Art History

The Gates

Christo and Jeanne-Claude 1979-2005 New York City, NY Visual: Over 7,5term-080 gates Saffron pannels, curtain-like material 16 ft high Context: Meant to explore two controversial art topics: 1) How to create meaningful public art 2) how art responds to and impacts our relationship with the built environment

Untitled #228

Cindy Sherman 1990 Photograph chromogenic color print The artist depicts herself in costume red satin, full length dress, which is cinched by a dark blue sash across the shoulders, just under the bust line, and also well below a seemingly swollen abdomen holds the head or mask of an old person, bloody knife in her other hand story of Judith and Holofernes (Judith was an Israelite who seduced and beheaded an invading general) layers of un-realities, beginning with the props and prosthetics

Lipstick (Ascending) on Caterpillar Tracks

Claes Oldenburg. 1969-1974 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel. appeared, uninvited, on the campus of Yale University amidst the 1969 student protests against the Vietnam War claimed a visible space for the anti-war movement while also poking fun at the solemnity of the plaza. The sculpture served as a stage and backdrop for several subsequent student protests. artist combined the highly "feminine" product with the "masculine" machinery of war. In doing so, he playfully critiqued both the hawkish, hyper-masculine rhetoric of the military and the blatant consumerism of the United States. (Lipstick is supposed to be a phallic symbol)

The Kiss

Constantin Brancusi. 1907-1908 C.E. Limestone. Redefining sculpture --> break away from the academy to a more primative time (pre-classical) Believed in finding a sculpture's interior spirit --> more basic more true Adrogynous --> enhances the idea of a union Block like Very structural The hands clasp around the back Right figure is actually female (she a part of the IBTC)

The Migration Series

Jacob Lawrence 1940-41 Tempera on composition board 60 panels Colored one color at a time on every panel Browns, blues, reds, and greens Flat planes of color Depicting the movement of black people out of the South into the North during the period of industrialization

Entombment (or Deposition from the Cross)

Jacopo Pontormo Mannerism --> Spacial Ambiguity (Studied under Da Vinci and Northern Renaissance art) 1525-28 located in Florence Italy in the Capponi Chapel of the Church of Santa Felicita. religious subject used by artists to imagine the scene of Christ's body when it was taken off of the cross by his attendants and mother. Its a sad subject used to highlight the love of a mother to son. not actually told in the bible bright and dynamic colors drapery Contortion of the human body Not realistic --> Jesus has no blood Intertwining Color Appear to inhabit a void only a single cloud Remniscant of Italian Byzantine Stacking

Trade (Gifts for Trading Land with White People)

Jaune Quick-to-See Smith 1992 Collage Three canvases (triptych) String hangs over (they've been profited off of) Red (blood), green Canoe shows hope of trade. Pictures of Native American culture Made in response to 500th anniversary of Columbus's discovery Stereotyped Native American perspective

George Washington

Jean-Antoine Houdon 1788-92 For public viewing Marble Took a life cast of Washington at mt Vernon Early America Classical inspiration Wearing modern clothing Neoclassical Leaning against a bundle of sticks --> authority of state Sword is being given up --> returning back to Mount Vernon Standing behind a plow Given unchecked power, but instead of holding on he gave it up and returned to his life In a rotunda that mimics the parthenon Contrapassto

La Grande Odalisque

Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas. Nude female figure But body is covered Student of David Subject is a prostitute Elongated back --> idealized Anatomically incorrect Riff off of Mannerist painting "The Entombment of Christ" by Jacabo de Pontarmo Or "Akhenaten, Nefertiti, and three daughters" Inspired by Baroque Rubens (color) Commisioned by Napolean's sister Seen in the salon

The Swing

Jean-Honore Fragonard 1767 Oil paint on canvas Rococo Private commision by a member of the french court. Shows him looking up his lovers dress, she kicks off her shoe Abundant nature Sensual More playful than his usual religous baroque paintings Rapid brushwork Cupid figures present Frivolity, luxury, indulgence

Horn Players

Jean-Michel Basquiat 1983 Acrylic and oilstick Triptych several drawings and words, many crossed out large swaths of white paint, which serve to highlight or conceal Subjects are famous jazz musicians Basquiat used to be a grafitti artist Connection to African American popular culture

Pink Panther

Jeff Koons 1988 glazed porcelain Overgrown cartoon character shown in an exhibit called "banality" muted pale blue, pink, lavender, green and yellowish gold—seem to belong to the 1950s and 60s highly polished, garishly so Hated artist Avant garde Postmodernism: the artist as critic of mass culture

Woman Holding a Balance

Johannes Vermeer. c. 1664 C.E. Oil on canvas. -Depicts a woman holding empty scaled in perfect balance -woman ignores pearls and gold on the table -Probably an allegory of the temperate life -The wall behind the woman is a depiction of the Last Judgement Every day life' - Weighing symbols of wealth - mirror --> self reflection, vanity? Vermeer makes the scene seem easy, but there is much more going on Very complex Language is light --> tennebrism Paintings are very famous Proto impressionist Camera obscura --> Closed room (related to cameras) Box with a pinhole in it Projects an image that the artist will trace What color is the wall? Using color and light as a language to understand the objects in the painting Never use pure shades

Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)

Joseph Mallord William Turner 1840 Romantic --> Sun, waves, the storm. Powerful indifference Based on a poem where a slave ship hit a typhoon and the slaver threw his slaves overboard to collect property insurance Lots of color Grey --> death Slaves and shackles are shown drowning Powerful sun in the horizon Made the painting to encourage British efforts against slavery. Proto-impressionist Blues juxtposed to warmer colors which is an Impressionistic technique Sun represents a deity?

