens, and a seamless integration of painterly brushwork and Classical grid.

The Royal Academy

In art as in life, the French monarchy sought to maintain strict control, and thus the Royal Academy of Painting and Sculpture was founded in Paris in 1648. One of the 12 founding members was artist Charles Le Brun (1619-1690), who helped reorganize the academy in the 1660s into a formal institution. Although it came to be associated with the absolutism of Louis XIV's reign, at its inception the king was only ten years old, his mother Anne was regent, and Cardinal Mazarin effectively controlled affairs of state. Yet the ideology of academy and throne would increasingly coincide and strengthen each other in the ensuing years.

Artist: Jean-Auguste-Dominique Ingres Piece: Grande Odalisque Medium: Oil on Canvas Year: 1814

In Italy, Ingres studied ancient art and fell in love with the Classicism of Raphael. But as a Romantic—which is what he considered himself to be—his interests were broad, even exotic, and led him to medieval, Byzantine, and Early Renaissance art. After his four-year stipend expired, Ingres stayed on in Italy at his own expense for an additional 14 years, often impoverished and, like a true Romantic artist, painting what he wanted, not what the academy dictated. Periodically, he sent pictures back to Paris for exhibition, where they were generally met with derision. An example is Grande Odalisque , commissioned in 1814 by Caroline Murat, Napoleon's sister and the queen of Naples, and submitted to the Salon of 1819. This painting is even more exotic than his portrait of Napoleon, for it represents a Turkish concubine and is one of the earliest examples of Orientalism, as the Western fascination with the culture of the Muslim world of North Africa and the Near East was then called. (Byron's Romantic poem The Corsair, also featuring a harem slave, was published the same year the painting was commissioned.) This fascination was, in part, sparked by Napoleon's campaign in Egypt in 1798-99 and by the detailed description of the region and its culture and customs in the 24-volume government-sponsored publication Description de l'Égypte, which appeared from 1809 to 1822. Orientalism reflects European imperialism and its accompanying sense of superiority that viewed non-Christian Arab culture as not only different and exotic but also inferior—backward, immoral, violent, and barbaric. Here, the exotic subject gave Ingres license to paint a female nude who was not a Greek goddess, although she recalls numerous Renaissance and Baroque paintings of a reclining Venus and sculptures of Ariadne from antiquity. To make his figure more appealing to a Paris audience, Ingres gave his odalisque European features, even a Raphaelesque face and coiffure. Although the figure is alluringly sensual, and the hashish pipe, incense burner, fan, and turban "authenticate" the exotic scene, the painting as a whole projects a soothing sense of cultivated beauty, refinement, and idealization that seems Classical. In other words, Ingres treats a Romantic subject in an essentially Neoclassical manner, including idealization. Ingres's trademark is a beautiful Classical line, which we can see as he focuses on the odalisque's flesh. Bathed in a caressing chiaroscuro, the body gently swells and recedes with delectable elegance. Its contours languidly undulate with sensuality, the sharply defined edges and tan color contrasting with the objects around it. The opulent color of the objects and the lush fabrics and peacock feathers enhance the sensual aura of the picture. Salon viewers noted the concubine's back had too many vertebrae, and certainly her elbowless right arm is too long; but as far as Ingres was concerned, the sweeping curves of both were essential components of the graceful composition, the line of the right arm even being continued into the folds of the drapery.

Artist: Jan Vermeer Piece: Officer and Laughing Girl Medium: Oil/canvas Year: 1657

In the genre scenes of the Delft artist Jan Vermeer (1632-1675), by contrast, there is seldom a clear narrative. Vermeer's reputation rests on only a small number of paintings (about 35), but these are indeed quite special. Vermeer may have studied in Amsterdam and/or Utrecht, but he was certainly familiar with old and contemporary works as he, like his father, worked as an art dealer. In an early work, Officer and Laughing Girl , the figures are in a room infused by a nearly glowing light. The young woman sits beneath a large, contemporary map of the Netherlands (on its side), smiles cheerfully, and offers the man a glass of wine. We see only the silhouette of the man dressed in red, as light from the left-hand window pours in between them so that the entire painting seems to sparkle with light. Vermeer's use of light, frequently coming from a window at the left and creating flecks of light on fabric and reflections, marks his work. To achieve these effects and create a perfectly balanced painting, he seems to have used techniques that are both old and new. Vermeer may have used a camera obscura, an experimental optical device (a forerunner of the photographic camera) that created an image by means of a hole for light on the inside of a dark box. The hole acts as a primitive lens and a scene from outside the box can be seen, inverted, inside it. It is not suggested here that Vermeer copied such scenes, but he may have been inspired by them. Camera obscura scenes have a sparkling quality, often seen in parts of Vermeer's work (as seen here in the gold threads in the woman's dress). These sparkling areas are known as "discs of confusion." The camera obscura was well known, and there is considerable evidence that it was used by Dutch artists. Further, Anthonie van Leeuwenhoek, the inventor of the modern microscope, lived in Delft at the same time, which suggests a local interest in practical optics. This new way of looking is paired in Vermeer's work with an old way—a one-point perspective view with a vanishing point. It has been shown that a hole (for a pin and string) was set in a number of Vermeer's paintings to create a one-point perspective system. And indeed a vanishing point with pinhole is also observable in an x-ray. The vanishing point in this painting is set between the two figures and as such we do not focus on either one of them, but we are drawn to the space in between instead—to the very seduction of the relationship. It is the wall we focus on, with its subtle and varying tones of gray, yellow, and blue on a seemingly white surface. These are the same colors used for the map. Vermeer created an unparalleled quality of light and texture.

Akhenaten, from Karnak, Egypt, (1353-1336 bce)

In this style of sculpture Egyptians were portrayed and especially how pharoah's were portrayed in a more curvy style. made from sandstone

Apse

Is a semicircular recess covered with a hemispherical vault or semi-dome

Tense and watchful

Is the best way to characterize Michelangelo's sculpture.

Caravaggio, The Conversion of St. Paul

Italian Baroque

Artist: Jacques-Louis David Piece: Death of Marat Medium: Oil on Canvas Year: 1793

It took David three years to complete d'Angiviller's commission, The Oath of the Horatii , which he finished in Rome in 1784. When David unveiled The Oath in his Rome studio, it instantly became an international sensation, with an endless procession of visitors filing through to see this revolutionary work. The Oath arrived in Paris from Rome a few days after the opening of the 1784 Salon, its delayed grand entrance enhancing the public clamor. The theme for the picture comes from a Roman seventh-century bce story found in both Livy and Plutarch recounting how a border dispute between Rome and neighboring Alba was settled by a sword fight involving three soldiers from each side. Representing Rome were the three Horatii brothers, and Alba the three Curiatii brothers. Complicating the story, a Horatii sister, Camilla, was engaged to a Curiatii brother, while one of the Horatii brothers was married to a Curiatii sister. Only Horatius of the Horatii brothers survived the violent fight, and David was instructed by d'Angiviller to paint the moment when Horatius returns home and slays his sister after she curses him for killing her fiancé. Instead, David painted a scene that does not appear in the literature: the Horatii, led by their father, taking an oath to fight to the death. The composition is quite simple and striking: David contrasts the virile stoic men, their bodies locked in rigorous determination, with the slack, curvilinear heap of the distressed women, Camilla and the Curiatii wife, who, either way, will lose a brother, husband, or fiancé. David was undoubtedly inspired by the many oath-taking paintings that had appeared since Gavin Hamilton had made an Oath of Brutus in 1764. The dramatic, pregnant moment, which David made one of the hallmarks of Neoclassical history painting, allowed him to create a tableau vivant championing noble and virtuous action dedicated to the supreme but necessary sacrifice of putting state before family. The severity of the Horatii's dedication is reinforced by the severity of the composition. It can be seen in the austerity of the shallow space, and even in David's selection of stark, baseless Tuscan Doric columns, which Ledoux had made fashionable in France the decade before. It also appears in the relentless planarity that aligns figures and architecture parallel to the picture plane and in the harsh geometry of the floor, arches, and grouping of the warriors. It surfaces as well in the sharp linear contours of the figures, making them seem as solid and frozen as statues. In his planarity and linearity, David is more "Poussiniste" than his idol Poussin, from whom he borrows figures. Line and geometry, the vehicles of reason, now clearly prevail over the sensual color and brushwork of the Rococo. But it is the Caravaggesque naturalism and intensity that make this image so powerful and distinguish it from Renaissance and Baroque Classicism. Sharpening edges and heightening the drama of the painting is a harsh light that casts precise shadows, an effect derived from Caravaggio, as is the attention to textures and such details as chinks in the floor marble. The picture is startlingly lifelike, with the setting and costumes carefully researched to re-create seventh-century bce Rome. While The Oath is generally perceived as the quintessential Neoclassical picture, one of several David made that came to define the style, it is filled with undercurrents of Romanticism. It is a horrific scene, one that frightened onlookers, sending chills down their spines.

Statues from the Abu Temple (2900-2600 bce)

Made from alabaster, limestone and gypsum. Depicts worshipers.

uruk vase (3300-3000 bce)

Made from alabaster.Depicts the fertility goddess Innana.

Bust of Nefertiti (1353-1336/5 bce)

Made from plaster during the Amarna period. Is regarded as Egypt's Mona Lisa.

Inernermost coffin of Tutankhamen (1332-1322 bce)

Made from precious stone and gold and has a height 72 inch

Artist: Frans Hals Piece: Banquet of the Officers of the St. George Civic Guard Medium: Oil on Canvas Year: 1616

One of the first to profit from these new ideas permeating the Dutch Republic was Haarlem artist Frans Hals (ca. 1585-1666), who was born in Antwerp. Hals captured his contemporaries in both portraiture and genre painting, and he excelled at combining the two—animating his portraits and setting his subjects in somewhat relaxed or even casual stances. His genre painting, usually of single figures, portray characters that seem to be drawn from real life. Hals And The Civic Guard Hals's six group portraits of the Civic Guards allowed him to provide multiple enlivened, life-size portraits in single dynamic paintings. The Civic Guards, founded in the fourteenth century, were local voluntary militia groups that were instrumental in defending their cities through military service. They also had civic and religious duties, and they began having their portraits painted in the early sixteenth century. Although they had successfully defended their cities from the Spanish in the 1580s and, indeed, were proud of this accomplishment, with the truce of 1609, the Civic Guards became more like civic fraternities, with annual banquets, as seen in the Banquet of the Officers of the St. George Civic Guard . The military aspects are indeed subordinated to the sense of general prosperity orchestrated in ritual. The captain in the center back wields a knife, but not as a military weapon; he is about to cut the roast. As was the custom, the colonel at the left raises his wine glass at the entrance of the standard-bearer with an unfurled banner. The highest-ranking officers are seated, while the men of lower rank and the servants stand at the back. The subjects arranged around a table laden with food on a white damask tablecloth, turn and face each other and the viewer. But 12 men around a table beg comparison with Leonardo's The Last Supper . This is an undeniably secular painting, yet the event depicted is steeped in ceremony. Although the painting vividly suggests a moment in time at an actual gathering, art historians do not believe that Hals here painted an actual event. The officers did not pose for this seating. The realism comes from the life-size scale, their gestures, the three-dimensional modeling created by paint applied "wet-in-wet" (while initial paint is still wet) with strokes of varied width and length. This modeling generated its own vibrancy, and thus the men appear as "speaking likenesses." The Civic Guard painting would become a staple in Haarlem and also in Amsterdam. Rembrandt's The Night Watch represents another form of this standard. In Hals's painting, the black-and-white fashions offset with the red-and-white sashes nearly vibrate, creating a brilliant tableau. These men, the officers of the company, were wealthy citizens (in the case of Haarlem, they were brewers and merchants) who may have used their civic service to further their careers in government. Some even engaged Hals to execute individual portraits of themselves and family members; Hals himself became a member of the company in 1612.

African masks had a strong influence on the work of

Pablo Picasso and Cubist artists

"Nocturne in Blak and Gold" by James Abott McNeil Whistler

Promotes the philosophical stance that art can be created for the sake of its intrinsic beauty.

which of the following is a Clear example of post- and -lintel construction

Stonehenge

Non-Religious Subject Matter

Subject matter that did not contain biblical scenes or figures.

classical

Suggestive of Greek and Roman ideals of beauty and purity of form, style or technique.

Monastery of St. Gall (plan)

Switzerland, Carolingian, c. 817

Statues from the Abu Temple location

Tell Asmar, Iraq

Counter-Reformation

The Counter-Reformation (also the Catholic Revival or Catholic Reformation) was the period of Catholic resurgence beginning with the Council of Trent (1545-1563) and ending at the close of the Thirty Years' War (1648), and was initiated in response to the Protestant Reformation.

Greeks view on Death

The Greeks focused on the survivors and loved ones of the deceased unlike the Egyptians who focused on the afterlife and the ka (spirit)

Institusionalism

The aesthetic philosophy that claims that the value of work of art is determined by museums and galleries

golden rectangle

The ancient Greek ideal of a perfectly proportioned rectangle using a mathematical ratio called the Golden mean.

Gothic Revival

The art movement most often associated with the Pre-Raphaelites

When painting Europe After the Rain II, Max Ernst created the foreground by placing a piece of paper on the painted surface and then pulling the paper away, creating accidental patterns and textures that provided the Surrealist artist with

The basis for form inspired by free association

oculus

The central circulation opening in a dome

Artist: Hyacinthe Rigaud Piece: Portrait of Louis XIV Medium: Oil on Canvas Year: 1701

The monumental Portrait of Louis XIV by Hyacinthe Rigaud (1659-1743) conveys the power, drama, and splendor of the absolutist ruler. The king is shown life-size and full-length, much like Charles I in Van Dyck's portrait . The resemblance is intentional, and the work follows the formulaic nature of royal portraiture of the time to espouse power and authority through the use of the insignias of rulership and the symbols of the opulence of the monarch's reign. Louis is shown draped with his velvet coronation robes lined with ermine and trimmed with gold fleurs-de-lis. He appears self-assured, powerful, majestic—and also tall, an illusion created by the artist, for his subject actually measured only 5 feet 4 inches. The portrait proudly displays the king's shapely legs (emphasized by the high heels Louis himself designed to increase his height), which were his pride and joy as a dancer. Indeed, the king actively participated in the ballets of Jean-Baptiste Lully (1632-1687) from the 1650s until his coronation. All the arts, from the visual arts to the performing arts, fell under royal control—a fact exemplified in Rigaud's painting, which expresses Louis's dominance and unequaled stature as the center of the French state.

Trois Crayons

The use of three colors, usually red, black, and white, in a drawing; a technique popular in the 17th and 18th centuries.

Sandro Botticelli

Birth of Venus, Mars and Venus

Chartres Cathedral

Chartres, France, Gothic, begun 1134

Arnolfini Portrait

Jan van Eyck, oil on wood panel, Bruges, Flanders, c. 1434

Kwakiutl mask

It is a stylized and expressionistic portrait.

Michelangelo

Statue of David, the sistene Chapel (Creation of Adam, the story of Noah, fall of adam and eve), the last judgment, moses, tomb of giuliano de medici, the thinker

Post-and-lintel

basic construction system where two or more vertical elements support a horizontal one

influence of tribal art: modernists

believed in the freshness and vitality of tribal art. paintings included long neck women which resembled carved figures.

Dramatic use of light and gritty naturalism

best characterize the work of the painter Caravaggio

Influence of tribal art: guagin

brilliant colors and simplified anatomy of his island paintings reflect decorative Oceanic art.

Roman architect in the renaissance

used rounded arch, concrete construction, domed rotunda, portico, barrel vault and columns

Palette

(1) A thin, usually oval or oblong board with a thumbhole at one end, used by painters to hold and mix their colors. (2) The range of colors used by a particular painter. (3) In Egyptian art, a slate slab, usually decorated with sculpture in low relief. The small ones with a recessed circular area on one side are thought to have been used for eye makeup. The larger ones were commemorative objects.

Basilica

(1) In ancient Roman architecture, a large, oblong building used as a public meeting place and hall of justice. It generally includes a nave, side aisles, and one or more apses. (2) In Christian architecture, a longitudinal church derived from the Roman basilica and having a nave, an apse, two or four side aisles or side chapels, and sometimes a narthex. (3) Any one of the seven original churches of Rome or other churches accorded the same religious privileges.

Merode Altarpiece

(The Master of Flémalle), Robert Campin, c. 1425-1430s, oil on wood, Flanders

157. Templo Mayor (Main Temple)

*4 pictures for this but only the coyolxauqui stone is pictured here Form: -built in layers -two great staircases -stone temples -the Coyolxauqui Stone: volcanic stone -mask: jadeite -calendar stone: basalt Content: -two temples on top (one for sun God Huitzilopochtli and one for the Rain God Tlaoc) -base of the pyramid is a serpent and the Coyolxauhqui Stone -Coyolxauhqui Stone: retells the story of Huitzilopochtli (after his sibs killed their mother, he takes revenge on them and dismembers his sister Coyolxauhqui which is shown on the stone) -Calendar stone (central is the sungod, shows the days) Function: -ceremonial place for the Aztec people -human sacrifice victims were thrown on this stone from atop the temple Context: -Tenochtitlan (Mexico City), only foundation of Aztec culture that exists today Aztec 1375-1520 CE

After scientifically studying the sky Leonardo Da Vinci Systematically developed

Aerial perspective

155. Yaxchilan

*picture shown is relief found in this building Form: -limestone -built on platforms (ascent up) -3 doorways to a single room -corbelled vaulting -panel over doors -painted stucco designs -roof combs Content: -glyphs: each tell about an event, person, and when relief pictured: -Lady Xok's vision after suffering blood loss -her and husband, Shiel Jaguar III -pulling a piece of barbed rope through her tongue -vision of great warrior coming out of serpent's mouth Function: -affirms reign of Sheild Jaguar III Context: -Chipas, Mexico -725 CE

The painter Rembrandy van Rijn is best known for which of the the following.

- psychologically penetrating self portraits, innovative group portraits, dramatic use of shadow and light

Baldacchino

A canopy usually built over an altar. The most important one is Bernini's construction for St. Peter's in Rome.

Lascaux cave

A cave discovered in 1940 and containing exceptionally fine Paleolithic wall paintings and engravings, not a lot of space or depth, overlapped . entrance halfway up the side of a hill , long structure with several rooms

art nouveau

A late nineteenth-century style that emphasized organic shapes.

Foreshortening

A method of reducing or distorting the parts of a represented object that are not parallel to the picture plane in order to convey the impression of three dimensions as perceived by the human eye.

Indigo

A natural colorant traditionally used to dye cotton fibers in deep blue.

Artist: Guercino Piece: Aurora Medium: Ceiling fresco Year: 1621-1623

Another Aurora ceiling , painted less than ten years later by Guercino, is the very opposite of Reni's. Here (in the 1622 painting), architectural illusionistic framework (painted by Agostino Tassi), known as quadratura, combined with the pictorial illusionism of Correggio and the intense light and color of Titian, converts the entire surface into one limitless space, in which the figures sweep past as if driven by the winds. Rather than viewing Aurora in profile as in Reni's ceiling, we are clearly positioned below, looking up, seeing the underbelly of the horses as they gallop over our heads. With this work, Guercino continued and expanded the ceiling painting tradition descended from Correggio and started what became a flood of similar visions by other artists. The dynamic fulfillment of this style became known as the High Baroque, after 1630.

Classicism

Art or architecture that harkens back to and relies upon the style and canons of the art and architecture of ancient Greece or Rome, which emphasize certain standards of balance, order, and beauty.

Typical decorative motif of Islamic architectural mosaics

Art that focuses on the painting of every subjects and individuals

severe style

Early phase of Classical sculpture characterized by reserved, remote expressions

Artist: Caravaggio Piece: The Calling of St. Matthew in Contarelli Chapel Medium: Oil/canvas Year: 1599-1600

As decorations, the three Contarelli paintings perform the same function that fresco cycles had in the Renaissance—each complements the others to fill out the narrative. In the chapel view, we see St. Matthew and the Angel, in which the tax collector Matthew turns dramatically for inspiration to the angel who dictates the gospel. The main image on the left in the chapel is The Calling of St. Matthew (fig. 19.2) which depicts the moment Matthew is chosen by Christ. The third canvas (on the right, but not seen here) is devoted to the saint's martyrdom. The Calling of St. Matthew displays a naturalism that is both new and radical. Naturalism was not an end in itself for Caravaggio, but a means of conveying profoundly spiritual content. Never before have we seen a sacred subject depicted so entirely in terms of contemporary lowlife. Matthew, the well-dressed tax collector, sits with some armed men, who must be his agents, in a common, sparse room. The setting and costumes must have been very familiar to Caravaggio. Two figures approach from the right. The arrival's bare feet and simple biblical garb contrast strongly with the colorful costumes of Matthew and his companions. Why do we sense a religious quality in this scene and not mistake it for an everyday event? What identifies one of the figures on the right as Christ, who has come to Matthew and says "Follow me"? It is surely not his halo, the only supernatural feature in the picture, which is a thin gold band that we might easily overlook. Our eyes fasten instead on his commanding gesture, borrowed from Michelangelo's Adam in The Creation of Adam, which bridges the gap between the two groups of people and is echoed by Matthew, who points questioningly at himself. The men on our left at the table seem not to be engaged in the unfolding drama, as they concentrate on the money being counted. In shadow, they are blind to the entrance of Christ—one even wears eyeglasses. Caravaggio uses the piercing light in this scene to announce Christ's presence, as Christ himself brought light: "I am the light of the world; he that followeth me shall not walk in darkness, but shall have the light of life" (John 8:12.) The beam of sunlight in the darkness above Jesus is most decisive in determining the work's meaning and style. This strong beam of light against the dark background is known as a tenebristic effect, or tenebrism, a style that uses strong contrasts of light and dark. Caravaggio illuminates Christ's face and hand in the gloomy interior so that we see the precise moment of his calling to Matthew and witness a critical piece of religious history and personal conversion. Without this light, so natural yet so charged with meaning, the picture would lose its power to make us aware of the divine presence. Caravaggio gives direct expression to an attitude shared by certain saints of the Counter-Reformation: that the mysteries of faith are revealed not by speculation but through an inner experience that is open to all people. Contarelli Chapel, San Luigi dei Francesi, Rome. Credit: Canali Photobank, Milan, Italy Caravaggio's paintings have a quality of "lay Christianity" that spoke powerfully to both Catholics and Protestants. Without the painting's religious context, the men seated at the table might seem like figures in a genre scene. Indeed, Caravaggio's painting became a source for secular scenes: Fanciful costumes, with slashed sleeves and feathered berets, will appear in the works of Caravaggio's followers. Figures seen in half-length (showing only the upper half of their bodies) will also be a common element in other works by Caravaggio and his followers

Artist: Bernini Piece: David Medium: Marble Year: 1623

As in the colonnade for St. Peter's , we can often see a strong relationship between Bernini's sculpture and examples from antiquity. If we compare Bernini's David with Michelangelo's and ask which is closer to the Pergamon frieze or the Laocoön ), our vote must go to Bernini, whose sculpture shares with Hellenistic works that union of body and spirit, of motion and emotion, which Michelangelo so consciously tempers. This does not mean that Michelangelo is more classical than Bernini. It shows, rather, that the Baroque and the High Renaissance drew different lessons from ancient art. Bernini's David has the fierceness of expression, movement, and dynamism of the Laocoön. In part, what makes it Baroque in character is the implied presence of Goliath. Unlike earlier statues of David, including Donatello's , Bernini's is conceived not as a self-contained figure but as half of a pair, with his entire being focused on his (invisible) adversary. Bernini's David tells us clearly enough where he sees the enemy. Consequently, the space between David and his invisible opponent is charged with energy—it "belongs" to the statue. The intensity of his expression suggests his focused determination. It has come down to us that the David's face is modeled on Bernini's own; he made this self-portrait by looking in a mirror held by his patron, Cardinal Barberini, who would become Pope Urban VIII. Materials and TechniquesBernini's Sculptural Sketches Bernini's Sculptural Sketches Listen to the Audio Small sketches in sculpture—for large-scale works of sculpture or architecture—serve as models, practice pieces, or presentation pieces for the artist to show a patron. These sculptural models are called bozzetti or modelli. Bozzetto (singular) means "sketch," and bozzetti are generally smaller and less finished than modelli, which may be closer to the final product, or in some other way "finished" so that a patron can see them before the completion of the project. Artists may do several drawings as well as several bozzetti for a completed piece. And, indeed, Bernini did both drawings in pen and ink, in red or black chalk, or even in combinations of chalk and pen in preparation for a project, as well as making bozzetti. Bernini's bozzetti and modelli are made in clay (terra cotta), although the completed sculptures were executed in marble. This is not just a difference in medium, but in technique. Marble sculpture is created through a subtractive process—marble is chiseled away. But clay can be worked using both additive and subtractive methods, and we know that Bernini's work in clay was primarily additive. We can see multiple methods and evidence of a variety of tools used by Bernini in his clay bozzetto of the life-size Head of St. Jerome, created for a full-length marble sculpture of the saint. Analysis of the clay sculpture has shown that this piece, like many others, was made from wedged clay—that is, fresh clay that is rolled, smashed, and rolled repeatedly to expel air, and then subsequently "worked." The clay is worked on by hand, using fingers (most probably the thumbs, index fingers, and middle fingers), with fingernails creating tracks, and tools that often have teeth. The idea that the clay is worked on by the artist with his own hands—his own fingers—is a tantalizing one. Large-scale sculpture and complex sculptural and architectural projects may employ several assistants chiseling marble. But here in a bozzetto we may be looking at the handiwork—the very fingerprints—of the artist. Several of Bernini's bozzetti have been examined for fingerprints in the clay, and indeed many have been found. Of the fifteen Bernini bozzetti at the Fogg Art Museum (the largest single collection of his bozzetti), thirteen have fingerprints. Thirty-four fingerprints in total have been found and some of the same prints have been found in works executed years apart. Therefore, it is most likely that these prints are Bernini's own. He smoothed surfaces, added clay, created lines and edges with his nails, wiped and depressed the clay with his own fingers. The Head of St. Jerome reveals Bernini's fingerprints, evidence of nail edging, and texturing from tined (fork-like) tools as he added more clay to represent the hair and nose. We know that the clay was hollowed out from the back, after being scooped out with fingers. As clay would be added to the face and hair, chances of cracking and breaking off increased. And we see much evidence of cracking in this bozzetto. It is apparent that areas were specifically smoothed over to prevent this. There is further evidence that a cloth was placed over the Head to keep the clay moist for continued work and to prevent further cracking. The Head of St. Jerome is enormously expressive, looking tortured, with his deep-set eyes and hollow cheeks, but it is the textures in clay that make this gaunt face most memorable. Bernini's David shows us a distinctive feature of Baroque sculpture: its new, active relationship with the surrounding space. But it is meant to be seen, as is most other Baroque sculpture, from one primary point of view. Bernini presents us with "the moment" of action, not just the contemplation of the killing—as in Michelangelo's work—or the aftermath of it—as in Donatello's. Baroque sculpture often suggests a heightened vitality and energy. Because they so often present an "invisible complement" (like the Goliath of Bernini's David), Baroque statues attempt pictorial effects that were traditionally outside the realm of monumental sculpture. Such a charging of space with energy is, in fact, a key feature of Baroque art. Caravaggio had achieved it in his The Calling of St. Matthew with the aid of a sharply focused beam of light. And as we have seen in Gaulli's ceiling for Il Gesù, both painting and sculpture may be combined with architecture to form a compound dramatic illusion—one that Bernini would explore in other works.