A Philosopher Giving a Lecture at the Orrery

Joseph Wright of Derby. c. 1763-1765 C.E. Oil on canvas. Tenebrism Books revealed in the background behind a curtain Very Baroque looking Realism, looks photgraphic Enlightenment Looking at the Orrery Each face (the way it's lit) represents a phase of the moon.

The Valley of Mexico from the Santa Isabel Mountain Range

José María Velasco 1875 Oil on canvas 135-226 cm (pretty massive) Landscape Based painting on sketches he made while hiking Panoramic image of Santa Isabel Zig zag motion (sky and path) Guides us to the center where Mexico city is located Bascillica of the Virgin Mary is in it Clouds and storm clouds Hints of industrialization with the dust cloud over the city The lake used to be much bigger but is decreasing due to industrialization Empirical --> scientific observation of nature

Fruit and Insects

Rachel Ruysch. 1711 C.E. Oil on wood This luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities Caravaggesti (tenebrism) Painting for a merchant class Autumn --> Harvest season Grapes, peach, corn, wheat, chestnuts Eucharist (blood and wine) Not just a still life! Lizard --> Satan Time when the microscope was perfected --> categorizing the natural world Her father was a scientist focused on anatomy Butterfly --> the soul or the spirit?

Navigation Chart

Shipmasters Marshall Islands 19th to 20th century Sticks, pebbles, and shells Show currents (curved sticks), islands (pebbles)

Rebellious Silence

Shirin Neshat 1994 Ink on photograph Figure's portrait is bisected along a vertical seam created by the long barrel of a rifle. Context: examines the complexities of women's identities in the midst of a changing cultural landscape in the Middle East beauty and violence. In the artist's own words, "every image, every woman's submissive gaze, suggests a far more complex and paradoxical reality behind the surface.

Summer Trees

Song Su-nam 1979 Ink on paper. Shades and tones create form and perspective (depth); greys Vertical shapes (like trees) Contextual: Ink on paper = like books or traditional Korean art (suggests Japanese or Chinese calligraphy = CONTINUITY) Ink = book = SUMUKHWA literati painting movement of the 80's (CHANGE) In Korean literati painting, trees symbolize a gathering of scholar friends who have strong roots and grow together like trees.

Radiating chapels (not in 250)

Still has nave and apse but includes entrances for pilgramge, allowing the to visit the reliquaries without bothering the center of the church.

Domus

The facade (front) on the steet, entryways Peristyle in a covered walkway with columns Patron would recieve clients in the Atrium Clearstory windows

Oath of the Horatii

-Jacques-Louis David -1784 -Oil on canvas -Neoclassicism Virutous ideas Questioning the validity of established institutions Early ancient Roman history --> send three brothers from each side to battle in order to avoid war But the two families are intermarried Curvinlinear --> women only concerned with the family not the poltics Inspiration from the Virgin Mary Linear, vivid colors sculptular, strong, angular men Rounded roman arches, tuscan columns Orthagonals (vanishing point at the father's hands) David was a Revolutionary

Grave stele of Hegeso

. c. 410 B.C.E. (classical) Marble and paint. Grave marker Private sculpture Drapery Foreshortening --> the technique of depicting an object or human body in a picture so as to produce an illusion of projection or extension in space See the mastery of form developed in the Classical period translated to private art on this solemn gravestone.

Terra Cotta Fragment

1000 BCE Lapita People Terra cotta red-slip earthenware Santa Cruz Islands Pivotal evidence that tells the extraordinary story of the peopling of the vast Pacific Ocean --> Shards have been found across the Pacific and Southeast Asia Lapita were different to those they encountered because they had sophisticated seafaring and navigation capability—and they manufactured and decorated ceramics in very particular ways

Alhambra

1232-1492 Built during the Nasird Dynasty - the last Muslim rulers of Spain The different parts of the complex are connected by paths, gardens and gates but each part of the complex could be blocked in the event of a threat. The exquisitely detailed structures with their highly ornate interior spaces and patios contrast with the plain walls of the fortress exterior. 1,730 meters (1 mile) of walls and thirty towers of varying size enclose this city within a city. Access was restricted to four main gates. The Alhambra's nearly 26 acres include structures with three distinct purposes, a residence for the ruler and close family, the citadel, Alcazaba—barracks for the elite guard who were responsible for the safety of the complex, and an area called medina (or city), near the Puerta del Vino (Wine Gate), where court officials lived and worked. the Palace of the Lions' most celebrated feature in the 14th century, a fountain with a complex hydraulic system consisting of a marble basin on the backs of twelve carved stone lions situated at the intersection of two water channels that form a cross in the rectilinear courtyard

Camelid sacrum in the shape of a canine

14,000-7,000 BCE Found in 1870 in Tequixquiac, Mexico Made from the now fossilized remains of the sacrum of an extinct camelid (The sacrum is the large triangular bone at the base of the spine) Cut and engraved --> Holes were cut into the end of the bone to represent nostrils, and the bone is also engraved.

Workshop of Robert Campin, Annunciation Triptych (Merode Altarpiece)

1427-1432 C.E. Workshop of Robert Campin. Oil on wood. Naturalistic Pale figures, simplistic. Moonfaced Angel Northern Renaissance Lots of depth Away from the picture plane Highly detailed Busy with symbolic detail The figures are earthly Fill the space First oil painting Jewel like colors Drapery Different color values to make chiarscuro effect on the drapery Underdrawing Scene is Gabriel telling Mary that she's going to give birth to Jesus -->Annunciation scene Painting donners are to the left In a contemporary setting No gold background The lily represents Mary's purity Gold sun ray lands into Mary's ear --> the word of God impregnates mary Unbroken glass --> Mary is unbroken Baby Jesus flying in Right panel --> Joseph Carpenter

Jan Van Eyck, The Arnolfini Portrait

1434 tempera and oil on oak panel Northern Renaissance style She's not pregnant Married couple? Marriage portrait? Wealthy, furnishings, clothing Joined hands Shoes are off Single candle in the chandelier (presence of God?) Figures in the mirror Some sort of witnessing Writing above the mirror with the artists signature Tiny paintings of Christ around the mirrror Dog Oranges signify their wealth (hard to come by) --> related to or worked for the Medici Leaving wife in charge of their place/business in Flanders while he travelled Carpet She is not pregnant it was the fashion

Donatello, David

1440 Donatello Italian Renaissance bronze Part of Cosimo's Palazzo Medici free-standing The subject of this statue is David, the future king and hero of the Hebrew Bible, who as a youth slayed the giant Goliath and liberated his people (the Israelites) from the tyranny of the Philistines. Adolscent body --> shows the role that God played in David's victory Holding a stone and stepping on Goliath's head Florence defeating Milan David becomes symbol of Florentine Republic

The Birth of Venus

1483-85 tempera on canvas nude female figure is atypical emphasis on pattern flower pattern light and dark pattern in the shell whole canvas feels two dimensional all the figures occupy the same plane Golden hair lined with real gold West Wind, nymph on the right weightless figures Venus takes on a serpentine shape Visual: Almost life-sized Fully mythological in subject matter Covers her body like Eve did, but this represents modesty rather than shame Blown by the wind "Newborn" goddess- just emerged from the water Canvas feels flat despite the visible depth to the work Heavily patterned Contextual: A fully nude female is not typical for the 15th century Fully pagan Goddess of Love Born from the sea

Hall of Bulls

15,000 BCE (Paleolithic) Cave, Lascaux France Animal paintings (elks, deer, wolves) many potrayed in a twisted perspective Multiple colors (red, burnt yellow, grey, white) Duck on a stick Has narrative (man trying to hunt the bull) Bull worship? Religous significance Naturalistic

Sistine Chapel The Last Judgement

1534-41 Michaelangterm-103elo Altar Wall Ripped masculine angels Forshortening The Damned Man Moment of recognition Hyper muscular forms (Think of Hellenistic Greece) Michaelangelo puts his own face in the skin of Saint Bartholomew --> concern for the fate of his own soul? Visual: Painting divided into three sections Representing the essential phases of the spiritual development of humankind Very high ceiling Contextual: Michelangelo began to work on the frescoes for Pope Julius II in 1508 Michelangelo is able to convey a strong sense of emotionality that can be perceived from the floor of the chapel. Circular composition of the body, adds to the sense of the sculptural weight of the figure It turned into a veritable academy for young painters,

Il Gesù

1584 ceiling fresco Giacomo Barozzi da Vignola and Giacomo della Porta Founded by Ignatious Loyala Church Triumphant The church will be triumphant over the reformation --> counter rev altar --> transubstantiation (Eucharist) More preaching took place Enormous to hold larger attendance Centrally planned church moving away from the cruciform shape Council of Trent Huge Scrolls on the facade Dome, barrel vaults --> similar to rome think of the Panthenon Jesuits

Self-Portrait with Saskia

1636 C.E. Rembrandt van Rijn Etching Genre --> events from everyday life Self Portrait he and his wife are shown wearing historical clothing. Rembrandt wears a fanciful 16th-century style plumed beret tilted at a jaunty angle and a fur-trimmed overcoat, while Saskia wears an old-fashioned veil Rembrandt liked to create portraits of himself in different roles Marriage portrait? (Saskia died young at the age of 30) In the portrait he is creating art Notes on the printmaking process: Etching is a printmaking process in which a metal plate (usually copper) is coated with a waxy, acid-resistant material. The artist draws through this ground with an etching needle to expose the metal. The plate is then dipped in acid, which "bites" into the exposed metal leaving behind lines in the plate. By controlling the amount of time the acid stays on the plate, the artist can make shallow, fine lines or deep, heavy ones. After the coating is removed, the plate is inked then put through a high-pressure printing press together with a sheet of paper to make the print. Typically, an artist can produce about 100 excellent impressions from a single plate.