The Cornaro Chapel by Bernini is characteristic of

Baroque

Bernini

Baroque, David (dynamic), st teresa

Genre Painting

Based on the French word for type or kind, the term sometimes refers to a category of style or subject matter. But it usually refers to depictions of common activities performed by contemporary people, often of the lower or middle classes. This contrasts with grand historical themes or mythologies, narratives or portraits.

Madonna and child

Berlinghiero

Artist: Bernini Piece: St. Teresa in Ecstasy in Cornaro Chapel Medium: Marble Year: 1645-1652

Bernini had a passionate interest in the theater and was an innovative scene designer. A contemporary wrote that he "gave a public opera wherein he painted the scenes, cut the statues, invented the engines, composed the music, writ the comedy, and built the theatre." Thus he was at his best when he could merge architecture, sculpture, and painting. His masterpiece in this vein is the Cornaro Chapel in the church of Santa Maria della Vittoria, which contains The Ecstasy of St. Teresa. Teresa of Ávila (1515-1582), one of the great saints of the Counter-Reformation, and director of the Reformed Order of the Discalced ("shoeless," as shown here) Carmelites was canonized in 1622. Known for her mystical visions, she had described how an angel pierced her heart with a flaming golden arrow: "The pain was so great that I screamed aloud; but at the same time I felt such infinite sweetness that I wished the pain to last forever. It was not physical but psychic pain, although it affected the body as well to some degree. It was the sweetest caressing of the soul by God." Bernini has made Teresa's visionary experience as sensuously real as Correggio's Jupiter and Io; her arm and leg are limp and the saint's rapture is obvious. (In a different context the angel could be Cupid.) The two figures on their floating cloud, which is hollow (so Bernini could hang this group rather than fasten it to the wall), are lit from a hidden window above, so that they seem almost dematerialized. A viewer thus experiences them as a vision. The "invisible complement" here, less specific than David's but equally important, is the force that carries the figures—they levitate—toward Heaven and causes the turbulence of their drapery. Its divine nature is suggested by the golden rays (gilt wood) which come from a source high above the altar. In an illusionistic fresco by Guidobaldo Abbatini (ca.1600/05-1656) on the vault of the chapel, the glory of Heaven is revealed as a dazzling burst of light from which tumble clouds of jubilant angels. This celestial explosion gives force to the thrusts of the angel's arrow and makes the ecstasy of the saint fully believable. To complete the illusion, Bernini even provides a built-in audience for his "stage." On the sides of the chapel are balconies resembling theater boxes that contain marble relief figures depicting members of the Cornaro family, who also witness the vision. Their space and ours are the same, and thus they are part of our reality, while the saint's ecstasy, which is framed in a niche, occupies a space that is real but beyond our reach, for it is intended as a divine realm. Finally, the ceiling fresco represents the infinite space of Heaven. We may recall that The Burial of Count Orgaz and its setting also form a whole that includes three levels of reality . Yet there is a fundamental difference between the two chapels. El Greco's Mannerism evokes an ethereal vision in which only the stone slab of the sarcophagus is "real," in contrast to Bernini's Baroque staging, where there are several levels of reality and the distinctions between them break down. It would be easy to dismiss The Ecstasy of St. Teresa as a theatrical display, but Bernini was also a devout Catholic who believed that he was inspired directly by God. Like the Spiritual Exercises of Ignatius of Loyola, which Bernini practiced, his religious sculpture is intended to help a viewer identify with miraculous events through a vivid appeal to the senses. Theatricality in the service of faith was basic to the Counter-Reformation, which often referred to the Church as the theater of human life: It took the Baroque to bring this ideal to life.

The stop-motion photographic works created by Eadweard Muybridge served to advance

Biomechanics

Faience

Blue, Egyptian

Artist: Borromini Piece: Sant'Ivo Year: Begun 1642

Borromini's church of Sant'Ivo alla Sapienza was built at the end of an existing cloister for a university, which soon became the University of Rome. It is more compact than San Carlo, but equally daring. Sant'Ivo is a small, central-plan church based on a hexagonal star. The six-pointed plan represents Sapienza (wisdom), although as the church was first built under Pope Urban VIII (Barberini) it was suggested by contemporaries that the plan represented the Barberini bee, also seen in Bernini's Baldacchino and Cortona's ceiling . In designing this unique church, Borromini may have been thinking of octagonal structures, such as San Vitale in Ravenna , but the result is completely novel. Inside, it offers a single, unified, organic experience, as the walls extend the ground plan into the vault, culminating in Borromini's unique spiral lantern. The hexagonal star pattern is continued up to the circular base of the lantern. The stars on the wall refer to the Chigi family of Pope Alexander VII, who was in power when the building was completed.

Artist: Francesco Borromini Architecture: San Carlo alle Quattro Fontane Year: 1638-1667 Façade and dome

Bernini's church designs are dramatically simple and unified, while Borromini's structures are extravagantly complex. But where the surfaces of Bernini's interiors are extremely rich, Borromini's are surprisingly plain: They rely on the architect's phenomenal grasp of spatial geometry to achieve their spiritual effects. Bernini himself agreed with those who denounced Borromini for flagrantly disregarding the classical tradition, enshrined in Renaissance theory and practice, that architecture must reflect the proportions of the human body. Certainly, Bernini, even at the height of the Baroque, was more tied to a classical vocabulary. But perhaps his criticisms of Borromini were only an expression of all-too-human rivalries. Borromini's first major project was the church of San Carlo alle Quattreo Fontane, a small strcuture on a difficult to fit corner. It is the syntax, not the vocabulary, that is new and disquieting here. The ceaseless play of concave and convex surfaces make the entire structure seem elastic, as if pulled out of a shape by pressures that no previous building could have withstood. The plan is a pinched oval that suggests a dis intended and half melted Greek cross, yet it is a basically central planned church. The inside of the coffed dome looked stretched. If the tension was relaxed , it would snap back to normal. Light coming from the windows, partially hidden at the base of the dome, and a honeycomb of fanciful coffers decreasing size to create the illusion of greater height make the dome appear weightless. The symbol of the Trinity appears in the vault of the lantern in this church, built for the Trinitarians, an order dedicated to the mysteries of the Holy Trinity. On the facade, designed almost 30 years later, the pressures and counter-pressures reach their maximum intensity. He emerges architecture and sculpture in a way that must have shocked Bernini. No such union attempted since Gothic art.

Artist: Artemisia Gentileschi Piece: Judith and Maidservant with the Head of Holofernes Medium: Oil/canvas Year: 1625

Born in Rome, Artemisia Gentileschi (1593-ca. 1653) was the daughter of Caravaggio's friend, follower, and rival Orazio Gentileschi, and grew up in this artistic milieu. She became one of the major painters of her day and was the first woman to be admitted to the Accademia del Disegno in Florence. Nonetheless, it was difficult for a woman artist to make her way professionally. In a letter of 1649, she wrote that "people have cheated me" after she had submitted a drawing to a patron only to have him commission "another painter to do the painting using my work. If I were a man, I can't imagine it would have turned out this way." Her best-known subjects are biblical heroines: Bathsheba, the tragic object of King David's passion, and Judith, who saved her people by beheading Holofernes. Both themes were popular during the Baroque era, which delighted in erotic and violent scenes. Artemisia's frequent depictions of these women (she often portrayed herself in the lead role) suggest an ambivalence toward men that was rooted in her turbulent life. (Artemisia was raped by her teacher, Agostino Tassi , who was tried and sentenced to banishment from Rome.) Artemisia's Judith and Her Maidservant with the Head of Holofernes (fig. 19.5) is a fully mature, independent, dramatic, and large work, no less powerful for its restraint. The theme is the apocryphal story of the Jewish widow Judith, who saved her people by traveling with her maid to the tent of the Assyrian general Holofernes (who was about to lead an attack on the Jews), got him drunk, and then cut off his head with his own sword. It yields parallels to the story of David and Goliath—might conquered by virtue and innocence. However, in the case of Judith slaying Holofernes, the victor was not always seen positively, but with some suspicion since her triumph was one of deceit: Having entered his tent and offered him drink, Judith then killed her foe. The unspoken promise of sexual activity was never realized. Here, rather than the beheading itself, the artist shows the instant after. Momentarily distracted, Judith gestures theatrically as her servant stuffs Holofernes's head into a sack. The object of their attention remains hidden from view, heightening the air of suspense and intrigue. The hushed, candlelit atmosphere—tenebrism made intimate—creates a mood of mystery that conveys Judith's complex emotions with unsurpassed understanding. Gentileschi's rich palette, seen here, was to have a strong influence on painting in Naples, where she settled in 1630.

Pantheon, Rome, 110-128 CE

Built by the emperor Hadrian who was an architect, painter and poet that is dedicated to all of the Roman gods (specifically the planetary ones). Has a traditional Greek front and a rotunda (dome) attached to it. Has an opening in it (oculus), and volcanic stone was used to make the dome lighter along with the technique of coffers.

Artist: Bernini Architecture: St. Peter's piazza design and colonnade Year: 1607-1612 (Facade and Nave by Carlo Maderno)

Carlo Maderno (ca. 1556-1629) was the most talented young architect to emerge in the midst of the vast ecclesiastical building program that commenced in Rome toward the end of the sixteenth century. In 1603, he was given the task of completing, at long last, the church of St. Peter's .Pope Clement VIII had decided to add a nave and narthex to the west end of Michelangelo's building, thereby converting it into a basilica plan. This change, which had already been proposed by Raphael in 1514, made it possible to link St. Peter's with the Vatican Palace to the right of the church. St. Peter's Maderno's design for the façade follows the pattern established by Michelangelo for the exterior of the church. It consists of a colossal order supporting an attic, but with a dramatic emphasis on the portals. The effect can only be described as a crescendo that builds from the corners toward the center. The spacing of the supports becomes closer, the pilasters turn into columns, and the façade wall projects step by step. This quickened rhythm had been hinted at a generation earlier in Giacomo della Porta's façade for Il Gesù . Maderno made it the dominant principle of his façade designs, not only for St. Peter's but for smaller churches as well. In the process, he replaced the traditional concept of the church façade as one continuous wall surface, with the "façade-in-depth" becoming dynamically related to the open space before it. The possibilities of this new treatment, which derives from Michelangelo's Palazzo dei Conservatori , were not to be exhausted until 150 years later. Recent cleaning of the façade of St. Peter's revealed it to be of a warm cream color, which emphasized its sculptural qualities.

Victory Stele of Naram-Sin (2254-2218 bce)

Carved to commemorate the leaders achievement. Differs from past art because weapons, writing, and unification by not using registers were introduced to art.

The last judgement, Michelangelo

Christ is larger than the rest Circular cosmos action of raising the righteous and damning the wicked EVERYONE has huge muscles Most people are nude an entire wall of the sistine chapel in fresco. gloomy

rotunda

Circular building with a round structure and dome. The columns are monolithic; they are made from single stones

Classicism

Classicism, in the arts, refers generally to a high regard for a classical period, classical antiquity in the Western tradition, as setting standards for taste which the classicists seek to emulate.

Artist: Claude Lorrain Piece: Pastoral Landscape Medium: Oil/copper Year: ca. 1648

Claude's themes are often historical or pastoral, as in A Pastoral Landscape . He does not aim for topographic accuracy in his paintings but instead evokes the poetic essence of a countryside filled with echoes of antiquity. Many of Claude's paintings are visual narratives drawn from ancient texts, such as the epic tales and poetry of Vergil. Often, as in this painting, the compositions have the hazy, luminous atmosphere of early morning or late afternoon. One can refer to Claude as painting "into the light." That is, his sunlight (often sunsets) is at the center and at the horizon line of the painting so that the architecture and other elements in the foreground or middleground appear almost as silhouettes. This example is painted on copper, a material seventeenth-century artists frequently employed for small works. The surfaces of copper paintings are luminous. Here, the space expands serenely rather than receding step by step as in works by Poussin. An air of nostalgia, of past experience enhanced by memory, imbues the scene. It is this nostalgic mood founded in ancient literature that forms its subject. Claude succeeded in elevating the landscape genre, which had traditionally been accorded only a very low status. Prevailing artistic theory had ranked the rendering of common nature at the bottom of the hierarchy of painting genres, with landscape only just above still life. Claude, encouraged by sophisticated patrons, progressively moved away from showing the daily activity of life at the ports, and embellished his seascapes and landscapes with historical, biblical, and mythological subjects, thereby raising the status of the genre.

Artist: Diego Velázquez Piece: Water Carrier of Seville Medium: Oil/canvas Year: 1619

Diego Velázquez (1599-1660) painted in a Caravaggesque vein during his early years in Seville. His interests at that time centered on scenes of people eating and drinking rather than religious themes. Known as bodegónes, these grew out of the paintings of table-top displays brought to Spain by Flemish artists in the early seventeenth century. The Water Carrier of Seville, which Velázquez painted at age 20 under the apparent influence of Ribera, already shows his genius. His powerful grasp of individual character and dignity gives this everyday scene the solemn spirit of a ritual. The scene is related to Giving Drink to the Thirsty, one of the Seven Acts of Mercy, a popular theme among Caravaggesque painters of the day. Velázquez's use of focused light and the revelation of shapes, textures, surfaces—from the glass of water to the sweat of water on the pottery jug—is extraordinary. He must have thought so, too, as he gave this painting to his sponsor, a royal chaplain from Seville, no doubt in hopes of gaining royal attention.

Discovery of King Tut's tomb

Discovered in 1922 by Howard Carter. It was never found or disturbed by tomb robbers until it's discovery because builders reverted to the old style of funerary tombs which were less attention grabbing.

Which of the following is a common subject in the art of Mary Cassatt?

Domestic portraiture

David

Donatello, bronze, Florence, Italy, c. 1446-60

Types of Greek Columns (tuscan)

Doric (most basic), Ionic (has scroll at the top) and Corinthian (has decorations at the top)

Geometric Period in Greece

During 1000-700 bce Greeks use geometry in their artwork using basic shapes like triangles, rectangles and circles to portray the human figure.

Amarna Period

During this period Egyptian's started portraying figures in a more curvy and stylized way

Archaic period in Greece

During this period black figure painting was a popular vase painting style.

14. Statues of votive figures

Form: - bilateral symmetry - eyes exaggeration (beholding the divine) -gypsum and black limestone Content: -the hands are placed in prayful gesture - elite male and female figures Function: -placed in ziggurat to resemble the people that aren't allowed to be in the ziggurats Context; - found in the Square Temple of Eshunna (modern day Tell Asmur, Iraq) -2700 BCE

3. Camelid sacrum

Form: - carved bone Function: -spiritual mask -house spiritual essence of a hunted animal -sacrum bone powerful symbolism of Osiris and rebirth- triangle Content: - sacrum bone (hip bone) carved in shape of a canine/wolf Context: -found in a tomb in Mexico (MesoAmerica) -14000-7000 BCE

The French Ambassadors

Hans Holbein the Younger, showcased lessons of composition, anatomy, realistic depiction of the human form through light and dark, lustrous color and flawless perspective

Nanna Ziggurat (2100-2050 bce)

Has a mud brick structure. Was a reimage of the white temple and is built 1,000 years afterwards. Named after the moon goddess Nanna.

Jacques‑Louis David

He used a Classical style to depict scenes from Ancient Roman history as allegories for the French Revolution.

Leonardo da vinci

High Renaissance, Mona lisa, the baptism if christ, the last supper, the virgin on the rocks, landscape drawing, flying machine, the virgin and child with st. anne, "" with cat, battle of anghiari

Akhenaten

Important Egyptian ruler who moves Egypts capital, builds a temple and establishes a new religion that honors the sun disk god, Aten. was the son of King Tut

Sublime

In 19th-century art, the ideal and goal that art should inspire awe in a viewer and engender feelings of high religious, moral, ethical, and intellectual purpose.

Ghent Altarpiece

Jan van Eyck, 1432, oil on wood, Ghent, Flanders

The composition is balanced with near symmetry around a focus on the game board

Most accurately characterizes the composition on the vessel

Olmec

Most of these colossal heads were found defaced and buried, probably to mark the death of a ruler of Olmec

Degenerate art

Nazi ridicule of avant-garde art was apparent in the choice of tittle for their 1937 Entartete Kunst art exhibition.

The New York artist Jean-Michel Basquiat is most closely associated with

Neo-Expressionism

Statue of Gudea

Neo-Sumerian Shows Gudea (king) portraying himself as more priestly sitting before his subjects in a pose of greeting or prayer words on his robe are various temples he built: wants to be known as a builder because he rebuilt temples and walls that previous ruler destroyed, he was redefining the city Draws contrast from the style of the previous ruler who was authoritative and militaristic: it was important for Gudea to portray himself as a calm, priest like ruler, low relief and high relief

The visual characteristics of The Prodigal Son link most closely to

Pablo Picasso's introduction of fractured forms

the visual characteristic of the Prodigal son most closely to which of the following artist practice

Pablo Picasso's introduction of the fractured form

Besides the olympics what else did the Greeks invent/ were skilled at

Painting, vase painting and sculpture

Leading greek artsits

Phidas, Plykleitos, Praxiteles

inventions and medias that have changed culture

Photography, computers, cell phones, music videos, computer games, movies, internet

The contemporary artist Annie Leibovitz is best known for her work in

Portrait photography

The painter Rembrandt van Rijn is best known for

Psychologically penetrating self-portraits Innovative group portraits Dramatic use of shadow and light

The composition includes strong diagonals and pyramidal shapes. Extreme contrast of light and dark adds drama. The human figures are used as design composition elements.

Raft of the Medusa by Théodore Géricault

The development of oil paints in the fifteenth century gave artists greater ability to

Record fine detail, Mix colors freely and Portray minute gradations of light

Artist: John Flaxman Piece: Wedgwood Vase (Hercules in the Garden of the Hesperides) Medium: White and blue jasper-ware Year: 1785-1790

Reflecting the rise for all things classical in Britain. Jasper ware is a durable, unglazed porcelain decorated with classically inspire bas-relief (low-relief) or cameo figures. Mostly white relief on a blue or sage green background. Most Wedgewood scenes are not of action, resolve, or a decisive moment reflecting nobility of character. The prettiness if color and design echo Rococo sensitivity and a reminder that the taste for Classical could also be just that, a taste of a certain style or look, with little consideration for a moralistic message. The rise of Wedgewood wares coincided with the Industrial Revolution. This made it so these could be mass produced. Wedgewood and his partner Thomas Bentley were able to accomplish the mass production of quality art at a reasonable price, and they hired Flaxman.

Greek Key Motif

Repeated motifs used in Greek art like a continuous line ir checker board pattern

round domes and barrel vaults were first incorporated into architecture on a large scale during the

Republican era of Rome

Crossing

The area in a church where the transept crosses the nave, frequently emphasized by a dome or crossing tower.

Piece: Hall of Mirrors, Versailles Begun: 1678

The center block contains a single room measuring 240 feet in length, the spectacular Galerie des Glaces, or Hall of Mirrors. At either end are the Salon de la Guerre (Salon of War) and its counterpart, the Salon de la Paix (Salon of Peace). The sumptuous effect of the Galerie des Glaces recalls the gallery of Francis I at Fontainebleau, but the use of full-length mirrors was unique: They represented a great investment on the part of the monarchy. The art of large mirror-making was invented in Venice and brought to France by agents of Colbert. Such extravagant details were meant to reinforce the majesty of both Louis's reign and of France. The mirrors were placed in such a way as to reflect the gardens outside, making the room appear larger by day. At night, myriad reflections of candlelight illuminated the grand space. Whether by day or by night, the effect was impressive.

Landscape Architecture

The greatest Example of this is the campus of Versalles. A lot of this has to do with how a crowd is corralled through out a space.

Armory Show

The landmark exhibition that introduced modern art to the United States

Cella

The middle area of the Parthenon where the statue stands

Rococo Design

The ornate, elegant style most associated with the early-18th-century in France, and which later spread throughout Europe, generally using pastel colors and the decorative arts to emphasize the notion of fantasy.

The Political Agenda in Art

The political ideology of the time is often reflected in works of art in ways or symbols that are not common today, so they are not widely understood after the era the painting was created in has passed.

Imperial Roman

The sculpture shown is an example of this art-historical style

Raphael

The sistine Madonna, the school of athens, transfiguration

coffer

The squared (scaled) ceiling inside the dome. Makes the load of the dome lighter

Chiaroscuro

The treatment of light and shade in a work of art, especially to give an illusion of depth.

Duccio

The virgin and Child enthroned, the panel of the passion of crucifixion

Rubénistes

Those artists of the French Academy at the end of the 17th century and the beginning of the 18th century who favored "color" in painting because it appealed to the senses and was thought to be true to nature. The term derived from admiration for the work of the Flemish artist Peter Paul Rubens. See Poussinistes.

Poussinistes

Those artists of the French Academy at the end of the 17th century and the beginning of the 18th century who favored "drawing," which they believed appealed to the mind rather than the senses. The term derived from admiration for the French artist Nicolas Poussin. See Rubénistes.

Industrial Revolution

Transition to new manufacturing processes in the period from about 1760 to sometime between 1820 and 1840. This transition included going from hand production methods to machines, new chemical manufacturing and iron production processes, improved efficiency of water power, the increasing use of steam power, the development of machine tools and the rise of the factory system. Textiles were the dominant industry of the Industrial Revolution in terms of employment, value of output and capital invested; the textile industry was also the first to use modern production methods. They started using photography in the Progressive era for non documenting purposes, like photographing child workers in sweat shops, which lead to the end of underaged labor

Round arch

Used by the Romans to span their interior spaces and they used wooden scaffolding to support it when built.

Mona Lisa

Used chiaroscuro , triangular composition and all perspective lines converging in a single vanishing point behind her head

Euphrononios (painter) and Euxitheos (potter), Calyx Krater showing The Death of Sarpedon (515 bce)

Uses the red figure painting method portraying a scene from the Illiad and the shape of the vase is based on a flower and is portrayed again in the band.

Stone Age art

Venus of willendorf, bison on cave

Artist: Velázquez Piece: Las Meninas (The Maids of Honor) Medium: Oil/canvas Year: 1656

Velázquez's mature style is seen at its fullest in The Maids of Honor. Both a group portrait and a genre scene, it might be subtitled "the artist in his studio," for Velázquez depicts himself at work on a huge canvas. In the center is Princess Margarita, who has just posed for him, among her playmates and maids of honor. The faces of her parents, King Philip IV and Queen Maria Anna, appear in the mirror on the back wall. Their position also suggests a slightly different vantage point than ours, and indeed there are several viewpoints throughout the picture. In this way, the artist perhaps intended to include a viewer in the scene by implication, even though it was clearly painted for the king and hung in his summer quarters at the Alcázar Palace. Antonio Palomino, the first to discuss The Maids of Honor, wrote: "the name of Velázquez will live from century to century, as long as that of the most excellent and beautiful Margarita, in whose shadow his image is immortalized." Thanks to Palomino, we know the identity of every person in the painting. Through the presence of the princess, king, and queen, the canvas commemorates Velázquez's position as royal painter and his aspiration to the Order of Santiago—a papal military order to which he gained admission only with great difficulty three years after the painting was executed. In the painting, he wears the red cross of the order, a detail added after his death. Velázquez had struggled to establish his status at court. Even though the usual family investigations (almost 150 friends and relatives were interviewed) assisted his claim to nobility, the very nature of his profession worked against him. "Working with his hands" conveyed on Velázquez the very antithesis of noble status. Only by special papal dispensation was he eventually accepted into the Order of Santiago. The Maids of Honor, then, is an expression of personal ambition; it is a claim for both the nobility of the act of painting and that of the artist himself. The presence of the king and queen affirm his status. The Spanish court had already honored Titian and Rubens (although not in the same way); as these artists were both held in high regard, they served as models for Velázquez and continued to have a significant impact on him. The painting reveals Velázquez's fascination with light as fundamental to vision. The artist challenges us to match the mirror image against the paintings on the same wall, and against the "picture" of the man in the open doorway. Although the side lighting and strong contrasts of light and dark suggest the influence of Caravaggio, Velázquez's technique is far subtler. The glowing colors have a Venetian richness, but the brushwork is freer and sketchier than Titian's. Velázquez explored the optical qualities of light more fully than any other painter of his time. He aimed to represent the movement of light itself and the infinite range of its effects on form and color. For Velázquez, as for Jan Vermeer in Delft, light creates the visible world.

Augustus of Primaporta, early 1st century CE, marble

Was Julius Cesear's grand nephew. This statue belonged to his wife for her own personal consumption. And this statue portrays him in his youth and god like because it was the prefererred and only way that the masses saw him, even though he was near death when this statue was created. The pose that he takes up is based off of the statue the Spear Bearer by Polykleitos

Artists: Lord Burlington and William Kent Place: Chiswick House Year: Begun 1725

We can see the impact of Vitruvius Britannicus on Campbell's patron, Lord Burlington (1694-1753), who after a trip to Italy in 1719 became an amateur architect and eventually supplanted Campbell as the leading Palladian. In 1725, Burlington with the artist William Kent (1684-1748) designed Chiswick House, located on Burlington's estate outside of London and one of the most famous Palladian-revival houses. This stately home is based on Palladio's Villa Rotonda, which Lord Burlington had studied on his Grand Tour. The exterior staircase, however, could just as well have come from Campbell's 1715 design for the façade of Wanstead House, which appears in volume one of Vitruvius Britannicus. Chiswick House is remarkable for its simplicity and logic, making it easy to understand why Lord Burlington was such a success as an architect. The building is a cube. Its walls are plain and smooth, allowing for a distinct reading of their geometric shape and the form of the windows. The Greek temple portico protrudes from the wall, again creating a simple and clear form. Even the prominent domed octagonal rotunda is geometric, as are its tripartite semicircular clerestory windows, based on windows in Roman baths. Here we have reason and logic clearly stated, and put in the service of the ideals of morality, nobility, and republican government. Like Shaftsbury, Burlington believed architecture to be an autonomous art dealing in morality and aesthetics, not function.

The Abstract Expressionist movement is associated with a group of

abstract painters based in New York after the Second World War

Genre

a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter.

Domestic portraiture

a common subject in the art of Mary Cassatt

red figure painting

a development in greek vase painting where figures portrayed are the color of the terracotta and the background was black. This style allowed for more detail and distinguishment between figures

The architecture of the Great Mosque at Córdoba features

a hypostyle hall topped by large horseshoe-shaped arches

native Americans philosophy of nature

a maternal force to be loved and respected

fresco

a mural painting technique in which pigments mixed in water are used to form the desired color.

Portico

a porch or entrance to a building consisting of a covered and often columned area. Roman buildings followed this Greek architectural style

Ziggurat

a pyramid-shaped structure with a temple at the top

Colonnade

a row of columns supporting a roof, an entablature, or arcade.

Tympanum

a vertical recessed triangular space forming the center of a pediment, typically decorated.

Mortise-and-tenon

a way to join two pieces of materials so that it's secure

bark paintings from Oceania often depict

sacred figures

Egyptology

the study of language, history and civilization of ancient Egypt, a special branch of science of archelogy it reconstructs Egyptian civilization from the huge storehouse of surviving antiquities.

Pediment

the triangular upper part of the front of a building in classical style, typically surmounting a portico of columns.

In her painting "Judith & Holofernes", Shown, Artemisa Gentieschi drew attention to the painting's focal point, the beheading of Holofernes, primarily through

the use of lines created by the figures' limbs

Roman architect in the renaissance: reason

theories emphasized architecture's rational basis, grounded in science, math, and engineering

Velazquez family tree: whistler

used dark, full length figures on neutral ground, reduced content to essential expressive forms

Issamu Noguchi

used balance to contribute most to the sense of tension embodied in "Red Cube".

Rembrants early style

used dramatic light/dark contrasts, design seemed to burst frame, scenes featured groups of figures, based on physical action, vigorous melodramatic tone, highly finished detailed technique

Nave

(1) The central aisle of a Roman basilica, as distinguished from the side aisles. (2) The same section of a Christian basilican church extending from the entrance to the apse or transept.

Paleolithic art time period

35,000 to 7,000

neolithic

New stone age

mesolithic

middle stone age

hogarths paintings used

many small touches to suggest the storyline of his paintings

Hogarth, Breakfast Scene from Marriage a la Mode

- Period: 18th Century, England - Style: English Baroque

neolithic (near east)

6000 - 3500

mesolithic (Europe)

7,000 - 4,000

mesolithic 9near east)

7,000 - 6,000

Illuminated Manuscript

: a manuscript in which the text is supplemented with such decoration as initials, borders and miniature illustrations and can be decorated with gold or silver.

The Sistine chapel

A Catholic church in Vatican City, Italy. Its ceiling was painted by the Renaissance artist Michelangelo. Fresco, 10,000 square feet , less than four years to complete .

Martyrium

A building or chamber used by early Christians as a burial place, and is also a place where the relics of martyrs are preserved.

Flying Buttress

A buttress slanting from a separate pier, typically forming an arch with the wall it supports

Artist: Gianlorenzo Bernini Piece: Baldacchino Medium: Gilt bronze Year: 1624-1633

After Maderno's death in 1629, his assistant Gianlorenzo Bernini (1598-1680) assumed the title "architect of St. Peter's." Considering himself Michelangelo's successor as both architect and sculptor, Bernini directed the building campaign and coordinated the decoration and sculpture within the church as well. Given these tasks, the enormous size of St. Peter's posed equal challenges for anyone seeking to integrate architecture and sculpture. How could its vastness be related to the human scale and given a measure of emotional warmth? Once the nave was extended following Maderno's design, Bernini realized that the vast interior needed an internal focal point. His response was to create the monumental sculptural/architectural composite form, known as the Baldacchino, the "canopy" for the main altar of St. Peter's, at the very crossing of the transept and the nave, directly under Michelangelo's domeand just above the actual crypt of St. Peter where the pope would celebrate Mass. This nearly 100-foot piece created mostly in bronze stripped from the ancient Pantheon stands on four twisted columns, reminiscent of those from the original St. Peter's (and thought, too, to replicate those of Solomon's Temple). Rather than an architectural entablature mounted between the columns, Bernini inventively suggests fabric hanging between them. He used actual leaves, vines, fruits, and even lizards and cast them in bronze for the decoration. The Baldacchino is a splendid fusion of sculpture and architecture. At its corners are statues of angels and vigorously curved scrolls, which raise a cross above a golden orb, the symbol of the triumph of Christianity throughout the world. The entire structure is so alive with expressive energy that it may be considered as the epitome of Baroque style. In a related tribute, we see through the columns of the Baldacchino to the sculptural reliquary of the throne of St. Peter, the Cathedra Petri in the apse of the church, also designed by Bernini. Photo Scala, Florence The papal insignia—the triple crown and crossed keys of St. Peter—and the coat of arms of the pope under whose patronage this structure was created—the Barberini bees of Urban VIII—are significant elements of decoration in the Baldacchino. These same identifiers can also be seen in Cortona's Barberini ceiling Bernini's Baldacchino honors not just the power and majesty of God, but that of his emissary on earth, the pope. Bernini's relationship with the pope was one of the most successful in the history of patronage. Indeed, upon his elevation to the papacy, Urban VIII was said to have told the artist: "It is your great good luck, Cavaliere, to see Maffeo Barberini pope; but We are even luckier in that Cavaliere Bernini lives at the time of our pontificate." (However, the artistic aims of this pope drained the papal treasury and both the pope and, by association, Bernini were blamed for the excesses after Urban's death.) As Bernini directed our attention within the church, he also (later, under the patronage of Pope Alexander VII [r. 1655-1667] orchestrated our entrance into St. Peter's. Thus, he molded the open space in front of the façade into a magnificent oval piazza that is amazingly sculptural. This "forecourt"—an immense keyhole-shaped colossal colonnade—imposed a degree of unity on the sprawling Vatican complex, while screening off the surrounding slums. This device, which Bernini himself likened to the motherly, all-embracing arms of the Church, was not new. What was novel was the idea of placing it at the main entrance to a building. Also unusual was the huge scale. For sheer impressiveness, this integration of architecture and grandiose setting can be compared only with the ancient Roman sanctuary at Palestrina. Bernini's one major failure visually of St. Peter's was his inability to execute the bell towers that were initially planned by Bramante. He began construction, but, much to Bernini's humiliation, cracks appeared, and although these could have been the result of normal foundation settling, an inquest was convened, and the towers were dismantled. This failure would haunt him, but would provide a competitive resource for his rivals: Borromini in Italy and later Wren in England.

Artist: Watteau Piece: Seated Young Woman Medium: Trois crayon drawing Year: 1716

Although previous artists, including Rubens, may have drawn with red or black chalk heightened with white, Watteau excelled in this technique, known as trois crayons. In Seated Young Woman (fig. 22.3), he uses the three chalks to best effect, so that the red color that defines her body-legs, hands, parts of her face (lips, tip of nose), nape, breast-suggests a vivacious quality when contrasted against the black and white of her clothing, eyebrows, and upswept hair. The colors enliven and add a spontaneity to this life drawing. In numerous sketches, Watteau worked out poses, movements, gestures, and expressions, many of which (although apparently not this drawing) served as studies for figures in his paintings.

caryatid

An architectural column in the form of a human figure.

expressionism

An artistic style in which an emotion is more important than adherence to any perceptual realism. It is characterized by the exaggeration and distortion of objects in order to evoke an emotional response from the reviewer

impressionism

An artistic style that sought to re-create the artists perception of the changing quality of light and color in nature.

Artist: Francisco Goya Piece: Third of May Medium: Oil on Canvas Year: 1808 or 1814

An even more powerful mood of futility pervades The Third of May, 1808 , painted in 1814 and one of many paintings, drawings, and prints that Goya made from 1810 to 1815 in response to the French occupation of Spain in 1808. The corruption of the Spanish administration forced Charles IV to abdicate in 1807. He was replaced by his son Ferdinand VII, who was deposed in 1808 when Napoleon's troops marched into Madrid and put the emperor's brother, Joseph Bonaparte, on the throne. Enlightened Spain was initially optimistic that the Enlightened French would bring political reform. But in Madrid a people's uprising spurred by nationalism resulted in vicious fighting and wholesale slaughter on both sides, within days fanning out across the entire country and then dragging on for six years. Goya's enormous, dramatic picture, painted after Napoleon had been deposed and Ferdinand reinstated, shows the mass execution of Spanish rebels that took place on May 3, 1808, on a hill outside Madrid. How different it is from Neoclassical history painting that presented great and famous exemplars of nobleness, morality, and fortitude! Goya presents anonymous nobodies caught up in the powerful forces of history. Here we see the mechanical process of the slaughter. One rebel with raised arms, dressed in the yellow and white colors of the papacy, has the pose of Christ on the Cross. His right hand has a wound suggesting the stigmata. But ironically Goya denies the rioters the status of martyrs. They are consumed by the fear of death, not the ecstasy of sacrifice. No divine light materializes to resurrect them, and the church in the background of this imaginary scene remains dark. When the stable lantern—which in its geometry and light could be construed as an emblem of Enlightenment logic and progress—is extinguished, there will be only eternal night, symbolized by the inert foreground body, whose face is reduced to a gory mass of paint. The faceless executioners, also small cogs in the wheel of history, are indifferent to their victims' fear of death and frantic pleas for mercy. Goya whips up the horror and emotional turmoil of his scene by rejecting tight Neoclassical paint handling, linearity, planarity, and even lighting, and by replacing this aesthetic with feverish loose brushwork, intense colors, compositional turmoil on the left, and a dramatically receding line of soldiers on the right. Goya painted The Third of May, 1808 at a time when he was desperate for work: He wanted to gain royal favor with this picture, hence his scripting of it so that it could be read as being about the sacrifice of the Spanish to the agents of political tyranny. But the real themes of the image are the anonymity of death and the senseless brutality of war. Its power lies in its ability to instill in a viewer an intense sense of terror that makes one confront the inescapable knowledge of one's own mortality.

Pallete of Narmer (2950 bce)

An eye makeup compact that portrays the leader Narmer and the unification of lower and upper Egypt

incorporation of light and color into a church interior

An important innovation in the Gothic architecture of the abbey church of Saint-Denis

Contrappasto

An italian word to describe a technique that portrays a shift in the pelvis when more weight is shifted to one leg. This techniqye was used to bring more realism to sculptures

Artist: J.M.W. Turner Piece: The Slave Ship Medium: Oil on Canvas Year: 1840

And is seen in The Slave Ship or Slavers Throwing Overboard the Dead and Dying—Typhoon Coming On of 1840. These late works were condemned in Turner's own time. His contemporaries thought he had gone mad, for they found the works virtually unreadable, and certainly unintelligible. Furthermore, his epic stories were no longer drawn from mythology or history but from seemingly minor contemporary events. His earlier work may have been atmospheric, but there was always enough drawing to suggest precise objects, a distinct composition, and legible spatial recession and relationships, as we see in Snowstorm. Later, this readability evaporates in a haze of color and paint that represents the essence of mist, light, and atmosphere. The Slave Ship shows the sick and dying human cargo being thrown into the sea during a typhoon. Turner was inspired by James Thomson's The Seasons (1730), where the poet describes how sharks follow a slave ship during a typhoon, "lured by the scent of steaming crowds, or rank disease, and death." Turner was also influenced by a recent newspaper account of a ship's captain who had jettisoned slaves in order to collect insurance, which paid for cargo lost at sea but not for death from illness. Here, Turner gives us a close-up of human suffering. Outstretched hands pleading for help, a leg about to disappear into the deep for a last time, the gruesome blackness of flailing chains and manacles, the frenzied predatory fish, and bloodstained water all dominate the immediate foreground. In the background is the slave ship, heading into the fury of the typhoon and its own struggle for survival, its distance and silence a metaphor for the callous indifference of the slavers. The searing brilliance of the sun bathes the sky in a blood-red aura, its seemingly infinite reach complementing the omnipotence of the raging sea. This is a tragic, horrific scene, made a few years after Britain banned slavery entirely in the Abolition of Slavery Act (1833; the Atlantic slave trade had been outlawed in 1807). Turner certainly makes us feel the hardened inhumanity of the slavers, encouraging us to despise them. And yet, the picture has a haunting thematic and moral ambiguity: Birds eat fish and human carcasses, fish feed on other fish and discarded slaves, and slavers fight for their lives in the face of a storm. The picture is as much about the struggle of daily life and the role of fate as it is about the immorality of the slavers, the only constant being the frightening power of nature.

The first feminist painter (Caravaggisti)

Artemesia Gentileschi

Artist: Jean-Siméon Chardin Piece: Back from the Market Medium: Oil on Canvas Year: 1739

Back from the Market (fig. 22.8) shows life in a Parisian bourgeois household. We see the large room but cannot ignore the potentially amorous scene taking place outside on the left. The maid's posture, leaning to her left with her shoes pointed to the right, suggests informality (we have seen this leaning in figs. 22.4 and 22.5). The beauty hidden in everyday life and a clear sense of spatial order beg comparison with the Dutch artist Jan Vermeer (see fig. 20.35). However, Chardin's brushwork is soft at the edges and suggests objects rather than defines them. In the still-life elements in the painting (the floured loaves of bread are especially notable), he summarizes forms and subtly alters their appearance and texture. Thus, one can understand the appeal of pastel painting as Chardin often turned to this medium late in life, when his eyes were failing him.

The Cornaro Chapel by Bernini is characteristic of which of the following art - historical styles?

Baroque

Rembrandt

Baroque, portraits

Colosseum (Flavian Amphitheater), Rome 72-80 CE

Built by the Roman emperor, Vepasian. It was built to be an entertainment center for athletics, animal hunts, fights between humans, fights between humans and animals, circus acts, and mock sea battles. It's 10ft high and could hold more than 50,000 people. Used the ionic, doric and pediment columns and arches.

Artist: Frederic Edwin Church Piece: Twilight in the Wilderness Medium: Oil on Canvas Year: 1860

By January 1860, Church had begun working on Twilight in the Wilderness , which he finished that year, exhibiting it to wild acclaim, first in the Tenth Street Studio Building, where he had a studio, and then at the Goupil Gallery in New York. While working on this painting, he was also finishing up The Heart of the Andes, the result of a second trip to South America in 1857, and starting Icebergs, his first major iceberg painting. Twilight represents the wonders of the American wilderness, most viewers associating it with Maine and New Hampshire. The picture represents a temperate environment and nicely complements the tropical and Arctic themes of the other two works in Church's studio at the time, the trilogy in effect presenting a compendium of New World climates as described by the German explorer and naturalist Alexander von Humboldt in his five-volume book Cosmos (1845). As its title suggests, the picture represents the American wilderness, a pure, unspoiled Garden of Eden, with no sign of human presence. Americans considered brilliantly colored sunsets unique to their country, thus an emblem of the nation, just as they did the spectacular autumnal foliage, which was especially popular with painters. But Church's use here of twilight probably has a second function, that of referring to the twilight of the wilderness as New England especially was being settled and crisscrossed with railroad tracks, and pioneers, driven by Manifest Destiny (the compulsion to settle the entire continent), were swarming west toward the Pacific. And twilight has a third function in the image. We must remember the painting was made in 1860, a year before the Civil War, which most everyone knew was looming on the horizon as the slavery issue violently divided the nation. Church makes the country the focus of his picture by putting an American eagle on top of the dead tree in the left foreground, the tree serving as a pole for the American flag of fiery red altocumulus clouds and blue sky. As the sun sets behind the horizon, Church casts doubts on the future of both the wilderness and the nation itself.

Artist: Rembrandt van Rijn Piece: Night Watch (The Company of Captain Frans Banning Cocq) Medium: Oil/canvas Year: 1642

By the 1640s, Rembrandt had become Amsterdam's most sought-after portrait painter, and a man of considerable wealth. His famous group portrait known as The Night Watch, because of its old darkened varnish (now cleaned off), was painted in 1642. It shows a military company in the tradition of Frans Hals's Civic Guard groups , possibly assembling for the visit of Marie de' Medici of France to Amsterdam. Although the members of the company had each contributed toward the cost of the huge canvas (originally it was much larger), Rembrandt did not give them equal weight pictorially. He wanted to avoid the mechanically regular designs of earlier group portraits—a problem only Frans Hals had solved successfully. Instead, he made the picture a virtuoso performance filled with movement and lighting, which captures the excitement of the moment and provides a unique sense of drama. The focus is on Captain Frans Banning Cocq, whose hand extends toward us and even creates a shadow across the yellow jacket of his lieutenant; other figures are plunged into shadow or hidden by overlapping. Legend has it that the people whose portraits Rembrandt had obscured were not satisfied with the painting, but there is no evidence for this claim. On the contrary, we know that the painting was much admired in its time, and Rembrandt continued to receive major public commissions in the 1650s and 1660s.

Art patronage during the Italian High Renaissance was most often provided by the

Catholic Church

Ara Pacid, "Altar of Peace, Rome, 13-9 BCE

Celebrates the return of Augustus to the city after a civil war brought him to rule the empire. Combines both architecture and sculpture. Refrences mythological characters and portraits of the royal family. Implements a lot of aspects from Greek architecture.

Madonna Enthroned with Angels and Prophets

Cimabue, from Santa Trinità, Florence, Italy, c. 1280

Titian painting tecnhique

Covered his canvas with red for warmth, then painted background and figures in vivid hues and toned them down with thirty or forty layers of glazes.

Hathor

Cow-goddess of love and music

funerary temple of hatshepsut location

Deir el-Bahari, Egypt

Artist: Eugène Delacroix Piece: Women of Algiers Medium: Oil on Canvas Year: 1834

Delacroix's style underwent a change in the 1830s after a trip to North Africa; his palette became brighter and his paint handling looser. In 1832-33, Delacroix was asked to visually document the duc de Mornay's diplomatic mission to Morocco, and he excitedly made hundreds of watercolors that provided him with wondrous Oriental themes for the rest of his life. In Morocco, Delacroix entered a world of exotic architecture, clothing, and landscape, of intense light, and of unimaginably bright colors in fabrics, tiles, and interior design that displayed a horror vacui rivaling his own. That his palette became more colorful can be seen in Women of Algiers , painted in Paris in 1834 from studies. To enter the secluded world of a harem, Delacroix had to obtain special permission, and the mood of the painting captures the sultry, cloistered feeling of this sensual den. We can almost smell the aroma of incense, the fragrance of flowers, and the smoke from the hookah. Delacroix's hues are as sensual as his subject. Color is dappled, and contours are often not continuous or drawn but just materialize through the buildup of adjacent marks . A sea of paint and color covering the entire surface dissolves Neoclassical planarity and space. This technique began to free paint from what it was supposed to represent and established a platform for a new artistic style just over the horizon, Impressionism.

Artist: Nicolas Poussin Piece: The Abduction of the Sabine Women Medium: Oil/canvas Year: 1633-34

Demonstrating Poussin's allegiance to classicism, The Abduction of the Sabine Women displays the severe discipline of his intellectual style, which developed in response to what he regarded as the excesses of the High Baroque. The strongly modeled figures are "frozen in action," like statues. Many are, in fact, derived from Hellenistic sculpture, but the main group is directly inspired by Giovanni Bologna's The Rape of the Sabine Woman . Poussin has placed them before reconstructions of Roman architecture that he believed to be archaeologically correct. Poussin thought the highest aim of painting was to represent noble and serious human actions. Emotion is abundantly displayed in the dramatic poses and expressions of the figures here, but there is a lack of spontaneity that perhaps causes it to fail to touch us. In part, this is due to their derivation from sculpture. The scene has a theatrical air, and for good reason. Before beginning the painting, Poussin, besides making preliminary drawings, arranged wax figurines on a miniature stage until he was satisfied with the composition. Poussin believed that the viewer must be able to "read" the emotions of each figure as they related to the story. Such beliefs later proved influential to his student Charles Le Brun when establishing an approved court style for French painting. These ideas were not really new.

Ansel Adam's "Marion Lake, King's County National Park, California"

Demostrates Adams use of a deep depth of field created by a small aperture.

99. Portrait of Sor Juana Ines de la Cruz

Form: - style: enlightenment -baroque: billowing red curtain -oil on canvas Content: -typical nun looks -surrounded by books (educated) -nun=sor -wearing a shield -has painting of Virgin Mary -hold St. Jerome's translation of the Bible (her religious order is named after him) -toys with rosary in her left hand -gaze directly at viewer -red curtains shows higher status -woman taking on the clergy Function: -conveys religious and intellectual status -feminist Context: -artist: Miguel Cabrera -1750 CE -location: Mexico City

156. Great Serpent Mound

Form: -1300' long, 3' high follows a river east/west axis earthwork site specific Mississippian culture Content: -numerous mounds forming the shape of a serpent Function: connection to Haley's comet might have been used to mark time/seasons Context: -Adams County, Ohio 1070 CE (11th century)

Classical Period of Greek Art

During this period the Greeks take a shift from stylized art to realism. Some changes were from having an archaic smile to no smile and having long braids to shirt curls.

Rembrandt the Nightwatch

Dutch Baroque

Piet Mondrian's " The Red Tree"

Dynamic balance around a vertical axis

Horus

Egyptian falcon-headed sky god with human arm

A linocut

Elizabeth Catlett's "Sharecropper"

Japanese temples

Emphasis of this architecture is on the horizontal

which of the following artists subject matter focused on exotic places, political freedom and violent struggle

Eugene Delacroix

Bernini, Ecstasy of St. Theresa

Famous baroque sculpture made for the Church of Santa Maria., represented the saint swooning on a cloud, textures in white marble made flesh look realistic, artist tried to induce a religious experience

221. Navigation Chart

Form: - wood and fiber, cowrie shells (used to show the location of an island) Function: - horizontal and vertical sticks - curved sticks represent wave swells - used as to map out the wave swells of the Marshall Islands Content: -depicts the wave patterns surrounding the Marshall islands -sailors would memorize them and then leave them behind Context: - Marshal Islands, Micronesia - 19th-early 20th century - made for sailors

177. Lukasa (memory board

Form: - wood, beads, and metal - covered in material and shaped like a turtle shell Function: -used by the Luba peoples (Mubydye people) -interpreted by a specialist in different ways - shows the different aspects of the Luba culture Content: -each is unique and shows different stories of the Luba people Context: -Democratic Republic of the Congo -Luba peoples in the 19th and 20th century

Artist: Nicolas Pineau Place: Hôtel de Varengeville, Paris Year: 1735

Few of these Rococo rooms survive intact; the vast majority have been destroyed or greatly changed, or the objects and decorations have been dispersed. Even so, we can get a good idea of their appearance through the reconstruction of one such room (perhaps from the ground floor behind the garden elevation) from the Hôtel de Varengeville, Paris (fig. 22.11), designed about 1735 by Nicolas Pineau (1684-1754) for the duchesse de Villars. Pineau had spent 14 years in Russia collaborating with other French craftsmen on Peter the Great's elaborate new city of St. Petersburg. His room for the duchess incorporates many contemporary Rococo features. To create a sumptuous effect, the white walls are encrusted with gilded stucco ornamentation in arabesques, C-scallops, S-scrolls, fantastic birds, bat's wings, and acanthus foliage sprays. The elaborately carved furniture is embellished with gilt bronze. Everything swims in a sea of swirling patterns united by perhaps the most sophisticated sense of design and materials the world has ever known. No clear distinction exists between decoration and function in the richly designed fireplace and the opulent chandelier. The paintings, too, have been completely integrated into the decorative scheme, with works by Boucher set over two of the doors (such paintings even established a new type of work called "overdoors"). Similarly elaborate, gilt-decorated white walls became the hallmark of the Rococo, not only in its private spaces, but in church and palace decoration as well, especially in central Europe.