Château de Versailles

1664-1710 Louis le Vau, André le Nôtre, and Charles le Brun Versailles was created to emphasize the importance of Louis XIV -Louis shifted the seat of French government away from the feuding, gossiping, trouble-making noble families in Paris. He had the whole palace and its massive gardens built along an east/west axis so the sun would rise and set in alignment with his home. And he filled both the palace and its gardens with sculpture, painting, and fountains that all focused on...you guessed it...himself. - Marble and gold ceilings The Hall of mirrors One side is a row of giant windows The other half is mirrors Outside basic structure is classical; it's symmetrical, repetitive, and based on simple elements that are directly borrowed from ancient Greek temples. Visual: 700 rooms, 2,153 windows, and takes up 67,000 square meters of floor space French Baroque architecture Multifaceted designs and extravagant embellishments Portraits and boldly ornamented sculptures in varying layouts and shades. Contextual: The palace stands as a prime example of the over-the-top excesses of the French nobility that led to the French Revolution. Versailles was meant to emphasize Louis's importance Filled both the palace and its gardens with sculpture, painting, and fountains that all focused on himself. Based on simple elements that are directly borrowed from ancient Greek temples.

Law Code Stele of King Hammurabi

1792-50 B.C.E. Babylonian basalt Depiction of King Hammurabi, known for establishing the first law code The representation of Hammurabi on the legal code stele is receiving the laws from the god Shamash, who is seated, complete with thunderbolts coming from his shoulders. The emphasis here is Hammurabi's role as pious theocrat, and that the laws themselves come from the god.

The Starry Night

1889 Post-impressionist A return to the formal and subjective Oil on canvas Painted while Van Gogh was in an asylum at Saint-Remy de provence Moon has a halo --> healing potential and admiration of its beauty Stars representative of dreaming and heaven Black cypress tree, typically representative of cemetaries and death Dreaming Calms him from his morbid dreams (the light in the darkness) Impasto --> paint layered on a surface

Mon Sainte-Victoire

1902-04 Oil on canvas Cezanne Two dimensionality (Japenese influence) Can see the brush strokes Stacks of color Post-impressionism Represents limestone peak of Mont Sainte-Victoire Cézanne would return to the motif of Mont Sainte-Victoire throughout the rest of his career deep, panoramic scene and the atmosphere that fills and unifies this space

Seagram Building

1956-58 Ludwig Mies van der Rohe Built for a distillation firm Firm Bronze clad slab of a tower Classically inspired --> has a subtlety to the color Rubbed with oil to avoid oxidation Fluting Stylobyte --> a continuous base supporting a row of columns in classical Greek architecture. Discipline of the moderns Vertical mullions --> the windows (decorative) "less is more" Basic geometric shape Glass curtain exterieur --> subject to light Mirror for the surrounding buildings

Augustus of Primaporta

1st century C.E. Marble Roman art was closely intertwined with politics and propaganda. This is especially true with portraits of Augustus, the first emperor of the Roman Empire; Augustus invoked the power of imagery to communicate his ideology. Augustus shows himself as a great military victor and a staunch supporter of Roman religion. The statue also foretells the 200 year period of peace that Augustus initiated, called the Pax Romana. Contrapposto (reseblence to doryphoros) Cupid riding a dolphin (naval victory, claim to be decended from Venus)

Temple of Amun-Re and the Hypostyle Hall

2055-1650 B.C.E. (Middle Kingdom) Karnak in Luxor, Egypt The principal religious center of the god Amun-Re in Thebes during the New Kingdom Also dedicated to the gods Mut and Montu. Clerestory windows --> windows with no glass illuminate the dark spaces Hypostyle hall (post and lintel) human figure barely reaches the base of the column. Also a working estate for the priestly community who lived on site Tallest obelisk dedicated to Hatepshut stood here.