4. Running horned woman

Form: - canyon painting (layers of painting from different times so makes it hard for carbon dating) -depicts motion Function; - show this person as holy or a god bc of the horns Content: - shows a woman with horns running - dots on her body represent body painting - shows a deity wearing ceremonial headgear? Context: - in situ on canyon walls in the Sahara - 6000-4000 BCE (neolithic)

248. Shibboleth

Form: - crack in the concrete floor of the Tate Modern Function: - addressing racism in this modern culture -sees what side of the "crack" someone is on (each person takes a side) -addresses social exclusion in society Content: - 548 ft crack Context: - site specific- temporary installation in the Tate Modern (can still see where the crack was now) - "shibboleth" comes from the bible and who ever could say the word correctly was apart of the group and if you couldn't say the word correctly you were not in the group - made by Doris Salcedo (cuban artist) in 2008

151. Spiral Jetty

Form: - earthwork: mud, salt crystals, rocks, water coil - arranged in counterclockwise motion Content: - a pathway that goes out in the Great Salt Lake Function: - this work of art is ever-changing because of the water levels - supposed to be a pilgrimage to get there Context: - Great Salt Lake, Utah -site-specific - made by Robert Smithson in 1970

48. Catacomb of Priscilla

Form: - excavated tufa and fresco -figures flat and with less detail (roman painting style) -passageways underneath city of Rome, 100 miles long -pendentives with picture Content: -shelves for bodies; wealthier people: sarcophagus -scenes of New and old Testament -curriculum -Good Shepherd Fresco -orants figure: arms stretched out Function: -tombs of poor and wealthy for 1000s of people -poor people has body one on top of the other Context: - wealthy woman donated land for her family and other Christians to be buried -3 stories deep -Greek and Latin

142. The Jungle

Form: - gouache on paper mounted on canvas - more dense on top, more open on the bottom of the work - surrealism and afro-Cuban elements Function: - large painting made after Wilfredo returned to his homeland of Cuba from Europe - work of art rejects stereotypes bc of the slaves he shows growing sugarcane in the jungle Content: -cluster of faces, limbs, bamboo, and sugar cane - shows slaves growing sugarcane in jungle (which didn't happen) -Santeria: mixes African beliefs and customs with Catholicism -femme cheval: half woman, half horse Context: - Wilfredo Lam made this in 1943 - made during WWII in Cuba-

56. Great Mosque

Form: - hypostyle mosque -spolia (using roman and Christian pieces from old church it used to be -vossoir: wet stone that holds arches up -grid vaulting -culturally diverse Content: -horseshoe arches with vaults above -mihrab- niche is Qibla wall (mostly decorated in geometry and text) -wooden cieling -mosaics everywhere- byzantine artists from Constantinople -Qibla Wall- direction of where Muslims have to pray in order to pray towards Mecca -Kufic calligraphy -856 columns Function: -1st: Roman temple (Janus) -2nd: Chirstian church -3rd- mosque -now: cathedral Context: -Cordoba, Spain- Umayyad 785-786 CE

12. White Temple and its ziggurat

Form: - mud brick -collosal scale -built to resemble mountain Content: - sloping walls, bent access (ramp up to enter the altar), 3 entrances -mosaic surface Function: - temple that is a meeting place for humans and gods in the center of the city -votive figures and dedicated to Anu the sky god -top temple was only for royals or clergy to enter Context: - Uruk; Modern day Warka, Iraq -Sumerian - 3500-3000 BCE

58. Church of Sainte-Foy

Form: - romanesque style -symbolic Latin cross plan -vaulting, groin vaults -spolia -archivolts: bands that go around tympanum Content: - reliquary of Saint Foy -tympanum of Last Judgement (Christ as the judge of the damned and saved) -gallery on top (distributes the weight) -barrel vaulting -tympanum -radiating chapels, nave arcade -3 aisles -dark building Function: - pilgrim church, people come to see -built so that it could handle a lot of people -reliquaries - part of monastery where monks lived Context: - Conques, France 1050-1130 CE (12th century)

8. Stonehenge

Form: - sandstone -post and lintel (two vertical posts support a horizontal beam) - arranged in a circle (cromlech) Content: - stones in a centralized plan -small stones surrounding in no specific pattern Function: - probably religious ceremionies - burial? - marker of mid-summer solstice Context: -Wiltshire, UK in 2500-1600 BCE

44. Colosseum

Form: - stone + concrete -Corinthian, Doric, and ionic columns -outside mostly intact -barrel vaults, thick walls, groin vaults, arches Content: -2 theaters -downward force of arches -bronze shield on top, 4 layers -76 entrances Function: -entertainment for the public -usually dangerous like gladiator fights or animal hunts Context: - Rome, Italy 70-80 BCE - Imperial Rome

70. Palazzo Rucellai

Form: -3 levels (like classical) -round arches Content: -3 levels: each different column style -built around courtyard -levels around divided by entablatures with frieze -Medici and Rucellai symbol in frieze -humanism: domestic architecture Function: -show allegiance to Medici -civic pride -beautiful city -residences and businesses -show their good taste Context: -architect: Leon Battista Alberti -1450 CE Florence, Italy -Giovanni Rucellai commissioned it -Early Italian Renaissance

60. Chartres Cathedral

Form: -3 phases of Gothic (Early in facade, High French in back, Late in the North Spire) -painted arches, rib vaults- Gothic elements -colors vivid -knowledge, nature, light -limestone, stained glass Content: -stained glass- triforium -narrow passageway -jamb figures -relic: Mary's dress Function: -Church with great beauty that honors Mary and gives her the respect she deserves -built after they found Mary's Tunic unharmed in the fire Context: -Chartres, France 1145-55 CE reconstructed in 1194 because of a fire Roman> Gothic

125. Mont Sainte-Victoire

Form: -3 sections -warm and cool contrast -multiple vantage points -shatters one point perspective -faceted brushwork -relationship of forms Content: -orange: rooftops -green: trees -mountain Function: -landscape painting -paints how things relate to eachother Context: -Paul Cezanne -1902-04 -Southern France, post impressionism

149. The Bay

Form: -Abstract expressionism -Use of acrylic (had just been invented) -Soak-Stain method: pouring wet paint onto a canvas and moving it around -Paint seeps and flows and interacts with the fiber Content: -Prominent blue section shifting from violet to indigo then into navy -Blurring of the colors, blues blend together Function; -Color as the subject of the painting -Subject could also be a landform of some sort? Context: -Helen Frankenthaler, 1963 CE

130. The Portugese

Form: -Analytic Cubism (no color, plain, simplified, cubes) -text as art with images -resembling broken glass, fragmented Content: -guitar player on a dock? -stenciled text Function: -transitional piece into the new form of Cubism Context: -artist: George Braque -1911 CE

128. The Kiss

Form: -Art Nouveau (jugendstil) -flat figures, rich colors -gold (Byzantine influence) Content: -couple laying in a field of flowers -"eternity of a kiss" -both crowned with leaves or flowers Context: -artist: Gustave Klimt -1907-08 CE

92. Woman Holding a Balance

Form: -Catholic elements -Scientific lighting -genre scene -small scale, oil on canvas -use of light -vanishing point -color palette Content: -women part of upperclass (fine clothing) -fur coat -balance has nothing in it -weighing valuables -Last Judgement scene above Function: -material wealth -painting for merchants -religious meaning but not painted just for Church -time and change Context: -artist: Johannes Vermeer -1664 Dutch Baroque

150. Lipstick

Form: -Cor-ten steel, aluminum, cast resin -Painted with polyurethane enamel -Enlarged scale (24') -Original was temporary (made permanent in '74 with steel) -Made to be seen as a missile or a tank Content: -Massive lipstick (feminine) -"make love not war" Function: -War protest against Vietnam War -Alludes to military because of the caterpillar tracks -Pop art as seriousness and levity -Public monument -Combined feminine stereotype (makeup) with masculine stereotype (war) Context: -Claes Oldenburg, 1969-74 -Yale University alumni, Put on Yale's campus

87. Self Portrait with Saskia

Form: -Dutch Baroque -difference in emphasis on the figures -exists in 3 different states -rich tonal quality -abrupt spatial construction -etching (exposing metal) -genre: private movement between husband and wife -small scale Content: -Rembrandt and wife in historical clothing -wife, Saskia died at the age of 30 (only piece he did of her) -Rembrandt drawing his drawing -exploring who he is Function: -self portrait/marriage portrait -role playing Context: -Rembrandt 1636 -he is mostly a portrait maker -Dutch, Amsterdam -Dutch Baroque

133. Self Portrait of a Soldier

Form: -German Expressionism -angular/powerful colors -explosion of color Content: -dehumanizing aspects of human life -Kirchner as a soldier standing in his studio -right hand amputated, bloody stump -nude model behind him (showing that he is the artist) Function: -emotion expressed through color -effects of war on a soldier or anyone involved -call for young people to fight Context: -artist: Ernst Ludwig Kirchner -1915 CE

132. Improvisation 28 (second version)

Form: -German Expressionism -expressing things through colors -non-objective Content: -concerning the spiritual in art -synesthetic experience -black diagonal lines -color as the keyboard Function: -each color plays chord in your soul -music as art Context: -artist: Vassily Kandinsky -1912 CE

112. Palace of Westminster

Form: -Hammer Beam Construction in the Westiminster Hall -Romanticism -classical building with a Gothic exterior, Gothic revival -limestone, masonry, glass Content: -central lobby -westiminster hall (oldest section) Function: -where the House of Lords and Commons meet -rebuilt because a fire burned down old palace that was originally there Context: -London, England -architect: Charles Barry -designer: Augustus Pugin -1840-70 CE

94. Screen with Seige of Belgrade and hunting scene

Form: -Japanese folding screen (Biombo) -Spanish Colonial Baroque -tapestry -tempora/resin on wood -shell inlay (Aztec) Content: -historical event from Europe -one side: battle scene -other side: landscape -Great Turkish War -combines multiple cultures Function: -expresses exonomic power of the Spanish in Colonial Mexico -made Spanish viceroy -room divider (biombo- Japanese folding screen) -relationship between Japan and Latin America Context: -Circle of Gonzalez Family, 1697-1701 CE -Spanish Colonial

224. The Gates

Form: -Mixed-media installation - 7503 saffron-colored fabric panels stretched across two beams to created a 16ft tall gate - gates make a 23 mile pathway through Central Park Function: - wanted to create "a golden ceiling creating warm shadows" after the struggling times NY was going through after 9/11 - wanted to create unity among the NY community and bring joy to them all Content: - gates put over 23 miles of sidewalks through Central Park - site-specific Context- - Christo and Jeanne-Claude. - took from 1979-2005 to make and was put up for only 16 days - Central Park, NYC

15. Seated Scribe

Form: -painted limestone -crystal limestone eyes Content: -royal scribe -depicted with sagging body (realistic not ideal), thin face -holding tools to show he is ready to write Function: -shows that the scribe is important but not perfect like a pharoah -made for tomb at Saqqara for the ka Context: -Saqqara, Egypt 2500 BCE -found near tomb (funerary object)

204. David Vases

Form: -Mongolian style -white porcelain with cobalt blue underglaze from Iran -2 1/2 feet tall -text Content: -peonies= prominent scrolling flower -inscription with date, location, temple, patron, and purpose -phoenix and dragon balanced (symbol of Daoist faith- ying and yang) -elephant handles Function: -made for Daoist temples to honor a military leader who was diefied -expression of Silk Road -held flowers beside an altar Context: -apart of wealthy man's collection -1351 CE -Yuan Dynasty, Mongol Empire -Beijing, China

113. Stone Breakers

Form: -Realism (anti-heroism -oil on canvas/chunky -rough brushwork -against neoclassical style that dominated French art -dark palette Content: -young and old man -faceless men doing painful work that will neber get them out of poverty -this owrk is punishment for chain gangs -rock=faces Function: -"painting of nothing" -cycle of poverty -works: economically and physically trapped -accurate display of abuse and deprivation that was common in French rural life Context: -1849 (destroyed during bombing of Dresden in 1942) -artist: Gustave Courbet (prolific artist)

160. Maize cobs

Form: -Realism: sheet metal pressed against actual maize to get the texture (repousse) -oxidized silver (black maize) Content: -corn was revered because of its importance to the diets of the Incans Function: -show importance of corn Context: -1440-1533 CE Inka

90. Angel with Aequebus

Form: -Spanish Colonial Baroque -idealistic -Latin inscription -oil paint -part of a large history Content: -guns from 80 years war -feathered crown -nobility -elegant clothing -Catholic missionary -Asiel fears God -Church=army -angel=soldiers -aristocratic clothing -Angel with gun Function: -militarist approach to faith -propaganda for war Context: -17th century Peru -artist: Asiel Timor Dei

194. Funeral banner of Lady Dai (Xin Zhui)

Form: -T-shaped painted silk banner -over 6' long -set in registers -depth shown -naturalistic scenes not just abstract shapes -bi: disc with a hole that represents the sky Content: -registers represent the 3 layers of the universe -Lady Dai stands on platform with her servants as she is pictured ascending into heaven -dragons frame the scene on both sides -sacrificial funerary rituals shown taking place in a mourning hall in the bottom register Functions: -put over the tomb Context: -Han Dynasty, China- 180 BCE

100. A Philosopher Giving a Lecture on the Orrery

Form: -Tenebrism now used in secular aspects (mimicking Caravaggio) -Chiaroscuro: contrast between light and dark Content: -orrery: model of the solar system (heliocentric) -philosopher explain something to people in painting (education is sacred) Function: -introduction to science -celebrates access to knowledge -shift from religion to science -philosophical groups emerging Context: -1763-1765 CE -artist: Joseph Wright of Derby

153. Chavin de Huantar

Form: -U-shaped temple -sunken relief -powerful curving -stone architecture -hammered gold alloy -granite sculpture Content: -only priest and high officials could see the Lanzon (human/jaguar) Lanzon statue: -enormous, shape of agricultural tool, dark tunnels lead to the illuminated statue -nose ornament: status symbol, serpent shape relief: jaguar Function: -ceremonial center for the Chavin people Context: -Northern Highlands, Peru Chavin People -900-200 BCE Center of Chavin culture

168. Great Mosque of Djenne

Form: -adobe (clay and straw) -takes on forms familiar in W. Africa -raised on a platform (protection from flooding) Content: -pier buttressing, torons (types of posts) -ostrich eggs on top to represent fertility Function: -mosque -south sahara trade, learning, and cultural center -center of religious and cultural life in Mali and community of Djenne Context: -Mali -found in 1200 CE rebuilt 1906-1907

164. Transformation Mask

Form: -animal and human share -symmetrical Content: -pull string causing mask to open up -bird=crow Function: -used in Potlatch -Potlatch: used to memorialized the dead, mark union of families through marriage -help tell a story, dance around Context: -Kwakiutl (N. Coast of Canada) -late 19th century CE

28. Peplos Kore from Acropolis

Form: -archaic smile -patterned hair -marble with paint remains -smaller scale Content: -women with arm out (supposed to hold out a oil lamp but hand broken off) Function: -in front of temples to "light the way" -votive figure Context: -530 BCE

207. Ryoan-ji

Form: -asymmetrical -abstract -gravel=flowing elements -stones=islands, shore, bridges Content: -15 stones -raked stone garden -monastery (Zen Buddhist monks) -mirror pond Function: -can only enter garden through your mind (spiritually enter) -power of emptiness -each rock is a different visual "pull" -Zen seated meditation Context: -1480 CE, Kyoto, Japan -Muramachi Period -Zen Buddhist

244. The Swing

Form: -based on Fragonard's Swing -global contemporary/post modern -3D version of the painting Content: -viewer becomes apart of the piece (we become the peeper in the painting) -fabric used in the piece is Dutch Wax Fabric (Vlisco) -textile worn in Africa -deep respect for African Ancestors -headless which refers to the Reign of Terror when French aristocracies were publicly beheaded Function: -pictures the increasing disparity between economic classes and the growing culture of paranoia, terror, and xenophobia (fear of immigrants) in post 9/11 world Context: -artist: Yika Shonibare -2001

119. Burghers of Calais

Form: -big, powerful, emotional statues -bronze -public monuments -fabric appears fused to ground -put on our level Content: -6 men who gave up lives to go outside walls during 100 Years War -nervous men before they were released -can see each face individually -look of anguish Function: -show desire to live vs. need to save their city -shown equal in status -make personal connection with each one Context: -Paris, 1884-95 -artist: Auguste Rodin -impressionism

179. Reliquary figure (byeri)

Form: -bilateral symmetry -abstract/stylized -geometric shapes -close or metal eyes -clasped hands often hold an object -exaggerate belly button Content: -for protection of relics and village as a community -they can be male and female Function: -guardian of ancestral relics (bones and other materials in a container) -used during certain rituals for young men Context: -Fang people (Cameroon)

84. Mosque of Selim II

Form: -brick and stone -similar to Hagia Sophia -dome, squinches, piers, apses -richly decorated dome from the inside -centralized, octagonal mosque Content: -slender, tall minarets -centralized with 8 piers -courtyard and prayer hall -madrassa (college for Islamic instruction) -souk: shops in the mosque -Qibla wall faces outwards showing openness Function: -mosque made to replace Hagia Sophia Context: -Edirne, Tukey: Ottoman -made by architect, Sinan, in 1568-1575 CE -part of a complex

52. Hagia Sophia

Form: -brick, ceramic elements -mosaic veneer -ionic columns -centralized dome supported by penditives -buttress supports -pendentives: triangular curving vault section -squinches- quarter domes Content: - Byzantine architecture -attention to detail -mystical building -altar at the end of nave (center aisle) -minarets Function: -originally a basilica (church) -converted to mosque- now has minarets Context: -Justinian's reign -changed to mosque by Ottomans 1452

49. Santa Sabina

Form: -brick, stone, wooden roof -2 levels: upper (windows), lower (arches/columns) -spolia (reuse of architectual pieces from other buildings) Content: -apse: half dome in back that is decorated -narthex: lobby -nave: center aisle -depiction of crucifix on doors -3 aisled basilica -columns from temple of juno in Rome (spolia) Function: -basilica- diverse building -used aisle for law courts -early Christian church Context: - Rome, Italy 422-432 CE -Late Antique Europe

51. San Vitale

Form: -brick,marble, stone, veneer, mosaic -all glass covered in gold leaf -octagonal plan -groin vaulting -not longitudinal Content: -central domed octagon surrounded by radiating wall niches (exedrae)- attention directed at the center -big windows -covered by vaults -mosaic: clergy on right, military on left, Justinian in the middle Function: -holds icons -basilica -reestablish Orthodox Christianity Context: - Ravenna, Italy- Early Byzantine 526-547 CE -Julianus Argentarius financed this building

69. David Donatello

Form: -bronze -exaggerated contrapposto -beautiful, ideal, classical, cultured, independent, wealth, power (like Florence) Content: -shepherd's hat with flowers of Florence (small can conquer giants) -biblical figure of Florentine Republic -religious AND political connotation -return to the nude powerful figure in contrapposto -Goliath's head under his foot Function: -made for private viewing -made for Medici Courtyard Context: -Florence 1440-60 CE (15th century) -early renaissance -artist: Donatello

David (Donatello)

Form: -bronze -exaggerated contrapposto -beautiful, ideal, classical, cultured, independent, wealth, power (like Florence) Content: -shepherd's hat with flowers of Florence (small can conquer giants) -biblical figure of Florentine Republic -religious AND political connotation -return to the nude powerful figure in contrapposto -Goliath's head under his foot Function: -made for private viewing -made for Medici Courtyard Context: -Florence 1440-60 CE (15th century) -early renaissance -artist: Donatello

197. Todai-ji

Form: -bronze and wood (sculpture) -wood and ceramic roofing (architecture) -bracketing system to support the roof -massive pillars -contrapposto stance of the Nios (powerful, dynamic bodies) Content: -50' tall wood statues: Ungyo (open mouth) and Agyo (closed mouth) -Colossal Buddha image (bronze) Function: -Buddhist temple -meant to meditate with the Buddha statue -expression of Buddhism and State mixing in Japan Context: -743 CE rebuilt 1700 CE -various artists of Kei school -commissioned by emperor Shopu -Nara, Japan 1st imperial capital, end of Silk Road

82. Church of Il Gesu

Form: -building: marble, brick -ceiling: fresco and stucco -Lation cross plan, simple -single aisle -Post Reformation Content: -faith through the senses -Last Judgement (ceiling) spatial illusionism, end of Baroque period -IHS: interpretation of Jesus' name Function: -mother church for the Jesuits of the world Context: -architect: Giacomo da Vignola -facade: Giacomo della Porta -ceiling: Giovanni Battista Gaulli -Jesuits are great defenders of the pope -ceiling made 100 years later (1676) -Rome, Italy

161. Machu Picchu

Form: -careful placement of stones -channels throughout -built into mountain Content: -observatory with niches -calendars -cosmological though -terrace common way of growing agriculture (potatoes) -Intihuatana stone (carved from bedrock stone, corners are aligned with the compass points) Function: -religious pilgrimage site for the Inka Context: -agricultural complex -Central highlands, Peru 1450-1540 CE

202. Shiva's Lord of Dance

Form: -cast bronze -stance signifies refuge for troubled soul Content: -Shiva: destroyer god-keeps us from afterlife, but also creator -flaming circle crushing Apas mara (dwarf) -Hindu trinity: Brahma (creator), Vishnu (preserver), Shiva (destroyer/transformer) -Wedas: sacred texts of Hinduism Function: -shows the never-ending cycle of life Indians believe in -immortal symbol that in this physical world there will always be ignorance or things we have to overcome Context: -Hindu, India -Chola Dynasty 1000-1100 CE

97. Spaniard and Indian Produce a Mestizo

Form: -casta painting (displays mother, father, and child) possibly modeled after the Holy Family -text is the title of the piece -enlightenment Content: -woman wearing traditional Indian clothing and white father with their mixed race son (Father wearing French-style European clothing) -servant carrying the son -family appears content -racial purity=whiteness Function: -displays social status (tied up in one's racial makeup)- helped maintain European power and control Context: -artist: Juan Rodriguez Juarez -1715 CE (height of slave trade)

10. Tlatico female figure

Form: -ceramic Content: - pinched waist and big hips with two-heads - no hands or feet -naked except for jewelry Function: - show fertility -two heads represent life and death that happens everyday Context: - Central Mexico in 1200-900 BCE -many of the other figures show deformities like this

102. Monticello

Form: -classical and enlightenment ideals (neoclassical) combining Italian Renaissance and French Classical architecture -domestic -symmetrical -brick, glass, stone, wood Content: -expresses American virtue of a Republic through architecture -two column deep extended portico that support triangular pediment decorated by a semicircular window (doric columns) -shallow dome Function: -plantation house for Jefferson Context: -Virginia, USA 1768-1809 -Romanticism/Classicism on the rise

110. Still Life in Studio

Form: -classical art -daguerreotypes record precise detail -photography Function: -elevate photography to art Content: -reversed image -long exposure and can't record movement -upstairs underneath the skylight due to no flash -fills his photos with plaster casts (angels) Context: -artist: Louis Jacques Maude Daguerre -1837 CE (earliest dated photography)

81. Frontispiece of the Codex Mendoza

Form: -codex -city laid out in 4 sections -text -ink and color on paper Content: -Part 1: creation of the City of Tenochtitlan (eagle on cactus describes how city was founded) -Part 2: conquests achieved by Aztec alliances -Part 3: daily life -Templo Mayor -canals dividing cities Function: -made for Spanish viceroy -historical account for the Aztecs Context: -Aztecs 1541-42 CE

131. The Goldfish

Form: -color expressionism (joy, emotion, physiological, spirituality) -fauvism -color contrast -abstract Function: -relaxation of the viewer, goldfish represent a tranquil state of mind -use of pictorial space Content: -graceful movement of goldfish -plants and tables -view of side and view from top of goldfish shown at the same time -used his own memory of it to paint this Context: -artist: Henri Matisse -1912 CE

45. Forum of Trajan

Form: -column: marble, low relief -brick and concrete architecture -scroll-like frieze on column- continuous narrative -groin vaulting/barrel vaults in market Content: -forum: basilica in back with equestrian figure in the center and two libraries -marble column of trajan: ashes of trajans put in bottom, crowded composition, story of defeat of the Dacians -market of trajan: multilevel mall with 150 shops Function: -column: monuments celebrates the victory in the Dacian war -forum: marketplace Context: - Rome, Italy 106-112 CE column 113 CE

203. Night Attack on the Sanjo Palace

Form: -combining image and text -Yamato-e: high vantage points, strong angles, cropping, narrative scroll -read right to left -strong angles -handscroll -extraordinary detail Content: -rival families (Fujiwara and Minamoto) attack the Taira clan and defeat them -establish shotgun empire -battle: 1159 -extreme detail of armor, weaponry, war tactics -struggles between emperor and rising shogons Function: -turning point in Japanese history Context: -piece made 1250-1300 CE -Karamkura Period, Japan

104. George Washington

Form: -contrapposto -neoclassicism (influenced by essence of Greek art as opposed to Rococo) -realistic -idealistic Content: -captured the duality of Washington (private citizen and public soldier) -bundle of 13 rods (symbolizes not only power but strength found through unity Function: -commemorate momentous occasion after the revolutionary war Context: -artist: Jean-Antoine Houdon (commissioned by Jefferson) -1788-92 CE made by foreigner

167. Conical Tower + circular wall of Great Zimbabwe

Form: -coursed granite blocks -battered walls -ornamental stonework Content: -adobe living structures -towers (32 ft high) -great enclosures -narrow passageways Functions: -trade center in S. Africa (jewels, beads, gold) -was a major city (most likely palace complex) -granary tower Context: -Shona people -Great Zimbabwe 1000-1400 CE

205. Portrait of Sin Sukju

Form: -crisp and angular lines -color characterization -hanging scroll -ink and color on silk -possible collaborative pice Content: -head slightly turned (1 ear shown) -rank badge worn on front and back -peacocks with plants and cloud -intellectual scholar -seated in specific chair Function: -respect for one's elders and ancestors -officially honors for his distinguished service @ court and loyalty to the King during hard times -portrait cherished by descendants Context: -Imperial Bureau of Painting, Korea -1417-1475 CE

181. Petra, Jordan: Treasury and Great Temple

Form: -cut rock -treasury carved into a cliff -red sandstone walls -lower platform paved with hexagonal stones Content: -complex water system -temple on platform like apadana and built on hillside -buried dead in tombs cut out of sandstone cliffs Function: - city of powerful nomadic Arabic tradespeople (Nabataeans) -important commercial center -connected silk road and other trade routes Context: -found in 1812 -probably made around 400-100 CE -ancient city in Jordan -influence of Greek and Roman

20. Temple of Amun-Re and Hypostyle Hall

Form: -cut sandstone and mud brick -hypostyle hall -symmetrical plan, axial plan -open ceilings -colossal columns with sunken relief Content: -134 sandstone columns -inscriptions/images of kings and gods on walls and columns -gates (suggesting old world to new world) Function: -used for festivities and prayer -only priests and pharoahs allowed Context: -Karnak, near Luxor -New Kingdom 1250 BCE -East side of the Nile

39. House of the Vettii

Form: -cut stone and fresco -axial symmetry Content: -atrium (inner courtyard with pool) -reception area (atrium) has open ceiling -catch basin to collect rainwater -peristyle garden in back of house -living room with frescoes -frescoes show person's taste and used as conversation pieces for businessmen to discuss Function; -represents the wealth of the people who lived there Context: -Pompeii, Italy -Imperial Rome 2nd century BCE rebuilt 62-79 CE -wealthy family's home set in the middle of markets

144. Fountain

Form: -dada art -approbation -readymade, glazed sanitary china Content: -transforms a urinal by turning it around and signing it Function: -challenge notion -moving something to a different context changed the meaning Context: -artist: Marcel Duchamp, 1917

61. Bible Moralisees

Form: -dedication page -Gothic -gold leaf, tempera, ink on vellum -illuminated manuscript Content: -King Louis IX -Blanche of Castile -passages from Old and New Testament Function: -made for Frnech royals' home (King Louis IV) -create a moral through visionary readings Context: -Paris, France 1225-45 CE (center of learning and bookmaking)

245. Old man's cloth

Form: -due to its flexibility, it can be hung in different ways forming differnt shapes -repurposed arts Content: -feels like Kentai cloth -liqour bottle caps are used to create the design of the "cloth" -materials come from the West -what gets dumped in Africa by Aristocratic europeans -recalls African traditions and combines it with Western World Function: -contemporary piece Context: -El Anatsui -2003 CE

93. The Palace of Versailles

Form: -east-west axis -rigorous geometry -classical architecture (symmetry, repetitive, and based on Greek temples) -gold -painted ceilings -outside is not as "ornate" -symmetrical -Greek/Roman influence -mirrors (hall of mirrors) Content: -Hall of mirrors (social gatherings) -700 rooms -gardens -sculptures, paintings, fountains tributed to him Function: -King Louis XIV decided to build a new palace -example of nobility -living for King, his close friends, family, servants, and soldiers) -emphasize Louis' importance (everything revolves around him Context: -Versailles, France -Louis Le Vaw and Jules Hardouin-Mansart= architects -began in 1669 CE, French Baroque

59. Bayeux Tapestry

Form: -embroidery on linen -Romanesque (English or Norman) -2/3 of a football field in length -continuous narrative Content: -a great epic -2 main scenes -story of William's conquest of England in the battle of Hastings -Haley's Comet Function: -show Norman conquest Context: -Cantebury, NW France -commissioned by Bishop Odo -1066-80 CE (11th century)

Periods of Greek

Geometric, archaic, classical, hellenistic

Artists that competed in the Italian Renaissance

Ghiberti, Donatello, and Del Verrocchio

54. Virgin (Theotokos) and Child between Saints Theodore and George

Form: -encaustic (wax base paint) on wood -spacial recession but compressed space Content: -angels looking towards heaven -Mary looking over viewers while the warrior saints look directly at viewer -light falling on Virgin -depicts Mary and Jesus in a different realm than others Function: -portray Mary and Christ protected by saints and hand of God Context: -6th-7th century -Early Byzantine

83. Hunters in the Snow

Form: -endless, winter landscape -panoramic view -apart of series of 4 seasons -oil on wood Content: -hunters coming back after an unsuccessful hunt (only one rabbit) -people iceskating and curling (shows daily life) -broken sign above inn -vastness and beauty of world Function: -part of calendar series 0show how they had to get their food 0for dining room of wealth merchant in Antwerp Context: -artist: Peter Bruegel the Elder 1565 High Renaissance North -Antwerp

74. Adam and Eve

Form: -engraving on metal -contrapposto -tiny details (high renaissance) Content: -animals representing temperaments and humors being let into the world -artist signature on sign -Tree of Knowledge and Life -fall of humanity Function: -shows his knowledge of classical act Context: -artist: Albrecht Durer (german) -Latin -1504 CE -High Renaissance (north) -16th-17th century

158. Ruler's feather headdress

Form: -featherworking -gold Content: -very hard to get these feathers, they were acquired through the vast Aztec trading network Function: -unknown Context: -Axtec -1428-1520 CE -gift for Motecuhzoma II from the Viceroy of Spain -made by artist who specialized in featherwork

63. Arena (Scrovegni)

Form: -fresco -brick and architechture -painted plaster -grisaille (gray tones) -quatrefoils -tracing -plain outside, transformative inside Content: -Last judgement scene -lancet windows -Scrovegni at bottom offering up chapel to Jesus (artist portrait included) -The Lamentation (Jesus has been crucified and now he is being mourned) -Mary with others grieving -Life of Mary>Passion of Jesus Function: - private family chapel (connected to a house) Context: -Padua, Italy -on grounds of an old arena -artist: Giotto di Bondone 1303 CE -Italian Gothic -Proto-Renaissance

76. School of Athens

Form: -fresco -spatial illusionism -fluid/interlocking -same style as Sistine figures -roundalls -barrel vaults -coffers Content: -branches of knowledge under faith -philosophy and science -Plate: idealism (points up) -Aristole: realism (points down) -Raphael self portrait -Michaelangel on block of marble -poetry, imagination -disputah: faith and reason -heavenly court of prophets and saints -Jesus in full body halo -Stanza della Segnatura: room of signatures -acorns: symbol of family Function: -expresses knowledge and faith Context: -artist: Raphael High Renaissance 1509-11 Vatican Palace under Pope Julius II

75. Sistine Chapel ceiling and altar wall frescoes

Form: -frescoes -sculptural element to his paintins -neoplatonic (classical and Judeo-classical) -hellenistic figures Content: cieling: -scenes from the OT (9) -Noah's Ark -men working on ark hoping for salvation -duster seeking sanctuary altar wall: -counter reformation -last judgement, life and death -saved and damned people -sibyls: monumental (hellenistic figures) -portraits of certain artists on lower walls Function: -election of new pope and masses happen in this building -art is made for this building (Sistine Chapel) Context: -artist: Michaelangelo -High Renaissance 1508-12 (ceiling), 1536-41 (altar wall) Vatican City, Italy -under Pope Julius II

178. Aka Elephant Mask

Form: -geometric beading on long, vertical fabric -highly stylized -triangle patterns refer to leopards -body is covered with leopard skins and red feathered headdress Content: -worn by male during dance -Bamileke people see the divine king (fon) as representing the supreme being and ancestors (supernatural powers extend into religion and politics) Function: -reaffirms the King's power Context: -Bamileke people (Cameroon) -Kuosi Society -19th to 20th century CE

134. Memorial Sheet for Karl Liebknecht

Form: -german expressionism -lamentation, woodcut Function: -honors the communist without depicting his ideologies so people would know she wasn't a communist -depicts this with great compassion Content: -densely packed with figures (multitudes coming to show their respects) Context: -artist: Kathe Kollwitz, approached by family to make this

184. Jowo Rinpoche

Form: -gilt metals with semiprecious stones, pearls, and paint Content: -various offerings, candles Function: -sacred image of Tibet -idea is that you don't have to meditate or site a mantra; just seeing this will be a religious experience itself -pilgrimage site -believed to have ability to grant wishes Context: -enshrined in the Jokhang Temple -Llasa, Tibet- Yarlung Dynasty -brought to Tibet in 641 CE

23. Tutankhamun's tomb (innermost coffin)

Form: -gold -inlay with stones and enamel Content: -crook and flail- symbols of Osiris -cobra and vulture coming from headpiece- gods of Upper and Lower Egypt -Son of Akhenaton Function: -sarcophagus (body inside) -materials used represent the royal wealth (143 objects buried with him) Context: - New Kingdom 1325 BCE

13. Palette of King Narmer

Form: -greywacke -organized in registers -hierarchic scale -low relief, twisted perspective Content: -Front: Narmer (on large scale) looking on the beheaded bodies of his enemies wearing crown of lower Egypt, harnessed lionesses (symbol of unification), bull knowcking down a city fortress (Narmer knocking over enemies) -Back: Hawk=Horus, Narmer wearing bowling pin crown (symbol of unification), stands barefoot (he is a divine king), palette for eye makeup, hieroglyphics Function: -represents the unification of Egypt and country's growth as a powerful nation Context: -found in temple of Horus -Old Kingdom of Egypt -3000 BCE

18. Menkaura and queen

Form: -greywacke -under life-size -symmetrical -Egyptian style: one foot in front of the other Content: -king and queen same height, idealized figures -pharaoh crown -wife gives simple affectionate gesture Function: -temple sculpture -symbolize his power and kingship Context: -Old Kingdom 2500 BCE

9. The Ambum stone

Form: -greywacke stone Content: -sculpted to look like an anteater -human/animal characteristics (mostly animal) Function: - objects like these are believed to have supernatural power - used as a spirit stone in rituals Context: - Ambun Valley, Papua New Guinea around 1500 BCE

Archaic Greek Style

Greek Pots (black silhouettes), free standing sculptures, rigid,

The Arts and Crafts movement

Grew in England out of the concern that machine-made objects were replacing handmade objects.

201. Travelers among Mountains and Streams

Form: -hanging scroll (see all at once) -ink and colors on silk -in proper scale -Neo-Confucianism ideals Content: -Chinese landscape (no specific place) -waterfall, travelers, boulders, trees, mist Function: -reverence for rocks and stone because of their "chi" (energy) -evoke Buddha -after long period of political disunity Context: -artist: Fankuan (scholarly artist) -Song Dynasty, China -1000 CE

171. Ndop (portrait figure)

Form: -hardwood, rubbed with palm oil -seated in a cross-legend posture on a rectangular base with Kuba textile patterns -emotionless -epicene body -often holding idol, symbol of particular ruler Content: -not idealized portrait -associated with the king's fertility -symbol on the base identifies each specific Ndop -at death, placed with his throne in a shrine near his grave -once it rots or is damaged, new one is carved as a replacement Function: -symbolic portrait of Kuba leaders -holds the spirit double of the Nyim Context: -royal spaces of Kuba people -democratic republic of the congo -1760-80 CE King Mishes

169. Wall Plaque

Form: -high relief 3D -hieratic scale (bigger they are more important) -strong patterned background Content: -Oba: divine leader -power: lack of narrative -background contains healing river -being attended to bye the covering -someone always holding an Eben (fan-shaped sword) Function: -to show royal power (attached to the columns of the palace) Context: -Oba's palace -resemble books brought by the Portugese, who also brought large amounts of metals that was used in the Benin court -Edo people (Benin, Nigeria) -16th century

123. Where Do We Come From? What are we? Where are we going?

Form: -human, animal, and symbolic figures across the isalnd landscape -powerful oclors -text (title) -figures out of proportion -read right to left Content: -lizard, cat, goat -Eve in center -blue idol representing the beyond -cycle of life -volcanic island in Pacific -themes of life, death, poetry, and symbolic meaning -synthetism: search for spiritual journey Function: -paradise -where do we go after we die? -cycle of life Context: -artist: Paul Gaugin (grew up in Paris and Catholic) -post-impressionism -1897-98, Tahiti

30. Audience hall (apadana)

Form: -hypostyle hall -cut sandstone and mud brick -built in a hillside with big platform -72 columns (3 portico made of 12 columns) Content: - relief on the side pictures Darius and Xeres -stairs have central relief of king enthroned with attendants -reliefs Function; -used to hold thousands of people (audience hall), king's receptions - ascend upwards symbolic Context: - Persepolis, Iran; Persian influence - 520-465 BCE -built by Darius and Xeres; destroyed by Alexander the Great

55. Lindsfarne Gospels

Form: -illuminated manuscript Content: -cross carpet page: cross forms out of chaos, creates illusion of 3D in which viewer can lose themselves in contemplation -portrait page (luke): holds quill/looks prepared to write, gold halo (divinity), ox above his head, robe with purple and streaks of red -incipit page (Luke): it "begins", animal life, spiral forms, swirling vortexes Function: -earliest known translation of the Bible Context: -created by monks

121. The Coiffure

Form: -impressionism -overall curves and crisp line -drypoint/aquatint -genre scene -etching Content: -her prints are accessible and they can own them -influenced by Japanese Wood Block Prints (ukiyo-e) -preparing one's hair refers to ideals of femininity and beauty Function: -gives image of glamorous woman in glam setting -Japanese influence -capture fugitive, fleeting moment of the busy lives of the working class Context: -America w/ Japan twist -1890-91 CE -artist: Mary Cassat

154. Mesa Verde Cliff Dwellings

Form: -indigenous North America -geometric designs on murals -sandstone Content: -living in communities -harmonizes with landscape for functional reasons -summer sun doesn't hit the pueblos, but winter light warms it -painted murals Function: -residential places -storage places -ritual places -Kiva: communal gathering, ritual purpose for men Context: -Montezuma, County, Colorado -450-1300 CE -pueblo people, descendants are Hopi and Zuni -Anasazi tribe

174. Portrait Mask (Mblo)

Form: -individual portrait that is naturalistic and abstract, refined features -polished surface suggesting health -complex coiffures -scarifications -introspective look on face Content: -individual portraits of specific people -expressing beauty -commissioned by husband -kept out of sight until preformed -preformance goes along with music Context: -Moya Yanso is the person who is portrayed -Baule people artist: Owie Kimou -early 20th century CE

189. Bahram Gur Fights the Karg

Form: -ink, opaque watercolor, and gold on paper -shown wearing European clothing but background looks Chinese (combination of cultures) Content: -Bahram Gur went on the court of Hind disguised so he could observe the kingdom and its civilians -king tricks him into showing his true identity and decided to send him away by making him slay a karg (horned wolf)- Barham pierces the wolf with arrows and cuts off his head -this folio shows Bahram after he has defeated the wolf- confident and relaxed Function: -expresses political power attempting to legitimize the Elkhanid's claim to Iranian kingship -shows the ideal king (crown and halo) Context: -folio from the Great II-Khanid -1330-1340 CE (Islamic/Persian) -from the Book of Kings

210. White and Red Plum Blossoms

Form: -ink, watercolor, gold leaf -swirling illusion of expansion -byobu: painted screen -rich colors/gold Content: -swirling water -nature/flowers alongside -early spring -two flowering trees -vantage points -turns simple landscape theme into dream vision Function: -rimpa school painting -painted screen Context: -1710-16 CE Japan -artist: Ogata Korin -Edo period

53. Merovingian looped fibulae

Form: -interlacing (zoomorphic) -bowed -filigree 2-4" -silver gilt (thin layer of gold) Content: -animals (fish represents Christ and eagle represents St. John) Function: -clip for holding fabric -clasp that hold fabric to the shoulder Context: -mid 6th century CE -Frankish kingdom -found in tomb of rich woman

57. Pyxis of al-Mughira

Form: -ivory -carvings of text and pictures -text used as a decoration Content: -roaring lions -4 8-lobed medallions showing pleasure activities -human and animal figures -geometrical and vegetal motifs Function: -luxury cosmetic holder: text on top/decorated richly -coming of age present from caliph to his younger son Context: -968 CE Umayyad, Muslim Spain

Goya's The Disasters of War can be seen as the prototype for which of the following works by Pablo Picasso

Guernica

118. The Valley of Mexico from the Hillside of Santa Isabel

Form: -landscape painting -romantic and neoclassical aesthetics (new type of genre painting) -scientific accuracy -landscape as historical narrative -light/shadow directs our view -vast panorama Content: -travelers (tiny detail of mother and children walking into nature away from city) -island in middle of lake -Tepoyac (spot of Virgin's appearance -volcanoes -basilica of guadalupe Function: -about history of the land -celebration of Mexico -international movement towards nature -shows effect of Industrial Revolution Context: -1882, Mexico City -artist: Jose Maria Velasco -different styles together: impressionism, nationalism, realism, romanticism

193. Terracotta warriors

Form: -lifesize painted terra cotta warriors Content: -warriors with individual faces but same bodies Function: -funerary art -express imperial power and authority Context: -Qin Dynasty in China -221-209 BCE

73. Last Supper

Form: -linear perspective, spatial illusionism, frieze-like -triangle in center (Christ @ the point) -monumental forms -oil and tempera Content: -Jesus and his apostles having a final meals before Jesus is arrested -the betrayal (Judas) -the Eucharist (body and blood of Jesus) given to his people -uses models to paint the people so he can make it more realistic Function: -dining hall/refectory for monks eating in silence Context: -artist: Leonardo DaVinci -High Renaissance- Milan 1494-98

114. Nadar Raising Photography to the Height of Art

Form: -lithograph: process of making a design on ston eblock with greasy crayon, ink applied to wet stone and stick to greasy parts to make a print (cheap way) -Realism Content: -Nadar- awkward photographer/businessman on high and attempting to raise photography to high art (takes first aerial shots of France Function: -make lithographs as a new mass media print method -crave of art in Paris -new kind of photography Context: -artist: Honore Daumier -made 6000+ lithographs -satirist, uses caricatures -1862, Paris -published in Le Boulevard

26. Athenian Agora

Form: -long buildings (stoa) -covered places- public markets -at foot of Acropolis, road that leads up Function: -marketplace/meeting area -temple (pay tribute to Athena) Content: -participated with government -democracy- didn't vote representatives but instead participated directly Context: -600-150 BCE -Athens, Greece

191. the Arbabil Carpet

Form: -many many details -silk and wool carpet -central sunburst medallion creates illusion of a heavenly dome with lamps reflection in a pool of water full of lotus flowers -slightly symmetrical Content: -two different lamps suspended from the ceilings -one panel with inscription that tells you who made it and when Function: -made for the funerary shrine of Safi al-Din Ardabil -prayer carpet Context: -Maqsud of Kashan 1539-40 CE -one in a pair of carpets

46. Pantheon

Form: -marble -coffers: indentations in the ceilings -15' thick walls Content: -big portico in the front with a rotunda in back that has a dome with an oculus -sculptures of gods in niches Function: -houses all 7 planetary gods -famous burial space -coffers create illusion of heaven Context: -imperial Rome 118-125 CE

42. Head of a Roman partician

Form: -marble -deep wrinkles, hooked nose, defined cheek bones Content: -realistic portrayal of a Roman patrician -show sense of civic virtue: wisdom, seriousness, public service Function: -kept in shrines of Roman houses -mask of values and virtues of Republican men in Rome Context: -Republican Roman 75-50 BCE -influence of Greek Hellenistic art

47. Ludovisi Battle Sacrophagus

Form: -marble -high relief Content: -figures piled on top of each other, crowded surface -Romans shown as the good guys (ideal/noble) -Romans trampling over defeated barbarians - enemies very caricatured with great detail Function: -tomb Context: -late imperial empire; 250 CE

37. Winged Victory of Samothrace

Form: -marble -textures shown -very dramatic motion, explosive, -forward movement counteracted by the backward movement of her wings Content: -nike lands on front of ship descending from the heavens -wet drapery look to the sculpture -twist and contrapposto of the torso Function: -war monument -commemorating a naval victory -nike is a symbol of victory Context: - 190 BCE Hellenistic Greek

35. Acropolis

Form: -marble (wealth) -winged figure (nike) -elevated Content: -buildings, temples, statues -Parthenon (constructed under Pericles): -doric temple -East Pediment on parthenon: birth of Athena from the head of Zeus (Helios) -plaque of ergastines: procession held for Athena every 4 years -Temple of Athena Nike: commemorate Greek victory over the Persians -Victory Nike adjusting her sandal Function: -hold image of goddess Athen (in cella) -celebrate the female figure -civic pride (Athena) -commercial, civic, religious, and social building Context: -Athens, Greece 450-410 BCE

38. Great Altar of Zeus and Athena at Pergamon

Form: -marble frieze -elevated with steep dramatic staircase -complex forms with big muscles showing violent energy and detail -ionic columns Content: -frieze wrapping around the monument shows gods overpowering the Titans -Titans vs. Olympians -"Athena": gigantomachy, battle between the gods and giants (gods win) Function: -war monument (Greek defeat of Gauls) -break architectural boundaries -altar dedicated to ZeusContext: -175 BCE - Asia Minor, Turkey

36. Grave Stele of Hegeso

Form: -marble with paint -hierarchic scale -drape accentuates the body Function: -funerary object -put on graves in Classical period -commemorates the death of Hegeso Content: -genre scene: slave bringing jewelry box to nike figure for her to examine the jewelry -inscription identifies Hegeso Context: -410 BCE

27. Anavysos Kouros

Form: -marble with remnant of paint -archaic smile -Egyptian inspiration shown through the stance of one foot slightly in front of other -incaustic paint Content: -not a specific civilian depicted (not individualized) -male nude (warrior) -observing the human body Function: -grave marker Context: -530 BCE -large scaled

89. Ectasy of Saint Teresa

Form: -marble, stucco, gilt bronze -rich color -many shapes and directions -spiritual vs. physical -Baroque -shallow carving -Counter-Reformation Content: -St. Teresa having a vision (physical and spiritual experience) -fresco on ceiling -Holy Spirit as a dove, light coming from HS -columns serving as a frame as you enter chapel -real daylight explosion Function: -Bernini's comeback after his scandal with mistress -inspire and involve the viewer by bring sculptures to life -after St. Teresa canonized -shows union of world Context: -Rome; 1647-52 -artist: Bernini (very religious) -sculpter, architect, painter -Italian Baroque

67. Pazzi Chapel

Form: -masonry -articulate, everything white on the inside -dome cieling -simple geometry -pietra serena- soft gray tone -inlaid marble, terracotta tiles -strigil pattern -Franciscan Content: -entablature -arch forms -family crests Function: -show Pazzi family wealth -served as chapter house (meeting room for the Franciscan monks) Context: -Filipo Brunelleshi (architect) -Florence, Italy 1429-61 CE (15th century)- Early Renaissance

85. Calling of St. Matthew

Form: -metaphysical painting -Baroque (Counter Reformation, through your sense) -diagonal light (tenebrism) -realism/illusionism -unusal setting for Jesus Content: -meant to be contemplated -Jesus extended hand (same hand as in Sistine Chapel) -Matthew sitting with fellow tax collectors Function: -body and soul are between a spiritual reality and physical reality -Jesus shown in modern environment -part of 3 part series -use of light -in chapel Context: -artist: Caravaggio; Rome, Italy -1559-1600 -Contarelli Chapel

229. A Book from the Sky

Form: -mixed media installation -3 long scroll-like pieces of paper on the ceiling Content: -paper filled with Chinese characters (real and made-up) -waves of book on bottom= sea, writing on walls= landscape, writing on ceiling=sky Function: -Xu Bing invents new Chinese characters that don't mean anything Context: -Xu Bing- artist: grew up in society where everything was structured

129. The Kiss

Form: -modern abstraction, little detail -symmetrical -stone Function: -version of The Kiss by Klimt Content: -two bodies becoming one, interlocked with each other -one thin line separating the two Context: -artist: Constantin Brancusi

40. Alexander Mosaic

Form: -mosaic copy of a Greek wall painting -tessarae: individual pieces of a mosaic -spacial illusionism -interweaving of figures Content: -Alexander the Great confront Darius III at Battle of Isos -dead tree signifies the death and sadness Function: -floor mosaic showing dramatic representation of a historical event -last major defeat of the Persians Context: -Roman Republic -House of Faun, Pompeii 100 BCE

2. Great Hall of the Bulls

Form: -naturalistic charcoal drawings in a cave -natural materials: plants, charcoal, iron ore -twisted perspective - human are stick figures while animals are realistic looking Content: - pictures animals in motion - pictures on top of pictures (all from different artists from many time periods) -cows, bulls, horses, deer -650 paintings Function: - to show an animal ritual (very unusual to find pictures of humans/hunting) -ancestral animal worship Context: -sacred place (deep in a cave)- in situ -not a dwelling because the creators of these were nomads -Paleolithic Europe- Lascaux, France

103. The Oath of the Horatii

Form: -neoclassical (physicality and intense emotions) -dramatic, rhetorical gestures -geometric forms with the contrasting curvy formed women -single light shined upon them at the heightened drama of the scene Content: -"what are you willing to die for?" -3 brothers saluting towards the swords which are held by their father (take oath to defend Rome) -woman grieving in back ground because they have to deal with consequences of war (either lose husband or their bro) -sacrifice oneself for good Function: -challenge aristocracy Context: -Jacques-Louis David 1784 (before the revolution) -commissioned by King of France

163. Bandolier Bag

Form: -new art form resulting from trade for beads among Anglo-Americans -rounded forms -beadwork Content -decorations vary based on status Function: -worn primarily for decoration -show social status -worn by men and made by women Context: -Lenape Tribe (eastern Delaware) -1850 CE