King Menkaure and Queen

2490-2472 Sculpture Greywacke Still part of the stone Idealized figures Approaching life sized Gestural Angular Highly developed muscles Equality Unity btwn/ the couple Wet drapery effect on the woman Looking to the afterlife, helping the ka Representative of egyption art, (facing front, clothing) Stylized

Apollo 11 Cave Stones

25,000 B.C.E Namibia (Southwest coast of Africa) Quartzite Charcoal animal on a handsized stone Naturalistic Cultural layers representing over 100,000 years of human occupation Stone tool technology transported over long distances The stones offer evidence that Homo sapiens in the Middle Stone Age—us, some 25,000 years ago—were not only anatomically modern, but behaviorally modern as well

Seated Scribe

2500 BCE Dynasty, Old Kingdom Painted limestone with rock crystal, magnesite, and copper/arsenic inlay for the eyes and wood for the nipples Seated cross-legged, with rolls of belly fat --> not as idealized as the statues of pharohs Relaxed postion Sense of alertness, extremely lifelike Frontal, symmetrical Except for the hands --> one once held a brush the other holds papyrus Funerary structure

Jade Cong

2500 BCE Square hollow jade tube Face pattern, which may refer to spirits or deities Neolithic period, China Liangzhu culture (by the Yangzi River) Burial object Produced by running sand Squaring a circle Life --> death

Standard of Ur and other objects from the Royal Graves

2600-2400 B.C.E. City of Ur, Mesopotamia shell, red limestone (India), lapis lazuli, and bitumen Difficult materials to obtain, extemely valuable Shows role of trade Small enough to be carried Intentionally buried (with royalty) Box to amplify sound? (Hole in the bottom) Divided into three registers (read bottom to top) Scenes of transport, with animals and bags, the king is bigger and at the top. Shows hierarchy of scale --> kings/wealthy people are larger than the commoners

Standing Male Worshipper (Tell Asmar)

2900-2600 B.C.E Sumerian gypsum alabaster, shell, black limestone, bitumen 1-3 feet tall Dedicated to the god Abu Wide eyed attentiveness Placed in front of the statue of a god Commisioned by wealthy Sumerians Not a naturalistic figure, square, symetrical Eternal worshipping

White Temple and ziggurat, Uruk

3200-3000 BCE Sumerian Mud bricks Stepped platforms Platform used to house a white temple White temple contrasts the brown Raised high over the city, dwarf human perspective Shows grandeur and religon Dedicated to the sky god Anu The cella (interior of a temple) is darker

Anthropomorphic stele

4,000-3,000 BCE Arabian Peninsula sandstone Abstract human form 3 ft high Anthropomorphism --> something that holds human characteristics Geometric --> trapizoidal face, square shoulders Emphasis on the front Abstract. Closely spaced eyes, flat nose On the robed figure's torso a necklace hangs with two cords diagonally crossing the body with an awl Confirms that during the Neolithic period objects were circulated and exchanged across wide swathes of territory.

The parthenon:

447-432 B.C.E Perikles and While the architecture of the Parthenon referenced the past through re-use, the sculptures on the building did so more allusively, re-telling the history of the Persian Wars through myth. This re-telling is clearest on the metopes that decorated the exterior of the temple. Inside the temple stood a colossal statue representing Athena, patron goddess of the city. The metopes (carved in high relief) were placed at the same level as the frieze above the architrave surmounting the columns on the outside of the temple. The pediment sculptures (carved in the round) filled the triangular gables at each end.

Doryphoros (Spear-Bearer)

450-440 BCE (high classical) Polykleitos Roman marble copy of a Greek bronze Chiastic pose --> one heel is off the ground, the other leg locks (contrapposto) No more symmetry more human ​​relating beauty to ratio

Bushel with ibex motifs

5,000 BCE Mediterranean: Susa (modern day Iran) Terra Cotta Beaker decorated by pictures and geometric shapes From an acropolis mound (funeral) Animals, Mountain goat motif Linear geometric forms Handpainted Stylizied

Hagia Sophia, Istanbul

537 CE Current form headed by Emperor Justinian I. Perfect proportion the decoration suggests that something other than sound building technique must be at work in holding up the building. ...the huge spherical dome [makes] the structure exceptionally beautiful. Yet it seems not to rest upon solid masonry, but to cover the space with its golden dome suspended from Heaven. The windows at the bottom of the dome are closely spaced, visually asserting that the base of the dome is insubstantial and hardly touching the building itself. The building planners did more than squeeze the windows together, they also lined the jambs or sides of the windows with gold mosaic. As light hits the gold it bounces around the openings and eats away at the structure and makes room for the imagination to see a floating dome. Byzantine art is flat, frontal, floating, with a gold background Conscious choice --> depicts an otherworldy realm (heaven) Gold leaf sandwich --> gold as thick as tinfoil, squished between two pieces of glass;

Running Horned Woman

6000-4000 BCE Pigment on rock Tassili n'Ajjer, Algeria Horned woman, likely a goddess, running Dots around her head resemble a cloud of grain Described by French archeologist Henri Lhote. Lhote and many others believed that the work was created due to white cultural diffusion, although this was latter proven false.