185. Dome of the Rock

Form: -octagonal centralized plan -arcades, colonades -heavily decorated on outside -stone masonry decorated -wooden roof and cermaic tile -bronze dome Content; -building surrounding a rock -mosaic contains no human or animal figures Function: -building over rock Context: -Jerusalem, Palestine 691-692 CE -Umayyad- islamic -rock is where Abraham prepared to sacrifice his son -Mohammed's night journey

116. Saint-Lazare Station

Form: -oil on canvas -diagonal but flat lines -abstract -everything=light or color -non-heroic Content: -commuter railroads/trains -urban scene with trains, not just outdoors/nature Function: -make modern life look beautiful -emphasizes new ways of taking day trips on trains -urbanization Context: -Claude Monet 1877 Paris -impressionism

86. Henri IV Recieves Portrait of Marie de 'Medici

Form: -oil on canvas -floating figures -part of a cycle -shows an event in her life -Catholic Baroque Content: -Henry IV present the picture of Marie that confirmed his religious identity; married a Catholic queen -marries her so he can have a son and recreate him in a Catholic way -Jupiter and Juno gives blessing to them Function: -"early harmony" -part of a tribute to her life -show that their marriage was official bc portrait -shows political power, sophistication, and stability Context: -Peter Paul Rubens (Flemish painter) -from Marie de' Medici cycle displayed in the Louvre -1621-25 CE Flemish Baroque

105. Self Portrait

Form: -oil on canvas -portrait -light brushwork and colors (Rococo style) -Enlightenment Content: -shows her in process of creating the self portrait of Marie Antoinette (she was her court painter) -holding palette and paint brush (showing she is skilled) -interrupts her but she welcomes the interruption Function: -shows that she is a painter -several different version Context: -artist: Elizabeth Louise Vigee Le Brun -1790 CE, Rococo-Neoclassicism (in between)

120. Starry Night

Form: -oil on canvas -post-impressionism -color expression (express inner reality) Content: -study of the night -everything has spiritual pulsing, swirling spin -cyprus tree= cemetery tree -church Function: -night has more color than the day -everything shown alive -gives hope -request for love Context: -artist: Vincent Van Gough 1889 -painted in hospital -St. Remy

80. Venus of Urbino

Form: -oil on canvas -rich colors (red) -nude reclining -celebrating female body -paints thin layer of paint to create flow and softness Content: -woman reclining while maids get her clothing -dog=wealth -seduction look= erotic Function: -wedding gift Context: -artist: Titian -Ventian Renaissance 1538 CE

68. The Arnolfini Portrait

Form: -oil on wood -Renaissance Content: -betrothal (engagement) -dog represents wealth and fidelity -barefeet- something sacred taking place -Patron saint of domesticity (St. Margaret -Vaneyck signature and reflection in mirror -witnesses of the marriage shown in the mirror Function: -shows status, wealth, power Context: -artist: Van Eyck -1434 CE (15th century) -Flanders

24. Last Judgement of Hu-Nefer (page from Book of the Dead)

Form: -painted papyrus scroll -continuous narrative Content: -Hu-Nefer being lead to final judgement -heart weighed on scale against Osiris (test to see if has a heavy heart) -sin must weigh less than feather -Hu-Nefer is accepted into afterlife Function: -guide people to the afterlife and make journey from life to death Context: -New Kingdom 1275 BCE -found in Hu-Nefer's tomb -from the Book of the Dead

5. Bushel with ibex motifs

Form: -painted terra cotta, clay - geometric forms - set in registers, controlled and repeated planar composition Function: -funerary object Content: -dog figures, mountain goat, cranes Context: - Susa, Iran in 4200-3500 BCE -neolithic -new technology: use of potter's wheel

62. Rottgen Pieta

Form: -painted wood -Medieval/Gothic and realistic Content: -Mary holding her dead son after Cruxifiction -Mary is pained and anguished Functions: -versperbils (German devotional) -feel the pain she feels -intended to be used in contemplation and prayer -devotional image -shows them closer to the humanity side Context: -Bonn, Germany 1300 -German Gothic

127. The Steerage

Form: -photograph/photogravure -German Expressionism Content: -Alfred on way back to Germany -below him: americans being sent back -elites on top while lower class is on the bottom Function: -converys message about the immigrants who were rejected at Ellis Island or people returning to old country to try to encourage people to come to US -show social status

122. The Scream

Form: -post-impressionism -dark and sinister colors -elegant, graceful, and linear -foreground and background blend together -tempera and pastels on cardboard -foreground and background blend -gender unknown Content: -red clouds -people in distance -boardwalk where he grew up Function: -someone experiences mental breakdown -outward display of inner thoughts -world transforming -scream through nature? Context: -artist: Edvard Munuch -Norway, 1893

88. San Carlo alle Quatro Fontane

Form: -pure white inside with complex geometry -stone, stucco -rich orientation -balance convex vs. concave -flowing walls Content: -Trinitarian order in centers of ceiling (triangle=HS) -big columns -4 fountains Function: -dedication to Saint Carlos -represent the trinity -reminder of the Renaissance -Monastic Church (Trinitarian Order) Context: -Rome, Italy -architect: Borromeo 1638-46 CE (17th century) -Italian Baroque

115. Olympia

Form: -realism (genre scene) -flatness of body -rejection of use of space -angle of body -heavy paint application -features not perfect or idealized -woman makes eye contact with the viewer Content: -naked modern woman -unidealistic features -prostitute -cat (wealth) Function: -looks like a real woman -Olympia=prostitute (cortisone) -genre scene -sexual interest -scandy Context: -Edowuard Manet 1863 -based on his favorite model

109. The Oxbow

Form: -romanticism -Manifest Destiny -not based of a real place -oil on canvas Content: -reverence for nature -filled with life -based on real life area -divides the painting into two unequal sections -one shows sublime view of land untouched by man (wild, untamed) -other side shows land humankind has taken over (overtaken by agriculture) -self portrait of himself wandering Function: -landscape painting -shows respect for nature Context: -Northampton, Massachusetts -artist: Thomas Cole (leader of Hudson River School) -1836 CE (19th century)

108. Liberty Leading the People

Form: -romanticism -seems as though it is overpowered by chaos but filled with subtle order -oil on canvas Content: -people of both the working class and middle class join in the fight against the government -lady carrying the French flag meant to serve as an allegory, in this case a moral or political idea of Liberty (looking back to make sure people are following, represents an idea) -background: Notre Dame Function: -allow us to believe anyone can be a revolutionary Context: -artist: Eugen Delacroix -1830 CE

107. La Grande Odalisque

Form: -romanticism (exoticism) -classical figure -proportions are messed up -oil on canvas Content: -physically unreal body -peacock fan, turban, enormous pearls, hookah (eroticism based on exotic content) Function: -what a French male's fantasy would look like Context: -artist: Jean-Auguste-Dominque Ingres (court painter for Napoleon -1814 CE

111. Slave Ship

Form: -romanticism (sublime) -combines a beautiful and horrible scene together -rich colors -loose brushwork -oil on canvas Content: -beautiful seascape looking at first but if u look close you see slaves drowning and being eaten alive -disease breaks out on ship and overthrows all the dead and sick overboard so they can get insurance (money is motivator for what they did) Function: -political and social activist piece Context: -artist: Joseph Mallord William Turner -1840 CE -inspired by a book

21. Mortuary Temple of Hatsheput

Form: -sandstone -red granite statue -built into rock cliff Function: -mortuary temple for Hatsheput but she wasn't buried there -statue shows her power in male ways (beard and kneeling is priest-like gesture Content: -statue of Hatsheput kneeling: offering plants to Amen, the sun god -ascent up to temple -chapels and shrines dedicated to her -hypostyle hall Context: -site specific -across from Amun temple

6. Anthropomorphic stele

Form: -sandstone Content: - 3 of them all 3ft tall -belted robe with knife hanging from it Function: - used in incense trade -religious/burial practices Context: -found on trade routes in the Arabian Peninsula, Saudi Arabia -fourth millennium

173. Female (pwo) mask

Form: -smooth, brown surface with rich patina created by red clay and oil -eyes nearly closed -long thing nose -thick braided hair -high forehead -symmetric -naturalistic form with slightly geometric abstraction -protruding ears with earrings Content: -older female role model -beautiful, archetypal woman -forehead and right cheek are marked with cosmogram tear marks -danced by mean with fiber costumes, bookbs, and carries flywhisk Function: -entertainment -expression of female beauty -initiation ceremony for young men to separate from theirs mothers Context: -Chokwe people (Congo) -19th-20th century CE

17. Great Pyramid (Menkaure, Khafre, Khufu) and Great Sphinx

Form: -square base with 4 sloped sides (represents rays of sun) -polished limestone Content: -pyramids with adjoining funerary complex; get to these through secret passageways -Great Sphinx: human head with lion head -descending order on West side of Nile Function: -maintain and protect tombs for eternity -Great Sphinx: protecter the pyramids behind it Context: -built by Khufu, Khafre, and Menkuare (each temple name after) -Khufu temple (oldest and largest) -Old Kingdom- 2500BCE -Giza, Egypt

96. Fruit and Insects

Form: -still life -Baroque -oil on wood -colors, detailed Content: -insects, fruit -wheat and grapes= Jesus? -bringing different compositions together Function: -harvest in autumn -microscopic organisms: used microscope to study these organisms Context: -artist: Rachel Ruysch (Dutch arist; last famous still painter) -Florence, Italy 1711 CE (18th century)

1. Apollo 11 Stones

Form: -stones with charcoal drawings of animals -geometric designs - 4-5" Function: - depict animals =some of world's oldest works of art Content: - animal figures with human legs added on probably later Context: - found in Apollo 11 caves in Namibia -probably were made about 25500 BCE (oldest representational art in Africa) and buried in these caves -named because it was discovered at the time of the Apollo 11 moon landing

126. Les Demoiselles d'Avignon (young woman of Avignon)

Form: -style: Proto-Cubism Content: -incorporated works from different periods of times: Kouros, African masks, Manet's works -5 women (prostitutes) with direct stare at the viewer Function: -embodies new world of movement in art Context: -artist: Pablo Picasso -1907 CE, street in Barcelona

106. Y no hai remedio (And There's Nothing To Be Done)

Form: -style: romanticism (challenging power and oppression) -etching, drypoint Content: -part of series of 82 called Disasters of War -what human beings capable of -government misuse of power on helpless victims -man is blindfolded with head down tied to wooden pole (christ-like) -recently deceased corpse with extreme detail of his grotesque face (behind body on pole is a dead body on pole) Function: -pictures the atrocities of war -visual indictment and protest against French occupation of Spain Context: -publish 1863, made 1810-1823 CE -artist: Francisco Goya (trained by Rococo)

176. Ikenga (shrine figure)

Form: -tall -abstracted male figure -wood -prominent horns -holding swords -expresses strength Content: -a person object associated with an individual -male power of the right hand -large horns -right hand holds the sword -seated -left hand holds severed trophy head Function: -given to young males -Igbo person shrine figure Context: -Igbo people -19th-20th century

72. Birth of Venus

Form: -tempera on cancas -curvy body (flexibility) -neoplatonic love (classical and Christian) -sense of pattern and beauty Content: -Venus standing on seashell -born by the sea fullgrown -couple intertwines; pushing Venus to land -someone on shore ready to receive Venus with cloth -floating figures -Earthly and celestial love Function: -probably wedding gift Context: -artist: Sandro Botticelli 1484-86 CE -Medici commission -Venus is goddess of love -Early Renaisasnce

71. Madonna and Child with Two Angels

Form: -tempera on wood -3D figures -sense of space -elegant lines/curves -humanism Content: -all humanized (mischievous look) -Mary's halo slowing going away (divinity fading) -Mary youthful/beautiful -landscape through window (Flemish background) -pearls (symbol of immaculate conception Function: -relate more to viewers by making humanistic images -connect us to Mary and Jesus Context: -artist: Fra Filippo Lippi (monk of Carmelite order) teacher of Botticelli -1465 CE Early Renaissance Italy

29. Sarcophagus of the Spouses

Form: -terra cotta (sign that this is Etruscan) -lifesize -archaic smile, patterned hair -extending arms Content: -husband and wife reclining on a couch dining "dining in banquet for eternity" -four pieces put together Function: -funerary container to hold ashes not the body Context: -520 BCE Etruscan

175. Bundu Mask

Form: -three zones -shiny surface evokes water -"metal helmet" -small and nearly closed eyes -complex hair that comes in a great variety of forms -sheen=beautiful Content: -ceremony takes place in the forest on the "outside" on the edge of society -idealized beauty and moral guidance -neck rolls (health) Function: -life transition Context: -kept hidden until preformed -Mende people -19th-20th century CE

66. Annunciation Triptych

Form: -triptych -altar piece (portable) -renaissance -Flemish (oil paint, glowing, vivid color) -hyper reality/hyper clarity -closed during the week, open during mass Content: -scene of the Anunciation -Holy Spirit and Jesus coming through window -couple asking for divine intervention -Joseph on right making mouse traps -Mary laying down on pew -image of Chris coming from the window going to Mary's womb Function: -private devotional place Context: -workshop of Robert Campin (master of flemalle) 1427-32 CE (15th century) -Flemish Renaissance

32. Tomb of the Triclinium

Form: -tufa and fresco -wall paintings -great detailed piers -color coding to show genders (not race) Content: -pictures people casually dining in triclinium (reclined on couches) -fully furnished -lively paintings of people dancing and in motion Function: -keep record of domestic life -holds ashes (crematorium) and any other offerings to the dead Context: -Tarquinia, Italy -Estruscan 480-470 BCE

91. Las Meninas

Form: -use of mirrors (Baroque) -movement in strokes not as detailed as you think -large painting -gaze Content: -maids of honor and daughter -dog=wealth -self portrait of Velazquez -painting in a painting (Velasquez painting this painting -people looking at viewer Function: -view of palace life -show wealth/status -made for Philip IV (the viewer) -genre painting Context: -1656 CE; Prado, Madrid -artist: Diego Velazquez -Spanish Baroque

180. Veranda post of enthroned king and senior wife (Opo Ugoga)

Form: -veranda post -frontal -enlarged eyes -elongated -hieratic -negative space -deep blue color Content: -King is seated on the throne -senior wide stands behind him -secondary wife is smaller and underneath him -family portrait -associated with divine Function: -architectural support/sculpture -expressing King Yoruba's power Context: -was one of four carved posts by Olowe of Ise for the royal palace at Ikere -Yoruba people 1904-10 CE

217. Female deity

Form: -15" high -Breadfruit (wood) -Minimalistic/simple form -Oval head -Smooth surface, flattened buttox, long torso -Undefined hands and feet Content: -Male and female gods -Facial features hinted or nonexistent -Horizontal lines that indicate knee caps, navel, waistline Function: -Most likely part of ritual ceremonies honoring gods for harvest and fertility of land, sea, and people -Collected by missionaries -Some placed in central temple Presented with food and flowers Context: -Nukuoro, Micronesia 18th-19th century -Many kept in religious buildings that belonged to the community

aztec

mexico city capital, produced massive statues of gods who demanded regular human sacrifies. skilled in gold work

226. Horn Players

Form: -Acrylic and oil paint stick on three canvas panels -Words as part of art -Triptych (3 panels) -White swatches of paint on each panel Content: -Urban text of NY -Words as shapes -Picasso-inspired faces -"ORINTHOLOGY", "DIZZY", "PREE", "TEETH" repeated Function: -African American history -black Jazz musicians Context: -1983 CE -Artist: Jean-Michel Basquiat; based in NY (famous for graffiti there) -"the black Picasso"

232. Dancing at the Louvre, from the series The French Collection, Part I.

Form: -Acrylic on canvas, tie-dye, fabric border -Painting on quilt -Narrative element Content: -Show her dream of being able to visit the Louvre with her family -Creates a character who takes her friend and three daughters to the museum with her -Quilting technique (always seen as female thing) In the Davinci room of the louvre Function: -White feminist vs. black feminist -Combines traditional use of oil paint with quilting technique of African Americans -Act out history that might have never taken place Context: -1991 CE -Faith Ringgold, NY born African American artist

147. Marilyn Diptych

Form: -Aimed at young people -Emphasis on sex, sarcasm, comedy -Pop art -Photo reproduction -Monumental scale (6 x 9ft) -2 silver canvases artist silkscreened images on Content: -Marilyn Monroe's image 50 times -Image slowly disappears to the right Function: -Tribute piece -The "mask" of a celebrity -Illusion of commercial desires -Shows what image mass media has given to celebrities such as her -1D of the piece symbol for how she was just a one-dimensional sex symbol Context: -artist: Andy Warhol -After Marilyn has died from an apparent suicide

225. Vietnam Veterans Memorial

Form: -Black Granite -Typography (words as art) Content: -Located between Washington Monument and Lincoln Memorial (bringing together past and present) -Thin walls sunken into the ground (cut into earth) with the names of all of the veterans that died in the Vietnam war (chronologically ordered) -Names as the subject of the piece Function: -Use of polished granite to see our reflections and incorporate us in the memorial -Connection to US history -War monument that doesn't focus on war heroes but focuses on everyone -World we cannot enter -People come to terms with their loss -As a journey (walk down and out of the monument) Context: -Artist: Maya Lin, 1982 CE -Washington D.C, USA

235. Rebellious Silence, from the Woman of Allah series

Form: -Black and white photography -Ink on photograph Content: -Terrorist (gun) -Gun splits picture in half into darker and lighter side -Farsi text (would assume Arabic bc Muslim) poem on face -Gaze at the viewer Function: -Muslim stereotypes (making judgements from partial information) -Caught between American and muslim culture -Female oppression Context: -1994 CE -Cynthia Preston, Iranian born artist raised in the US

166. Black on black ceramic vessel

Form: -Blackware ceramic -Coil, not wheel -Contrast of matte black and shiny, polished black finishes -Symmetrical (walls evenly thick) -Surfaces free from imperfections Function: -Food container Content: -Revival of ancient Pueblo pottery and designs -Orgins from 1000 year old tradition in the Southwest Context: -Maria and Julian Martinez, New Mexico mid-20th century -Maria made the pots, Julian painted the pots

228. Androgyn III

Form: -Burlap, wood, nails, strings, resin -Figures in large groups -Hollow cast, soaked coarse burlap Content: -Figure its on a stretcher made out of wood -Characteristics of a woman and man (androgynous) -Wrinkled skin and implication of backbones -No arms, legs, or head (suffering) Function: -Alludes to the brutality of war and the totalitarian state -Viewer reflects on this -Enduring regine Context: -artist: Magdalena Abakanowicz. 1985 CE. -Worked as a nurse caring for wounded soldiers in WWII as a teen

249. MAXXI National Museum of XXI Century Arts

Form: -CAD (computer designed architecture) -Glass, steel, cement -Walls flows and melt into one another -Natural light -Articulated geometry with lighting -Concrete influenced by ancient Rome Content: -Public plaza -Lit up stairs -Open ceiling -Wind through the spaces Function: -Walk through the art -Library, auditorium, and cafeteria Context: -Zaha Hadid, 2009 CE -North of the Tiber, no one ever went to this part of Rome

236. En la Barberia no se Llora

Form: -Environment installation, site specific -Big multimedia environment -Tacky and grimy setting -Kitsch items everywhere Content: -Photos of famous Latino men on walls -Interior of barber shop where "no crying is allowed" -Video screens on the headrests depict men playing, a baby being circumcised, and men crying Function: -Recreating the centering of Latino male culture (the barbershop) -Kitsh items: symbols of consumerism culture Context: -Pepson Osorio, Puerto Rican artist 1994 CE

143. Dream of a Sunday Afternoon in the Alameda Park

Form: -Fresco, 50' long, 13' high -Inspired by surrealism (dream/nightmare) Function: -Political propaganda and nationalism -Historical narrative -Decoration for a hotel across the street from the park -Show how involved the government was in Mexico Content: -Big urban park in Mexico City -Skeleton in middle- Diego as a young boy holding its hand -Older portrait of Frida -3 periods of Mexican history over 400 years (Conquest, Porfirio of Diaz dictatorship, revolution of 1910) -Historical figures in the government/ revolution Context: -Diego Rivera, 1947-48 -Diego's memories of the park (moved to Mex. City at age of 10)

138. Object

Form: -Fur-covered cup, saucer, and spoon -Surrealism: pure physic automatism (unconscious/conscious), world of dreaming Content: -Saucer, cup, spoon -Gazelle fur Function: -Turning something dainty into something naughty (pubic hair reference) -Interpretations can be different for everyone Context: -French -Meret Oppeheim (Surrealist painter) -Was at a café with Picasso and wearing a fur covered bracelet. He exclaimed that anything could be covered in fur and she got inspiration because they were drinking tea together. Proceeded to go to a store right next to the café and get a cheap saucer, spoon, and, cup.

230. Pink Panther

Form: -Glazed porcelain -Cartoonish -Kitsch: cute, cliché, gaudy, tasteless but ironically compelling/moving -Highly polished -Life-size Content: -Hollywood star and pink panther cartoon thrown over her shoulder Function: -Take a cheap cartoon and make it into a permanent delicate and priceless object -This kitsch thing treated as high art -Idealized woman stereotype: big breasts, very blonde, red lips and fingernails -Commentary on celebrity romance, sexuality, commercialism, stereotypes Context: -Porcelain from best porcelain factory in Germany -American artist: Jeff Koons 1988

gothic buildings: ribbed vaulty

molded stone ribs covering seams of groin vaults

148. Narcissus Garden

Form: -Mirror balls "kinetic carpet" -Temporary installation/ been re-shown several times -Artist part of installation Content: -"Your Narcissism for Sale" sign -Sold the balls for $2 each -The artist (Kusama) wearing a kimono standing in front -1500 mass-produced plastic silver globes Function: -Wore a kimono to fulfill Japanese stereotypes about her -Self-promotion of artist -Infinity suggested by endless mirrored images -Critique of commercialism in the art world Context: -artist/performer: Yayoi Kusama -1966 Venice Biennale Public place: lawn outside the Italian Pavilion

247. Praying Mantra

Form: -Mixed media on mylar -Twisting -collage Content: -Female figure lost in patterns and twinkling lights reclined in relaxed position -Kuba cloth -Cyborg? Person whose function is aided by a mechanical device or computer implants Function: -Wordplay: "praying mantra" sounds like praying mantis -Female praying mantis eat the males (symbol of female power and identity?) -Kuba cloth showing African background Context: -2006 CE -Wangchei Matu: Kenyan artist, now in Brooklyn

233. Trade

Form: -Mixed media/oil paint -Collage elements -Abstract expressionist brushwork Content: -Team logos that use Indians as their mascot in a stereotypical way (Noles, Braves, Redskins) -String across top with emblems -Newspaper clippings, images of conquest over a large canoe Function: -Native American stereotypes -Stories within a community -Red: symbolic of bloodshed of American Indians -Show the social issues of Native Americans caused by European occupation stress: poverty, unemployment, disease, alcoholism Context: -Jane Quick-to-see Smith, Native American artist -1992: 500th anniversary of Columbus sailing to America

223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II

Form: -Multimedia performance (costume, cosmetics, chant, movement) -Photographic documentation Content: -Queen of England's royal visit to Fiji -Fijian women and men displaying their culture to the queen -Women wearing barkcloth skirts -Rolls of woven mats that each woman in procession carries (mats served as ritual exchange) Function: -Political pageantry as art -Show the Fijian culture to the queen of England -Performance art Context: -Fiji, Polynesia, 1953

231. Untitled (#288)

Form: -Photograph, self portrait -Costumes, decor Content: -The artist appears as the model, costumer, hairdresser, photographer, and makeup artist in each work -Theme of Salome decapitating St. John the Baptist (mask-like, alert, bloodless) -Richly costumed and decorative drapes -Shows no emotional attachment to the murder Function: -Showing how history develops meaning -Comments on gender identity and class distinction -Heavy costuming and setting acts as commentary on late 19th century versions of the subject Context: -Did this in Rome, 1990 CE -Cindy Sherman-New Jersey born, American artist

137. Illustration from the Results of the First Five-Year Plan

Form: -Photomontage: images combined and manipulated to express the message artist wants to convey -Dynamic composition -Graphic art (book and magazine) Typography: text turned into art (what Stepanova is famous for) Content: -Stalin's Five Year Plan of 1928 for agricultural, industrial, and military growth -Vladimir Lenin -Industrialism -Red: color of the Communist Soviet Union Function: -Soviet propaganda -Show Stalin's economic policies to the world -Constructivism as utilitarian modernism -Artist's interpretation Context: -Varvara Stepanova, 1932 -Russian Constructivism

136. Composition with Red, Blue, and Yellow

Form: -Primary palette -Nonobjective -Dynamic asymmetry -Grid with lines of varying thickness -Neoplasticism: create new non-objective visual language Content: -Horizontal and vertical black lines -Red, blue, and yellow blocks Function; -Utopian: aim for a state of perfection; idealistic -Idealism about art's potential to change society Context: -Piet Modrian, 1930 -Painted in Paris, France

212. Chairman Mao en Route to Anyuan

Form: -Propaganda -Portraiture -Socialist realism (clear, intelligible subject/emotionally moving themes) Content: -Mao on way to organize a coal worker/miner strike -Portrait of Mao (oil paint) -Telephone poll and water cascades from a dam (modernity) -Chinese landscape -Umbrella under his arm Function: -Used Chinese landscape to portray that Mao was capable of leading a revolution -Combatting tradition Chinese art but still not modern -Mao as a person working for the people Context: -based on oil painting by Lui Chunhua -artist unknown 1969 CE

139. Fallingwater

Form: -Ribbon fenestration -Organic plan/space -Horizontality -Irregularity and complexity of design Content: -Hearth in center of house -Cantilevered porches extending over waterfall -Living room with glass curtain wall around 3 of the 4 sides Function: -Weekend house for the Kauffman family (owned a department store in Pittsburgh) -Harmony with nature Context: -architect: Frank Lloyd Wright, 1936-39 CE140 -Site specific -Designed furniture as well

200. Lakshamana Temple

Form: -Sandstone -Axial plan -Panchayatana temple type: Configuration of 5 rooms is the typical setup for Indian temple -High base/platform -Deep entrance porch -Complex horizontal banding crosses the ribs of the tower Content: -Series of rooms -Tallest part of building: marks spot of most important part of building (inner sanctuary that holds the image) -4 shrines/chapels around main room -Lion statues (symbols of male figures) -Murti: embodied image of a divine figure -Mandapa: hall -Sensuous couple (controversial figures): shows deeper connection with gods Function: -Hindu temple dedicated to Vishnu -Mandir temple: Space that is the house for gods (in this case, for Vishnu) -place of worship, the divine endowed in its idealized architectural form Context: -Chandella Dynasty 950 CE -Khajuraho, India (North Central India)

250. Kui Hua Zi (Sunflower Seeds)

Form: -Sculpted and painted porcelain Content: -Hired a lot of people to hand paint millions of individual sunflower seeds -Crunching sounds of people walking all over them Function: -Political rebellion -Ideology of Chairman Mao: He was the sun, the seeds were his followers -Initially supposed to always be you as a participant but the ceramic dust rising when people walked on it became too harmful -Seeds symbolically represent an ocean of fathomless depth Context -2010-11 CE -Ai Weiwei: brave artist, often gets in trouble for what he says

242. Lying with the Wolf

Form: -Skin-like paper feel -Against contemporary art -Large wrinkled drawing pinned to a wall Content: -Nude woman lying down with a wild wolf (emphasize woman strength) Function: -Contrast between delicate woman and wild wolf -Sexual identity -Based in religious, history, personal narrative, mystical worlds -Wolf seen as traditionally evil or dangerous symbol but not in this drawing -Wolf looks tamed by the woman's embrace Context: -Kiki Smith: American artist, born in Germany, lives in NYC (2001)

146. Seagram Building

Form: -Steel frame with glass curtain wall -Skyscraper -International style -Bronze veneer Content: -38 floors -Public space in front (doesn't take up the whole block) with reflecting pools Function: -Symbol of capitalism and economic power (used expensive material) -Reflection of minimalist movement in painting "less is more" -Balance classical traditions with industrial materials and modern forms Context: -architects: Ludwig Mies van der Rohe and Phillip Johnson -Budhaus ideals: minimalistic, functional, efficient -Midtown Manhattan

206. Forbidden City

Form: -Stone masonry, marble, brick, wood, and ceramic tile -Layout based on Chinese philosophy -Certain palette to signify (dark red-sun, yellow-earth, blue-heaven) Content: -30 ft. tall walls surrounding the city -Moat around the wall -Series of bridges -Front Gate (Mao Zedong's portrait over doorway), Meridian Gate -Private realm: where the royal family lives (outer and inner court) Numbers everywhere -Complex of roughly 100 buildings, 9000 rooms Function: -Express that the emperor is the Son of heaven -Political and ceremonial center for nearly 500 years -Main building: to discuss the issues of the state -Importance of numbers spiritually -Walls provide privacy and protection for the families Context: -Largest political complex in the world -City at center of a city -Beijing, China, Ming Dynasty 15th century CE-later

140. The Two Fridas

Form: -Surrealist -Ex Voto Tradition -Victorian European (left)/ Mexican (right) Function: -Self portrait, search for herself -Show her two heritages (European father, Mexican mother) -Blood on lap suggesting abortions and miscarriages Content: -European Frida on left and Indian/Mexican Frida on the right -Right: holds small portrait of (almost) ex-husband Diego as a child -Left: holds hemostat (stop bleeding of her heart) -Stormy sky (everything going wrong) -Heart twined together by veins that are cut by scissors at one end and lead to portrait of husband Context: In midst of divorce with Diego Rivera -Frida Jahlo, 1939.

141. Migration of the Negro, panel no. 49

Form: -Synthetic cubism (flat, angular) -60 panels in series -Tempera paint on hardboard -Unmodulated colors Content: -Anonymous faces -Split down the middle -Public restaurant in city segregated Function: -Historical narrative series that depicts the migration of African Americans from the rural South to the urban North after WWI -Segregation emphasized by yellow poles that zigzag down the center Context: -artist: Jacob Lawrence, 1940-41 -Parents migrated North so he lived during this period of migration

219. Hiapo (tapa) Niue

Form: -Tapa cloth/bark cloth (woman would harvest inner bark of mulberry tree and pound it flat with an anvil or wooden beater) -Freehand painting -Abstract/geometric, in a grid -Use of stencils; dyed the exposed parts of the tapa with paint to create shapes Function: -The most traditional uses for this would be clothing, bedding, and wall hangings -Specially prepared and decorated for people of rank Each set of designs interpreted symbolically (images with rich history) Content: -Plant and sometimes animal motifs -Text (where and when it was made) Context: -Made by women -Polynesia, 1850-1900

240. Guggenheim Museum Bilbao

Form: -Titanium , glass, and limestone -CAD (computer assisted design) -Titanium covered -Bending and arching walls -Effect of shimmering surface -Deconstructionist architecture: seeks to create a seemingly unstable environment with unusual special arrangements Content: -Multiple galleries -Central atrium like Wright's Guggenheim in NY Function: -Bending walls represents how history is never-ending and never stops unfolding -History has many ways of being constructed -Swirling forms and shapes mark a contract with the industrial landscape of Bilbao -"Bilbao effect": refers to the impact that a museum can have on a local economy Context: -1997 CE -Frank Gehry: Canadian-American architect based in Los Angeles

218. Buk mask

Form: -Turtle shell, wood, fiber, feathers, and shell -Seashell eyes inlaid -Raffia for hair -Discs on wings amplify the sense of a bird in flight (dynamic -Lattice work around the face Content: -Masks representing human forms, and some depict birds, fish, or reptiles, or both -Perhaps a faith hero or ancestor -Bird as a totem? (connected to the person or family) Function: -Male initiation ceremonies -Funerals -Used with grass costumes in ceremonies about death, fertility, or male initiation Context: -Torres strait (between Australia and New Guinea) Mid-late 19th century CE

239. The Crossing

Form: -Video and sound installation Content: -Two screens of color video projects from opposite sides of large dark gallery onto two large back to back screens suspending from the ceiling and mounted to the floor. -Fire and water -Figure walking in slow motion -Film shot a very slow speed Function: -Promotes video as an art form -Evokes eastern and western spiritual traditions -Spiritual reality Context: -Performer: Phil Esposito -Bill Volia, Artist from Queens, NY

216. Staff god

Form: -Wood; Carved by men- penis on one end and head on other -Women wrapped tapa (barkcloth made by women) around the whole thing -Feathers -Figures in profile/abstract -13' high (largest known) Content: -Combination of male and female elements Function: -Wrapped staff god -Protects ancestral power (mana) of the deity -Contains it in the wrapping within its layers Context: -May 1827 this god figure was brought to John William and their wives -Cook Islands, Central Polynesia; late 18th-early 19th century

243. Darkytown Rebellion

Form: cut paper and colorful projection on the wall Function: - make the viewer apart of this time in history and question th - shows the racial stereotypes but the black silhouettes do not show you the color or gender of the figure- that is for the viewer to decide Content: - depicts racial stereotypes and exaggerates the physical appearance of different groups of people Context: -made by Kara Walker in 2001 - Whitney museum in NY

Foreshortening

Is the representation of any object on a two-dimensional surface in such a way that the object appears to advance or recede.

77. Isenheim Altarpiece

Form: oil on wood, diptych (two panels/wings) Content: -predella: base of the altarpiece -1st panel: shows Jesus suffering on the cross symbolizing the suffering of the patients -2nd panel: shows Jesus resurrection -3rd panel: statue of St. Anthony who was patron saint of the hospital Function: - made for a hospital to relate their suffering to Jesus' suffering in order to make them feel better Context: - no longer in situ - Boarder of France and Germany -Made by Matthias Grunewalkd in 1512-1516 CE

50. Rebecca and Eliezer at the Well and Jacob Wrestling with the Angel, from Genesis

Form; -tempera, gold, and silver on purple vellum (animal skin) -illuminated manuscript (pictures with words) -continuous narrative Content: - stories from Genesis -Jacob wrestles an angel at night -Rebecca quenches thirst of camels and camel driver -letters black now bc silver oxidized -Greek writings> Byzantine Function: -tell stories Context: -Early Byzantine Empire 6th century CE

238. Electronic Superhighway

Form; -Explosion of sound and images -Neon lighting Content: -Video screens behind outline of the USA (each state has own video feed) -Maps/travel Function: -Information overload (before web was created) -Viewer incorporated in the piece (picture of you) -Fascination with interstate highway system -Neon symbolizes motel and restaurant signs Context: -Nam June Paik, Korean artist -1995 CE

145. Woman I

Form; -Slashing paint onto canvas (Picasso inspired) -Aggressive movement of paint (action painting) -Abstract style -Many layers of paint Content: -Smile is from a magazine ad -Great fierce teeth and huge eyes (not attractive) -Large breasts Function: -Breasts were a satire on women who were in magazines -Critical look at the post world war pinup and the disapproval of the pornographic culture Context: -Series of 60 "Woman" paintings -artist: William de Kooning: Dutch-American abstract expressionist painter

170. Sika dwa kofi (Golden Stool)

Forn: -carved from a single piece of wood -gold over wood -four corner posts and open central post -saddle shaped seat -gold leaf -retangular base Content: -Story of Golden Stool (priest named Anoyke had power to bring stool from the sky into lap of Osei -gold in Ashanti culture= trade material -at death, ancestral stools are blackened and kept in special shrine rooms Function: -symbolic stool signifying divine royal power (soul of the ashanti people) Context: -Ashanti royalty in Kumasi -South central Ghana -1700 CE

Artist: Francisco de Zurbarán Piece: St. Serapion Medium: Oil on Canvas Year: 1628

Francisco de Zurbarán (1598-1664) began his professional life as a painter, as did Velázquez, in Seville, and he stands out among his contemporaries for his quiet intensity. His most important works, done for monastic orders, are filled with an ascetic piety that is uniquely Spanish. St. Serapion shows an early member of the Mercedarians (Order of Mercy) who was brutally murdered by pirates in 1240 but canonized only 100 years after this picture was painted. The canvas was placed as a devotional image in the funerary chapel of the order, which was originally dedicated to self-sacrifice. Zurbarán's painting reminds us of Caravaggio. Shown as a life-size, three-quarter-length figure, St. Serapion fills the picture plane: He is both a hero and a martyr. The contrast between the white habit and the dark background gives the figure a heightened visual and expressive presence, so that a viewer contemplates the slain monk with a mixture of compassion and awe. Here, pictorial purity and spiritual purity become one, and the stillness creates a reverential mood that complements the stark realism of the image. As a result, we identify with the strength of St. Serapion's faith rather than with his physical suffering. The absence of rhetorical pathos is what makes this image deeply moving.

Art and the Salon

From the seventeenth century to the early part of the twentieth century, artistic production in France was controlled by artistic academies which organized official exhibitions called salons. In France, academies are institutions and learned societies which monitor, foster, critique and protect French cultural production. Academies were more institutional and more concerned with criticism and analysis than those literary gatherings today called salons which were more focused on pleasurable discourse in society, although certain gatherings around such figures as Marguerite de Valois were close to the academic spirit.

Santiago de Compostela (Interior Cathedral of St. James)

Galacia, Spain, Romanesque, c. 1078 - 1122 CE

Artist: Giovanni Battista Gaulli under the guidance of Bernini Piece: Triumph of the Name of Jesus Medium: Ceiling fresco with stucco figures Year: 1672-1679

Ironically, the new style of architecture fostered by Francesco Borromini and Guarino Guarini provided few opportunities for decoration. But, after 1670, such frescoes enjoyed a revival in older buildings which reached its peak in the interior of Il Gesù, the mother church for the Jesuit order. At the suggestion of Gianlorenzo Bernini, the greatest sculptor-architect of the century, the commission for the ceiling frescoes went to his young protégé Giovanni Battista Gaulli (1639-1709). A talented assistant, Antonio Raggi (1624-1686), made the stucco sculpture. The program, which proved extraordinarily influential, shows Bernini and Gaulli's imaginative daring. As in the Cornaro Chapel, the ceiling is treated as a single unit that evokes a mystical vision. The nave fresco, with its contrasts of light and dark and sharply foreshortened figures, spills dramatically over its frame, then turns into sculptured figures, combining painting, sculpture, and architecture. Here, Baroque illusionism achieves its ultimate expression. The subject of the ceiling painting is the illuminated name of Jesus—the IHS derived from the first three letters of the Greek name of Jesus—in the center of the golden light. It is a stirring reference both to the Jesuit order, dedicated to the Name of Jesus and to the concept that Christ is the Light of the World. The impact of his light and holiness then creates the overflowing turbulence that tumbles out of the sky at the end of days and spreads the word of the Jesuit missionaries: "That at the name of Jesus, every knee should bow...".

Nave

Is the main body of the church in Romanesque and Gothic church architecture, it provides central approach to the high altar

Trajan's Column, Trajan's Forum, Rome, 113-116 CE

Is the monument of Trajan that is 125ft high. There is a decorative relief that is 600 ft long and portrays the battle of the Romans and the Dacians. Later on a statue of St. Peter was topped over the monument.

Artist: Jacques-Louis David Piece: Oath of the Horatii Medium: Oil on Canvas Year: 1784

It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them.[1] Of the three Horatii brothers, only one shall survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he chases the three fighters, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying whilst sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, in any case, she will lose someone she loves.

Bernini, David

Italian Baroque, conveyed power about to be unleashed,

Contrapposto

Italian word for "set against." A composition developed by the Greeks to represent movement in a figure. The parts of the body are placed asymmetrically in opposition to each other around a central axis, and careful attention is paid to the distribution of weight.

"Classical Canon"

Italy and France

School of Athens Raphael. 1509-1511 C.E. Fresco

Its pictorial concept, formal beauty and thematic unity were universally appreciated, by the Papal authorities and other artists, as well as patrons and art collectors. It ranks alongside Leonardo's Mona Lisa and The Last Supper, and Michelangelo's Vatican frescoes, as the embodiment of Renaissance ideals of the early cinquecento. balance, sculptural quality, architectural perspective, and fusion of pagan and Christian elements

Shapes and colors are repeated to create a visual rythym

Jacob Lawrence's "The Barber Shop"

Donatello

Jeremiah statue, stiacciato

The contrast between the contemporary figure and the traditional decorative motifs creates visual interest. The classical modeling of the background patterns overlapping the figure compress the spatial depth in the painting.

Kehinde Willey's "Alios Itzhak" (The World Stage: Israel)

Hall of the Running Bulls location

Lascaux Dordogone, France

The last supper

Leonardo da Vinci. c. 1494-1498 C.E. Oil and tempera. decomposed very quickly . Immortalized the dramatic moment after Christ announced one of his disciples would betray him.

Attributed to the Hischfield Workshop, Funerary Krater, 750 - 735 bce, terracotta from Dipylon Cemetery in Athens

Location: Diplylon Cemetary in Athens Made from terracotta and about 4 ft high. Portrays a death ritual using a geometric style.

Sacrifice of Isaac

Lorenzo Ghiberti, Competition panel for East doors of Florence Baptistery, Florence, Italy, 1401-02

The "Sun" King

Louis XIV (5 September 1638 - 1 September 1715), known as Louis the Great (Louis le Grand) or the Sun King (le Roi-Soleil), was a monarch of the House of Bourbon who ruled as King of France from 1643 until his death.[1] His reign of 72 years and 110 days is the longest of any monarch of a major country in European history.[2] In this age of absolutism in Europe, Louis XIV's France was a leader in the growing centralization of power.

Arnolfini wedding

Made By: Van Eyck (1390-1441) -Van Eyck is considered the father of oil painting. He was so idolized for his discovery, that his right arm was preserved as a holy relic. -Textures become very realistic due to oil paint. -Objects often symbolized important themes. The dog represents fidelity, the lit candle represents the Holy Spirit. -The whole painting can be seen in a miniature mirror on the wall. -On the wall, Van Eyck also signed his painting, by writing: Van Eyck was here is Latin.

Holy Trinity

Masaccio, fresco, Santa Maria Novella, Florence, c. 1425-02

" I want to work with the land and not dominate it. I had an impulse to cut open the earth...an initial violence that time would heal. The grass would grow back, but the cut would remain.

Maya Lin, Vietnam Veterans Memorial, Washington, D.C.

Caravaggio and the Caravaggisti

Michelangelo Merisi da Caravaggio was famously sensitive when it came to matters of artistic originality: he threatened both the painter Guido Reni and artist and biographer Giovanni Baglione for copying his style. Despite his best efforts to protect his singular style, however, Caravaggio became one of the most widely imitated artists in the history of Western art. After his untimely death in 1610, many Italian and non-Italian artists alike came to be considered his "followers," even though they had never met the artist or worked alongside him. Unlike the typical Renaissance master-follower relationship, these artists could claim no direct descent from the studio of Caravaggio (since he did not have one), and in some cases they had not even seen his paintings first-hand. Some artists imitated Caravaggio for only a brief phase of their careers - Baglione, Carlo Saraceni, and Guercino for example - while others remained committed to Caravaggio's stylistic model for the duration of their lives. Nevertheless, these painters, often labeled Caravaggisti, emulated aspects of Caravaggio's style, technique, and choice of subjects and were responsible for the dissemination of Caravaggism across the European continent. Google this term and go to the Khan Academy result https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/baroque-italy/a/caravaggio-and-caravaggisti-in-17th-century-europe

Artist: Jean-Antoine Watteau Piece: Pilgrimage to Cythera Medium: Oil on Canvas Year: 1717

Next came portraits, landscapes, and finally still lifes. Watteau's reception piece for the French Academy, required when he became a member in 1712, was not delivered until five years later. The work, A Pilgrimage to Cythera (fig. 22.1), is an evocation of love and includes elements of classical mythology. Cythera, which came to be viewed as an island of love, was one of the settings for the Greek myth of the birth of Aphrodite (Venus), who rose from the foam of the sea. The title suggests this traditional subject, but the painting was described in the French Academy records as a fête galante, perhaps the first use of this term. Watteau has created a delightful yet slightly melancholic scene. It is unclear whether the couples are arriving at or leaving the island. The action unfolds in the foreground from right to left like a continuous narrative, which suggests that the figures may be about to board the boat. Two lovers remain engaged in their amorous tryst; behind them, another couple rises to follow a third pair down the hill as the reluctant young woman casts a longing look back at the goddess's sacred grove. Young couples, accompanied by swarms of cupids, pay homage to Venus, whose garlanded sculpture appears on the far right. The delicate colors-pale greens, blues, pinks, and roses-suggest the gentle nature of the lovers' relationships. The subtle gradations of tone showed Watteau's debt to Rubens and helped establish the supremacy of the Rubénistes.

Pulpit, Pisa Baptistery

Nicola Pisano, Pisa, Italy, 1260

Artist: Théodore Géricault Piece: Raft of the "Medusa" Medium: Oil on Canvas Year: 1818-19

Not long after his return to Paris in late 1817, he began thinking about the third and last painting he would exhibit at the Salons, The Raft of the Medusa , painted between 1818 and 1819 after many studies. In 1816, the Medusa, a government vessel, foundered off the West African coast with approximately 400 people aboard. The captain commandeered the six lifeboats for government officials and officers, with the remaining 150 passengers being consigned to a makeshift raft that was set adrift by the crew at the mercy of the sea. When the passengers were finally rescued some two weeks later, only a handful were still alive. The callous captain was incompetent, an aristocrat who had been appointed for political reasons by the government of Louis XVIII. The headline-making event was condemned in the press as a reflection of the corruption of Louis's administration. Géricault decided to paint the moment when the survivors first sighted a ship, not the more politically charged moment when the captain set the raft adrift. The painting is thus about the harrowing mental and physical experience of survival rather than an accusation of injustice. Géricault seems to have latched onto his subject after revisiting Gros's Napoleon in the Pesthouse, for the foreground is littered with Michelangelesque nudes. From the bodies of the dead and dying in the foreground, the composition recedes in a dramatic Baroque diagonal , climaxing in the group supporting the frantically waving black man. As our eye follows this line of writhing, twisting bodies, we move from death to hope. But this is not a painting that is at root about hope, for there are no heroes, no exemplary moral fortitude. Rather the theme is the human species against nature, and Géricault's goal was to make a viewer feel the trials and tribulations of the castaways. The academic, Classically proportioned monumental figures are a catalogue of human misery, reflecting the death, cannibalism, fighting, insanity, sickness, exhaustion, hunger, and thirst that tormented the victims. The stark realism, obtained in part through tighter brushwork, heightens our visceral connection to the dramatically lit event; we too are on the crude raft, pitched about on the high seas, and aimlessly buffeted by the wind. Géricault would never exhibit again in a Salon and within six years would be dead at the age of 32. His later work, unlike The Raft, was not monumental; nor does it show off the artist's ability to draw and incorporate Classical models into an otherwise Baroque composition with a Romantic mood.

Charlemagne's Palace Chapel

Odo of Metz, Aachen, Germany, Carolingian, 792-805 CE

The Street Art movement's focus on culture and consumerism most relates to

Pop Art

An uneven treatment of the surface texture is closely tied to the sculpture's expressive quality

Portarit of a head by Auguste Rodin

Charles Demuth's I Saw The Figure 5 in Gold

Precisionism

Artist: Rembrandt Piece: The Hundred Guilder Print, Medium: etching and drypoint Year:1647

Rembrandt's etchings show a new depth of feeling lent by the intimacy of the print medium. The Hundred Guilder Print , which has been interpreted as a depiction of the entire nineteenth chapter of the Gospel of St. Matthew, combines various aspects of Christ's preachings, including the healing of the multitudes, and the gathering to him of children and those who had been forsaken. This is crystallized in the phrase which has been associated with the print from a contemporary poem: "The Son of God in a world of sorrow. ..." The print is filled with pathos, revealing a humble world of bare feet and ragged clothes. The scene reveals Christ's deep compassion for the poor and outcast, who make up his audience in the print. Rembrandt had a special sympathy for the Jews, both as heirs of the biblical past and as victims of persecution, and they were often his models and also his patrons. The setting of this print suggests some corner in Amsterdam where the Jews had found a haven; they are used here to provide an "authentic" setting for Christ's teachings. Rembrandt incorporates observations of life from the drawings he made throughout his career; several of these drawings have been identified as studies for this work. Here, as in Caravaggio's The Calling of St. Matthew, it is the magic of light and dark that gives the etching its spiritual significance. The print derives its name from a story that 100 guilders was the great price paid for it at a contemporary auction. It is a virtuoso combination of etching and drypoint, creating a velvety tone that can only be suggested in the reproduction here. Rembrandt's importance as a graphic artist is second only to Dürer's, although we get no more than a hint of his virtuosity from this single example.

Birth of Venus

Sandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas Botticelli broke new ground with his works, including the Birth of Venus. He was the first to create large scale mythology scenes, some based on historical accounts. In the era that Birth of Venus was painted, minds were open to new ideas and religion no longer needed to be the main subject of artistic work. If such mythological pieces had been painted 100 years earlier, they would not have been accepted by the church because they were so different to traditional depictions.

The liberation of the peon

Rivera

spiral jetty

Robert Smithson: rock, salt crystals and earth, coil length 1500'

To serve their function as places of spiritual renewal, classical Japanese Zen gardens typically contain

Rocks encircled by raked patterns in white gravel

In 1889 George Eastman made photography accessible to the public by introducing

Rolled photography film

Difference between Greek and Roman style

Roman large scale, used greek decoration

Two art styles in the middle ages

Romanesque and Gothic

William Blake

Romantic images, frequently incorporating biblical themes.

Santa Costanza

Rome, Early Christian, c. 350 CE

Four R's of Renaissance Architecture

Rome, Rules, Reason, Rithmetic

Republican era of Rome

Round domes and barrel vaults were first incorporated into architecture on a large scale

Artist: Peter Paul Rubens Piece: The Garden of Love Medium: Oil on Canvas Year: 1638

Rubens exhibited his virtuoso talent in portraits and monumental historical works in the 1620s with his famous cycle of paintings glorifying the career of Marie de' Medici, widow of Henry IV and mother of Louis XIII, in the Luxembourg Palace in Paris. The cycle consists of 21 paintings at least 13 feet high, with some as much as 28 feet wide. Rubens executed more than 35 sketches for these enormous paintings. Our illustration shows one episode: the young queen landing in Marseille . Rubens has turned an ordinary disembarkation into a spectacle of unparalleled splendor, combining reality and allegory. As Marie de' Medici walks down the gangplank to enter France; she has already married Henry IV by proxy in Florence, but is yet to meet her husband. Accompanied by her sister and aunt as the allegorical figure, Fame flies overhead sounding a triumphant blast on two trumpets; she is welcomed by the allegorical figure of France draped in a fleur-de-lis cape. Neptune and his fish-tailed crew, the Nereids, rise from the sea; having guarded the queen's journey, they rejoice at her arrival. Everything flows together here in swirling movement: Heaven and earth, history and allegory. Peter Paul Rubens, Marie de' Medici, Queen of France, Landing in Marseilles.Rubens's Workshop To produce these large paintings, painting cycles, ceilings, and altarpieces, Rubens needed a large workshop; most of the Flemish artists working in the early seventeenth century studied with him at some point. They often traveled with him, worked on paintings he had begun or sketched, or began paintings for him to complete. Rubens worked as a painter and a royal emissary. Diplomatic errands gave him entry to the royal households of the major powers, where he received numerous commissions. His duties took him to Paris, London, and Madrid—having already been to Italy—and he went to the Northern Netherlands to find an engraver for his work. He was truly an international artist. LATE RUBENS In the 1630s, after Rubens remarried at the age of 53, his art turned inward and he made many paintings of his beautiful young wife, home, and children. He even wrote of being "at home, very contented." Rubens's The Garden of Love is a glowing tribute to life's pleasures. It shows couples, cupids, and a lifelike statue of Venus (at the upper left) in a garden in front of a building, much like Rubens's own Italianate house in Antwerp. Suggestions have been made that the male figure on the left is actually Rubens, and several of the women (mostly, the center-seated one) look like his new wife, Hélène Fourment. Certainly, the sensuality of The Garden of Love parallels changes in his life. This painting and the Paris Marie de' Medici Cycle would influence eighteenth-century Rococo painting.