Pompeii: House of the Vettii

70 AD Mt Vesuvius erupts during 79CE Preserves Roman wall paintings Fourth style wall paintings Meant to have a picture gallery effect (from a room off the peristyle) Greek myths as subjects Ixion = punished by Zeus Done in fresco (fresco buon/o)

Lamassu from the citadel of Sargon II

720-705 BCE (Assyrian) gypseous alabaster Winged, human-headed bulls Appear to move as the viewer walks by Meeting halls, festivals, gathering dedicated to the gods Giant columns, dwarf humans Stood at the ceremonial Nergal gates Isis attempted to destroy them

Sunflower Seeds

Ai Weiwei 2010 Fully immersive instillation one hundred million hand painted porcelain seeds Takes up whole gallery, huge!, only on the floor Meant to be interacted with: walked on, touched Context: Referencing Chinese porcelains Grew up in communist China Sunflower seeds were accessible to everyone Something meant to be shared Criticizes Chinese gov/ Sunflower seeds are an undistinguishable mass from a far perspective. The seeds represent the people. Message of "made in China" mass production Mao Zedong propaganda(him as the sun, the people as sunflowers)

Adam and Eve

Albrecht Dürer. 1504 C.E. Engraving Painting cult of personality Signed artwork Commodity Guttenburg --> art becomes more accessible Emphasis on nature --> Northern Renaissance Large figures small space Dürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Dürer's placid animals signify that in this moment of perfection in the garden, the human figures are still in a state of equilibrium. In the picture, Adam and Eve stand together in a dense, dark forest. Far from the garden evoked in Genesis, this forest is distinctly German, the dark woods of the devils and spooks of Grimm's fairy tales. Foreign and unexpected motifs intrude into this German wood. Contrappasto (like doryphoros) --> inspiration from classical sculpture (bodies too) Fig leaves in front of the you know what Northern symbolism -> Parrot = cleverness cat = cholera/anger rabbit = sanguine/healthy blood elk = melancholy mouse = devil snake = evil Ox = phlegm

The Steerage

Alfred Stieglitz 1907 Photograph Stieglitz was aboard a ship headed to Paris Felt uncomfortable amongst the "nouveau riche" and within his marriage --> prompted him to take the photo Stieglitz describes how The Steerage encapsulated his career's mission to elevate photography to the status of fine art by engaging the same dialogues around abstraction that preoccupied European avant-garde painters: calls for a more complex, layered view of photography's essence that can accommodate and convey abstraction. The Steerage is not only about the "significant form" of shapes, forms and textures, but it also conveys a message about its subjects, immigrants who were rejected at Ellis Island, or who were returning to their old country to see relatives and perhaps to encourage others to return to the United States with them.

Marylin Diptych

Andy Warhol. 1962. Oil, acrylic, and silkscreen enamel on canvas Andy Warhol's Marilyn Diptych is made of two silver canvases on which the artist silkscreened a photograph of Marilyn Monroe fifty times. At first glance, the work—which explicitly references a form of Christian painting (see below) in its title—invites us to worship the legendary icon, whose image Warhol plucked from popular culture and immortalized as art. Time of mass production and media --> Art is no longer for "elevated" society Neo-Dada

Anavysos Kouros

Archaic Greek. c. 530 B.C.E. Marble with remnants of paint. Left foot forward Bilateral symmetry Arms are still attached Nude (see peplos kores) Grave Marker x shaped body (geometrical)

Neoclassical Art 1760-1820

Art of the Enlightenement, Revolutions and Republics Re-renaissance Grand tour --> nobles visit italy and bring back art Artistic reaction to Rococo excess Art academies (salons) very conservative Serious Serves the people or the state Scenes of classical mythology or history Contemporary scenes or people Roman architectural settings Poussiniste = linear, formal smooth surfaces , no visual brush work

Rococo

Art of the elite novility Private, frivalous erotic nudes feathery artifical fantasy worlds Pastels "pretty" Rubeniste = color Brushwork visible Landscape settings

The Crossing

Bill Viola 1996 Room-sized video installation Split screen Male figure walks forward and stares into the lens, and then is either set in fire or sumerged in water. He is calm. Viola reduces the speed of playback to an extreme slow motion—further enhancing the level of definition to a dramatic and scrutinizing effect, forces the viewer to contemplate. the elemental forces of fire and water often symbolize change, redemption, transformation and renewal

San Carlo

Borromini 1665 Italy Undulated (moving) Concave convex facade Dome is an ellipse Combination of curve and rectangular forms Bernini's rival Order created by god (mandorla) Collumns, coffers with rosettes Plasticity Malleable, moveable Stucco Undulating facade The oval entablature to the dome has a 'crown' of foliage and frames a view of deep set interlocking coffering of octagons, crosses and hexagons which diminish in size the higher they rise. Visual: The walls undulate, move back and forth Columns alternate with niches Church is based on an oval Made of stucco, plaster Semicircle apse and entrance, symmetry Dome with shapes likes octagons, hexagons, and crosses Entablature - "a horizontal, continuous lintel on a classical building supported by columns or a wall, comprising the architrave, frieze, and cornice," Contextual: Commissioned by the Trnitarian order Church made of inexpensive materials Right outside the city of Rome Oval base is inscribed within triangles Supposed to represent supernatural light coming through the final oval

Dream of a Sunday Afternoon in Alameda Central Park

Diego Rivera Surrealist 1947 51x50 ft Gunfire, mobs, horses Told chronologically from left to right Mexican indigenous subjugation, conquistadors --> modern day La calavera catrina Self portrait of him as a boy Frida Kahlo is in it --> holds a yin and yang Backdrop of flora Subconscious aspect --> dreams Mixing of different timelines

Shibboleth

Doris Salcedo 2007 548 Rupture in the floor Width and depth vary Wire mesh is embedded in the sides. Represents the divison and struggle immigrants experience when they enter a country.

The Vienna Genesis

Early 6th centruy tempera, gold and silver on purple vellum (veal skin) and Parchment (sheep skin) Illuminated manuscript/codex llustrated codex --> texted carved or written by hand (before printing) Text is archaic Greek Efficent for the spread of Christianity (travelled easily) Sometimes illustrated like the Vienna Genesis Made for a wealthy patron (member of the imperial family?) Described the origin of the world and the story of the earliest humans, including their first encounters with God Compare to Roman Wall paintings (outline, drapery, perspective, venus figure)

Mosque of Selim II

Edirne, Turkey. Sinan (architect). 1568-1575 C.E. Brick and stone. Visual: Elegant stacked domes It measures 190 x 130 meters Composed of a mosque, two symmetrical square madrasas and there was a row of shops and a school for learning the Quran Aligned gates of the outer precinct wall and forecourt focus the eye upwards toward the dome Contextual: Edirne was the first major city that Europeans traveling to the Ottoman Empire reached, building a large complex here offered the Sultan an opportunity to impress The mosque's inscriptions were developed after the devastating defeat that the Ottoman fleet suffered at Lepanto in 1571 against the Christian Holy League Mimar Sinan was a product of the Devşirme, a practice of the Ottoman authorities from the fourteenth century, where Christian men were taken from their families to serve in military or civil service.

The Scream

Edvard Munch 1910 Munch Museum, Oslo Norway Inspiration of Expressionism Tempera on board (several renditions including a lithographic version) Possibilities across various media Androgynous figure Skull-like head Flaring nostils gaping mouth Part of Munch's semi-autobiographical cycle "The Frieze of Life Deals with dread and death Three main areas More Earth tones --> of the Earth (1) the bridge --> fills the foreground (2) the landscape --> the lake and hills (3) the sky --> curving lines in tones of orange, yellow, red, and blue-green Mixing between them but seperated by the linearity of the bridge which contains the human figures The Figure Anxiety --> we've all had that moment where we feel so overwhelmed that we need to scream Figure may be Munch Cry of nature --> which is felt internally The Scream became the symbol of the condition of the modern man - lost, stressed, threatened by the world and his own thoughts. More Earth tones --> of the Earth synesthesia Is the scream Munch? Volcanic dust Krakatoa Puruvian mummy remembered sensation rather than perceived reality.

Old Man's Cloth

El Anatsui 2003 Aluminum and copper wire Constructed from flattened liquor bottle labels that the artist collects near his home in Southern Nigeria Disregardes the limited categories imposed by Western art history (is it two dimensional or three dimensional etc) The bottle caps, for Anatsui, signify a fraught history of trade between Africa and Europe Anatsui also makes reference to the significance of textiles in African societies, and their own historical role in trade networks.

Earth's Creation

Emily Kame Kngwarreye 1994 Synthetic polymer paint on linen mounted on canvas four panels Gigantic Abstract Patches of bold yellows, greens, reds, and blues seem to bloom like lush vegetation gestural, viscous marks, each swath of color traces the movement of the artist's hands and body over the canvas Context: works reference the changing atmospheric character of seasonal cycles

Self-Portrait as a Soldier

Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas Documents the artist's fear that the war would destroy his creative powers and in a broader sense symbolizes the reactions of the artists of his generation who suffered the kind of physical and mental damage Kirchner envisaged in this painting. The injury (amputated arm) is a metaphoric, self-amputation—a potential injury, not to the body—but to his identity as an artist. Ernst Ludwig Kirchner's Self-Portrait As a Soldier is a masterpiece of psychological drama. The painting shows Kirchner dressed in a uniform but instead of standing on a battlefield (or another military context), he is standing in his studio with an amputated, bloody arm and a nude model behind him. It is in this contrast between the artist's clothing and studio space that we can read a complicated coming of age for an idealistic young artist. Inspired to adopt the "natural" state that they perceived in "primitivism"

Temple of Minerva and the sculpture of Apollo (Veii)

Etruscan Apollo of Veii: c. 510-500 B.C.E. Painted terracotta At the peak of the temple Tuscan, columns (doric columns with bases) The temple is also roughly divided into two parts—a deep front porch with widely-spaced Tuscan columns and a back portion divided into three separate rooms. Known as a triple cella, this three room configuration seems to reflect a divine triad associated with the temple, perhaps Menrva as well as Tinia Portoco (deep porch)