The Descent from the Cross

Rubens, atrial lighting, dark sky and glaringly spot lit christ, tragic theme and powerful emotional response

Gislebertus, Last Judgement, tympanum of the west portal

Saint-Lazare, Autun, France, Romanesque, c. 1120-1135

Tympanum of South Porch

Saint-Pierre, Mosaic, France, Romanesque, c. 1115

Stonehenge location?

Salisbury plain, england

Step Pyramid of King Zoser location

Saqqara, Egypt

Kritios Boy, Acropolis, Athens (480-475 bce)

Sculpture made during the classical period and uses the contrappasto technique. The piece is named after the person who made it, and this sculpture does not have an archaic smile.

Semiotic theory is associated with

Signs and symbols in language.

Homer

Snap the whip, waiting for a bite

Artist: Judith Leyster Piece: Self-Portrait Medium: Oil on Canvas Year: 1633

The most important follower of Hals was Judith Leyster (1609-1660), who was responsible for a number of works that once passed as Hals's own. She painted portraits and still lifes, but mostly genre paintings. Her Self-Portrait shows Leyster as both a portrait and genre painter, and was executed to show her mastery of both. It was probably her presentation piece to the Guild of St. Luke in Haarlem in 1633, when she became a master and took on her own students. The painting on the easel is a detail of a popular work of hers; she uses this canvas to advertise her diverse talents. It also reveals her technical skill as she wields numerous brushes and a palette as she sits in her studio, open-mouthed, casually conversing with us. Many women artists, as Leyster does here, showed themselves painting—indicating their new professional status and their unique position. Indeed, Artemisia Gentileschi's Self-Portrait as the Allegory of Painting (La Pittura), executed about the same time, explores this same theme.

byzantine art, architecture and popular example

mosaics and icons, central dome church, and Hagia Sophia

Artist: Inigo Jones Place: Banqueting House, London Year: 1619- 1622

The first significant English architect was Inigo Jones (1573-1652), architect to James I and Charles I as well as the era's leading English theatrical designer. Jones's style developed from the country-house tradition of large private mansions in parklike settings. Jones took two lengthy trips to Italy in 1597-1603 and 1613-14, with an interlude in Paris in 1609. Upon returning from his second trip to Italy, he was appointed surveyor of the king's works, a post he held until 1643. Jones was now an affirmed disciple of Antonio Palladio, whose work he saw in Venice and whose treatises (along with those of Alberti) he owned and annotated. Before Jones, English architecture was a pastiche of medieval and Renaissance forms; its high point was the English Gothic cathedral. Jones is responsible for introducing Palladio's Renaissance Classicism to England, although the style took root only in the early decades of the eighteenth century, when a building boom resulted in the trend called the Palladian Revival. The Banqueting House Jones built at Whitehall Palace in London conforms to the principles set out in Palladio's treatises, although it does not copy any specific Palladian project. It was originally intended to be used for court ceremonies and performances called masques (a spectacle combining dance, theater, and music), although evening entertainments were halted after 1635 because smoke from torchlights was damaging Rubens's ceiling painting, the Apotheosis of James I. The Banqueting House is essentially a Vitruvian "basilica," a double cube with an apse for the king's throne, which Jones has treated as a Palladian villa. It is more like a Renaissance palazzo than any other building north of the Alps that had been designed at that time. Jones uses an ordered, Classical vocabulary and the rules of proportion to compose the building in three parts. The Ionic and composite orders of the pilasters add an understated elegance, and alternating segmental and triangular pediments over the first-floor windows create a rhythmic effect. The sculpted garland below the roofline and the balustrade above decoratively enhance the overall structure. The building is perhaps starker than originally conceived; it bore colored stones for each of the stories before the façade was resurfaced. Jones's spare style stood as a beacon of Classicist orthodoxy in England for 200 years.

Artist: Rachel Ruysch Piece: Flower Still Life Medium: Oil on Canvas Year: After 1700

The independent floral still life seems to have begun in Flanders, but it developed in both the Northern and Southern Netherlands. Rachel Ruysch (1664-1750) was one of the leading Dutch flower painters of the day, and was lauded as such in her lifetime. She had a long and prolific career and worked in Amsterdam, The Hague, and Düsseldorf, where she and her husband, Juriaen Pool II (1665-1745), a portraitist, became court painters to the Elector Palatine until his death. One could say she was born to be a flower painter, as her father was a professor of anatomy and botany. Ruysch knew every blossom, every butterfly, moth, and snail that she put into a piece intimately. We know from the inclusion of flowers in earlier paintings, such as the lilies in a vase in the Mérode Triptych, that flowers can have meaning beyond their beauty. The flowers in figure 20.32, some with wild and impossibly long stems that stretch across the diagonal of the canvas, are arranged to create an extravaganza of color. Like the Heda Still Life with Lemon and Oysters with its broken glass, this still life features fallen, drooping flowers, and their near-death state again suggests a vanitas theme.

Artist: Louis Le-Vau Place: Palace and Gardens at Versailles Year: Late 17th century

The monumental Portrait of Louis XIV by Hyacinthe Rigaud (1659-1743) conveys the power, drama, and splendor of the absolutist ruler. The king is shown life-size and full-length, much like Charles I in Van Dyck's portrait. The resemblance is intentional, and the work follows the formulaic nature of royal portraiture of the time to espouse power and authority through the use of the insignias of rulership and the symbols of the opulence of the monarch's reign. Louis is shown draped with his velvet coronation robes lined with ermine and trimmed with gold fleurs-de-lis. He appears self-assured, powerful, majestic—and also tall, an illusion created by the artist, for his subject actually measured only 5 feet 4 inches. The portrait proudly displays the king's shapely legs (emphasized by the high heels Louis himself designed to increase his height), which were his pride and joy as a dancer. Indeed, the king actively participated in the ballets of Jean-Baptiste Lully (1632-1687) from the 1650s until his coronation. All the arts, from the visual arts to the performing arts, fell under royal control—a fact exemplified in Rigaud's painting, which expresses Louis's dominance and unequaled stature as the center of the French state.

Artist: Jean-Honoré Fragonard Piece: The Swing Medium: Oil on Canvas Year: 1767

The painting, an example of an "intrigue," suggests a collusion in erotic fantasy between the artist and patron, with the clergy as their unwitting dupe. This "boudoir painting" (on the subject of sexual intimacy) offers the thrill of sexual opportunity and voyeurism but translated to a stagelike outdoor setting. The innocence of the public arena heightens the teasing quality of the motion of the swing toward the patron-viewer. The painted sculpture of a cupid to the left, holding a finger to his lips, suggests the conspiracy in the erotic escapade in which we as viewers are now participants. Fragonard used painted sculpture in many of his works to echo or reinforce their themes. Set in a lush arbor, this scene encapsulates the secluded "place of love" that provides secrecy for this erotic encounter. The dense and overgrown landscape, lit by radiant sunlight, suggests the warmth of spring or summer and their overtones of sexuality and fertility. The glowing pastel colors create an otherworldly haze that enhances the sensuality of this fantasy spun by Fragonard. Fragonard epitomized the sensuality of the Rococo, and his works are marked by an extraordinary virtuosity in their use of color. His paintings range from erotic fantasies to intimate studies and pastoral landscapes, subjects that provided a distraction for his wealthy patrons.

Art is determined by the artworld.

The philosopher Arthur Danto

Piero della Francesca

The resurrection, the victory over khosroes, Federigo and His wife

Artist: Annibale Carracci Piece: Landscape with the Flight into Egypt Medium: Oil on Canvas Year: 1603

The sculptured precision of the Farnese ceiling shows us only one side of Annibale Carracci's style. Another important aspect is seen in his landscapes, such as the Landscape with the Flight into Egypt (fig. 19.8). Its pastoral mood and soft light and atmosphere hark back to Giorgione and Titian. The figures play a minor role here: They are as small and incidental in the manner of a northern European landscape . The painting only hints at the biblical theme of the Flight into Egypt (there are some camels on the hillside). Indeed, the landscape would be equally suitable as a backdrop for almost any story. The old castle, the roads and fields, the flock of sheep, the ferryman with his boat—all show that this "civilized," hospitable countryside has been inhabited for a long time. Hence the figures, however tiny, do not appear lost or dwarfed. This firmly constructed "ideal landscape" evokes a vision of nature that is gentle yet austere, grand but not awesome.

Artist: Balthasar Neumann and Tiepolo Place: Kaisersaal Located: Würzburg Year: 1751-1752

The work of Balthasar Neumann (1687-1753), a contemporary of Zimmerman's who designed buildings exuding lightness and elegance, represents one of the high points of the Rococo in central Europe. Trained as a military engineer, he was named a surveyor for the Residenz (Episcopal Palace) in Würzburg after his return from a visit to Milan in 1720. Although the basic plan was already established, Neumann was required to consult the leading architects of Paris and Vienna in 1723 before he made his extensive modifications. The final result is a skillful blend of the latest German, French, and Italian ideas. The breathtaking Kaisersaal (fig. 22.21) is a great oval hall decorated in the favorite color scheme of the mid-eighteenth century: white, gold, and pastel shades. The structural importance of the columns, pilasters, and architraves has been minimized in favor of their decorative role. Windows and vault segments are framed by continuous, ribbonlike moldings, and the white surfaces are covered with irregular ornamental designs. These lacy, curling motifs, the hallmark of the French style (see fig. 22.11), are happily combined with German Rococo architecture. (The basic design recalls an early interior by Fischer von Erlach.) But it is the painted decoration that completes the rich organic structure. The abundant daylight, the play of curves and countercurves, and the weightless grace of the stucco sculpture give the Kaisersaal an airy lightness far removed from the Roman Baroque. The vaults and walls seem thin and pliable, like membranes easily punctured by the expansive power of space.

Three types of perennial pyramid

The ziggurat, pyramids of Giza, I.M. Pei's Glass pyramid

The Windmill at Wijk bij Duurstede

conveys a dramatic mood through the wind-raked sky, mobile clouds and alternating sun and shadow streaks

Artist: Giovanni Battista Piranesi Piece: Tomb of the Metalli, Plate XV from Antichità Romane III Medium: Etching Year: 1756

These etchings are hardly mere documentation of sites in and around Rome. Often presenting worm's-eye views of the structures, Piranesi transformed them into colossal, looming monuments that not only attested to the Herculean engineering feats of the ancient Romans but also the uncontested might and supremacy of Roman civilization. The frightening scale of the monuments dwarfs the awestruck tourists who walk among the dramatically lit ruins. These structures seem erected not by mere humans, but by a civilization of towering giants who mysteriously vanished. Time, however, has taken a toll on their monuments, now crumbling and picturesquely covered by plants. Tourists such as Goethe, who before only knew Rome from Piranesi's vedute, were shocked to discover how small the ruins actually were upon seeing them for the first time. These images embody Piranesi's own sense of awe in the face of Roman civilization and constitute a melancholic meditation on the destructive ability of time to erode that once-great empire. The prints are not intended just to inform; they are also meant to evoke a sense of astonishment, even fright. In them we see the beginnings of a sensitivity that is antithetical in spirit to the noble simplicity and calm grandeur of Neoclassicism. Before the eighteenth century was out, the sense of awe that Piranesi produced would be identified as being caused by what the period called the "sublime." The sublime is not a style, but a quality or attribute. Interestingly, the word became current in 1756, a year before Piranesi's publication, when the British statesman Edmund Burke (1729-1797) published a treatise titled A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful. Burke's study was directed more toward psychology than aesthetics, but its impact on the world of art was tremendous. He defined beauty as embodying such qualities as smoothness, delicacy, and grace, which produced feelings of joy, pleasure, and love. The sublime he defined as obscurity, darkness, power, vastness, and infinity, anything that generated feelings of fright, terror, being overwhelmed, and awe. The sublime, he wrote, produced "the strongest emotion which the mind is capable of feeling." As the century progressed, more and more artists embraced this quality, catering to viewers' demands to be awed or moved by paintings, sculpture, and architecture.

Exekias, Amphora showing Achilles and Ajax playing a board game, (540-530 bce)

This piece uses black figure painting and the shape of the figures mimic the shape of the vessel.

Artist: Thomas Jefferson Place: University of Virginia Designed: 1804-1817 Constructed: 1817-1828

Thomas Jefferson, an amateur architect, designed his home Monticello (1770-1782) as a Palladian villa, like Burlington's Chiswick House , and he based his Virginia State Capitol (1785) on the Maison Carrée in Nîmes (see fig. 7.44). His best-known project in the Romantic era is the University of Virginia campus in Charlottesville . Like Monticello and the Virginia State Capitol, the campus is based on antiquity in order to evoke the democratic heritage from Greece and Rome as well as the grandeur of these two great civilizations, which form the bedrock of Western art and culture. Designed from 1804 to 1817, the campus consists of two rows of five Palladian villas connected by a roofed colonnade, off which are rooms for students. Each of the ten villas, which housed the professors and classrooms, was different, conceptually symbolizing individualism and aesthetically introducing picturesque variety. Each has a different Classical association: One with a Doric order refers to the Baths of Diocletian in Rome, a second with an Ionic order to the Temple of Fortuna Virilis, also in Rome. At one end of the two rows and tying them together is a Pantheon-like rotunda, the library, suggested by fellow architect Benjamin Latrobe and built in 1823-26. Lastly, the tree-lined lawn separating the two rows of villas imparts the complex with the naturalism of a picturesque English garden. Jefferson's genius in Charlottesville was to use the Classical revival to create a metaphor for the new republic that expresses both the individualism and the unity that defined the new nation. His use of picturesque variety in the buildings and landscape as well as his use of a style that evokes a lost, distant past are qualities that are distinctly Romantic.

Lyre Soudbox location

Ur, Iraq

Nanna Ziggurat location

Ur, Iraq

warka head location

Uruk

van eyck paintings are known for

convincing brilliant colors and microscopic detail

Artist: Artemisia Gentileschi Piece: Self-Portrait Medium: Oil on Canvas Year: 1638-1639

We know that, possibly for a few years (ca. 1638-40), Artemisia also worked in London where her father had been court painter to Charles I of England from 1626 to 1639. Indeed, several of her paintings were recorded in the king's inventory after his execution, and father and daughter may have worked together on a project in Greenwich. Among her most daring and creative works is Self-Portrait as the Allegory of Painting, one of the most innovative self-portraits of the Baroque period. Artemisia was able to do here what no male artist could: She depicted herself as the allegorical female figure of Painting, La Pittura. The dress and activity of the subject conforms to Cesare Ripa's description of La Pittura in his popular Iconologia (1593), a book of allegories and symbolic emblems for artists. There, the allegorical figure of Painting is described, in part, as a beautiful woman, with disheveled black hair, wearing a gold chain which hangs from her neck, and holding a brush in one hand and a palette in the other. Thus, the painting asserts Artemisia's unique role as a woman painter—representing not just herself, but all of Painting and reflecting the new, elevated status of artists.

Jesuit order

a Roman Catholic order founded by Saint Ignatius of Loyola in 1534 to defend Catholicism against the Reformation and to do missionary work among the heathen; it is strongly committed to education and scholarship. Society of Jesus.

How the Pyramids of Giza were built

a big work force was required to do the labor and the workers used a sliding system to build the pyramid.

The architecture of the Great Mosque at Cordoba featuerts

a hypostyle hall topped by large horseshoe shaped arches

Etching

a print produced by the process of etching. (engraving)

A major obstacle faced by nineteenth-century women artists in Europe and the United States was that

access to life-drawing classes was restricted for women

Use of overlapping and interacting areas of thin washes of flat color. Huge canvases that treat the surface as a field of vision.

accurately characterize Color-Field painting

eskimo

alaskian tribe that carved masks with moving parts used by shamans

Mastaba

an ancient Egyptian mudbrick tomb with a rectangular base and sloping sides and flat roof

idealism

an artistic theory in which the world is not reproduced as it is but as it should be. All flaws, accidents and incongruities of the visual world are corrected.

bronze age

bronze and alloy replace stone and clay mediums

hopi native american art

carved and painted kachina dolls out of cotton wood to represent gods and teach religion.

art patronage during the Italian high renaissance was most often provided by

catholic hierarchy

bisons cave painting (15,00 - 12,000 bc) medium/ materials

charcoal, manganese, ochres, ferrous oxides, vehicle or medium

gothic buildings: rose window

circular window filled with stained glass

gothic cathedrals were a symbol of what

civic pride that an invaders worst insult was to pull down the tower of a conquered towns cathedral

Influence of tribal art: fauves

collected African masks

influence of tribal art: surrealists

collected pacific carving, African masks and fanciful eskimo masks

Mary Cassat and Edgar Degas

compose work so that the subject appears cropped due to exposure to photography

african sculpture

consistently rejected real life appreance in favor of vertical forms, tubular shapes, stretched out body parts derived of cyclindrical tree forms

Diagonal placement

contributes to the dynamic nature of the shapes in Kazimir Malevich's "Dynamic Suprematism"

Elements of Baroque: Spanish

court patriots, patron monarch, realistic style, dignity

Pyramids of Giza (2575-2450 bce)

dedicated to the kings Khufu, Khafre and Menkaure. Built over the course of 75 years. the biggest pyramid belings to Khufu and the smallest belongs to Menkaure

what types of columns were used to build the colosseum

doric, ionic, corinthian

which of the following qualities best characterize the work of painter Caravaggio

dramatic use of light, gritty naturalism

The Kitchenmaid, Vermeer

dutch baroque , true subjects was light and its effect on color and form, showed the ability of defining forms by light

hall of the running bulls (15,000 bce)

earliest cave paintings discovered

High Renaissance century

early 16th century

Greek sculpture were nude and were not bleached white, the marble was

embellished with colored encaustic, a mixture of powdered pigment and hot wax applied to hair, lips, eyes and nails of the figure.

Etching

engrave (metal, glass, or stone) by coating it with a protective layer, drawing on it with a needle, and then covering it with acid to attack the parts the needle has exposed, especially in order to produce prints from it.

Durer

engraver, printmaker, a young hare, the piece of turf, the four apostles, erasmus

The pierced holes in Nok terracotta sculptures, such as the one shown, were intended to

equalize the heat created in the firing process

In reference to seventeenth-century European painting, the term "genre" refers to works that depicted and placed a new value on

everyday scenes

gothic building: flying buttresses

exterior masonry bridges supporting walls

influence of tribal art: expressionist

focus on the process of artistic creation rather than the end product - influenced by sand paintings being destroyed

Eugène Delacroix

focused on exotic places, political freedom, and violent struggle.

Navajo: circular feather arrangmenets

found ion pottery, in masks, prayer fans, dance costumes and on Plains" war bonnets" . depictions in paint recounting war honors

The Royal Academy

founded in 1768, code of strict rules based on classicism, artist were required to uphold the grand manner . paintings of serious historical scenes was the favored subject. was on top for 100 years until it was perceived as mediocre and anachronism

Romanesque art, architecture and popular example

frescoes, stylized sculpture, barrel vaulted church and St. Sernin

Egyptian funerary practices

funerary texts from the book of the dead would be painted or carved in tombs, mummification, providing treasures in tombs for the dead in the after life, and weighing their hearts against a feather to see if they could make it to the afterlife

Hellenistic Art, ca. 323-30 BCE

greek derived style, found in Asia minor, mesopotamia and egypt, Melodramatic

The building shown was first used as a

greek temple

Velazquez family tree: bacon

hallucinatory "head surrounded by sides of beef showed his obsession with 'Velazquez' pope innocent x painting

Bronze Age in Greece

happens in 1300 bce

which of the following is true of Jacques-Louis David

he used a classical style to depict scenes from ancient roman history as allegories for the French Revolution.

Velazquez family tree: sargent

influenced by technique, color, casual arrangement of multigroup figures

northern renaissance art vs italian

intense realism, lifelike features, unflattering honesty, religious and domestic scenes, prosperous citizens and peasants, reveal individual personality, oil paintings on wood panels, visible appearance, observation, complex irregular

Stonehenge

is a clear example of post-and-lintel construction

The flat use of color and abstract shapes

is a feature of hokusai's Japanese landscape that would distinguish it from a European lanscape painting or print created prior to 1850

book of kells

is an illuminated manuscript Gospel book in Latin, containing the four Gospels of the New Testament together with various prefatory texts and tables.

Juxtaposition of images to subvert the status quo

is the photomontage technique pioneered by Dada artists such as Hannah Hôch

Hierachy of scale is used

is used in Benin sculpture

The place of Sargon II

it covered 25 acres and included more than 200 rooms and courtyards, including a brilliantly painted throne room, harem, service quarters and gaurd room

Old Kingdom Egyptian Scultpure

left leg forward attached to block, The slate palette of King Narmer,wood portrait panel hesy ra, The Great Sphinx,Mycerinus and his queen,prince rahotep and his wife no fret, Ti watching a hippopotamus hunt,

statues from tell asmar

limestone alabaster and gypsum (a sort of plaster), shell and black inlay, left as offerings and stand ins

Egyptian essentials

literature, medical science, and high mathematics

Goya

los caprichos, the 3rd of may, Queen Maria luisa of spain

cuneiform tablet

made of clay

gothic building: nave

main part of church interior

Boroque art

often used negatively to mean over wrought and ostentatious

The top four breakthroughs of the renaissance

oil on stretched canvas, the use of light and shadow pyramid configuration and perspective

paleolithic

old stone age

registers

ornamental bands on a vase

influence of tribal art: muralist

paid homage to the mayan and aztec empires

masaccio and human figure

painted the human figure not as a liner column but as a real human being

impasto

painting that applies the pigment thickly so that brush or palette knife marks are visible

the contemporary artist Annie Leibovitz is best known for her work in which of the following?

portrait photography

Elements of Baroque: dutch

portraits, still life, landscapes, patron people, virtuoso style, visual accuracy and studies of light

The aesthetic beliefs of art critique John Ruskin and designer William Morris

products made by craftsmen from start to finish

The Federal Art Project, one of many activities sponsored by the Work Projects Administration, commissioned murals in public buildings in the United States primarily to

provide work for unemployed artists during the Great Depression

Massacio, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, c. 1427, fresco

revolutionized painting through his use of perspective, a consistent source of light, and three dimensional portrayal of the human figure

pyramid configuration

rigid profile portraits and grouping of figures on a horizontal grid in the picture's foreground gave way to this three dimensional composition.

to serve their function as places of spiritual renewal, Classical Japanese Zen gardens typically contain which of the following

rocks encircled by raked patterns in white gravel

Stele of Naram-Sin - victory

shows victory over a people of western iran hieratic scale profile in figure

the eighteenth - century painter and graphic artist William Hogarth produced a series of pictures that functioned chiefly as

social satire

Gothic art, architecture and popular example

stained glass, more natural sculpture, pointed arch cathedral , Chartres

Kouros statues

statues that portrayed both men and women youthful. Men were always shown nude and women were always wearing clothes.

gothic building: tracery

stone armature decoding windows

Van Dyck paintings

supreme portraitist, transformed frosty, official images of royalty into real human beings, flatters his subjects by making them slimmer

Navajo sand paintings

sympathetic , way of communicating stories and cultures and healing people through care (placebo)

Judy Chicago's Dinner Party celebrates

the achievements and contributions of women throughout history

Judy Chicago's dinner party celebrates

the achievements and contributions of women throughout history

alla prima, frans hals

the artist applies paint directly to the canvas without an undercoat. the painting is completed with a single application of brush strokes.

When painting "Europe After the Rain II", Max Ernst created the foreground by placing a piece of paper on the painted surface and then pulling the paper away, creating accidental patterns and textures that provided the Surrealist artist with what inspiration?

the basis for form inspired by free association

To revitalize the arts with a unifying style of flowing organic forms and to create art suited to the realities of the industrial age

the goals of the artists associated with the Art Nouveau movement

kouros

the greek word for youth

what is the rigid formula for Egyptian human figure

the human form is depicted with a front view of the eye and shoulders and profile view of the head and arms, legs

roman mosaics

used opaque marble cubes, smooth flat finish, limited colors, found of floor of private homes, secular images, background represented landscape, used minute pieces for realistic detail

byzantine mosaics

used reflective glass cubes, surfaces left uneven, glowing glass, found on walls and ceilings especially in church, religious, large cubes in stylized designs, background was abstract

natural pigment

used to create and color their drawings

The Counter-Reformation

was the major religious impetus for the Baroque style in European art

The Haitian-born American artist John James Audubon

watercolors of the birds of America

marc chagall and Giorgio de chircio are best known for which of the following?

weaving childhood memories and dreamlike elements into their paintings

Mestopotamian bas relief sculpture was combined with

wedge shaped cuneiform writing, which detailed military exploits

Greek innovation of contrapposto

weight shift, in which the weight of the body rested on one leg with the body realigned accordingly

Alberti

wrote the fifteenth-century text On Painting, which included the first systematic guidelines for the use of linear perspective