Liberty Leading the People

Eugene Delacroix 1830 Oil on Canvas (Romanticism) French (obviously) Same year as the Second French Rev Precusor to what happened in Les Mis Allegory --> She represents the freedom of the people Flag is reflected in the man looking up at her Peasants and wealthy in the painting --> include everyone All the classes were united on Nationalism Phrygian cap Artist didn't fight but he supported the cause People were upset about Charles X --> took away freedom of the press Notre Dame in the background Hierarchy of scale Seen in the salon

Tenebrism

Exteme areas of light and dark Baroque technique

Dancing at the Louvre

Faith Ringgold 1991 Acrylic on canvas tie dyed, pieced fabric border Context: text written around the margin of each quilt tells the story of Willa Marie Simone, a young black woman who moves to Paris in the early 20th century. rewrite the past by weaving together histories of modern art, African-American culture, and personal biography All about breaking the rules, and having lots of fun while doing it.

Persepolis: The Audience Hall of Darius and Xerxes

Fifth century B.C.E. Achaemenid Empire The great audience hall of the Persian kings Darius and Xerxes presents a visual microcosm of the Achaemenid empire—making clear, through sculptural decoration, that the Persian king ruled over all of the subjugated ambassadors and vassals (who are shown bringing tribute in an endless eternal procession). Darius' program at Persepolis including the building of a massive terraced platform covering 125,000 square meters of the promontory. This platform supported four groups of structures: residential quarters, a treasury, ceremonial palaces, and fortifications. The monumental stairways that approach the Apādana from the north and the east were adorned with registers of relief sculpture that depicted representatives of the twenty-three subject nations of the Persian empire bringing valuable gifts as tribute to the king.

Ectasy of Saint Teresa

Form: -marble, stucco, gilt bronze -rich color -many shapes and directions -spiritual vs. physical -Baroque -shallow carving Patrons -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

Madonna and Child with two Angels

Fra Filippo Lippi. c. 1465 C.E. Tempera on wood Mary's hands are clasped in prayer, and both she and the Christ child appear lost in thought, but otherwise the figures have become so human that we almost feel as though we are looking at a portrait. The angels look especially playful, and the one in the foreground seems like he might giggle as he looks out at us. The delicate swirls of transparent fabric that move around Mary's face and shoulders are a new decorative element that Lippi brings to Early Renaissance painting—something that will be important to his student, Botticelli. However, the modeling of Mary's form—from the bulk and solidity of her body to the careful folds of drapery around her lap—reveal Masaccio's influence changing status of the artist in the Renaissance—from skilled laborer to respected professional and intellectual.

The Two Fridas

Frida Kahlo. 1939 C.E. Oil on canvas Self portrait Hearts of the two figures are connected Stormy background --> reflects emotions Limited perspective Different clothing styles --> one is an upper class Victorian/European woman's dress, the other is One hand is holding a broach with her husband's picture in it (says diego on it), the other is lower to middle class ingigenous clothing Painting she did while getting a divorce from her husband --> also an artist Being a wife vs being a wife She typically painted self-portraits using vibrant colours in a style that was influenced by cultures of Mexico as well as influences from European Surrealism. Her self-portraits were often an expression of her life and her pain. The wife has a healthier heart, the other one is bleeding

The Portugeuse

Georges Braque 1911 Oil on Canvas Cubism Guitar player and dock Everything is fractured By breaking these objects into smaller elements, Braque and Picasso are able to overcome the unified singularity of an object and instead transform it into an object of vision. Allows us to acknowledge its front, its sides, its back, and its inner walls, its bottom from both inside and out

Acropolis

Greek for "high city". The chief temples of the city were located here. Iktinos and Kallikrates The Parthenon we see today was not created ex novo. Instead, it was the final monument in a series, with perhaps as many as three Archaic predecessors. Persians sacked it after defeating the Greeks The Greeks left the temples themselves in ruins, despite the fact that the Acropolis continued to be a working sanctuary.

The Kiss

Gustav Klimt. 1907-1908 C.E. Oil and gold leaf on canvas. Byzantine reference Trying to create a modern icon to suggest a sense of transcendence Pattern around the faces represents mimics a full body halo Male's patterns are linear, woman's are circuler Man has physical power over the woman, holds her in his embrace She is frontal, he's in side profile The gown covers their physical figures Flattened forms What it lacks in perspective it makes up for in detail, surface, story. Hints of deeper space

The Stonebreakers

Gustave Courbet 1849 Realism Oil on canvas Thick application of paint Courbet had his famous manifesto about painting -->"I have never seen an angel." Ripped and tattered clothing Courbet wants to show what is "real," and so he has depicted a man that seems too old and a boy that seems still too young for such back-breaking labor. This is not meant to be heroic: it is meant to be an accurate account of the abuse and deprivation that was a common feature of mid-century French rural life. Figures are trapped in their circumstances Cycle of poverty Destroyed by the Nazis

Cubism

Heavily influenced by Cezanne (flattening of forms) Attention to geometric forms Looks like "little cubes" Picasso and Braque

The Bay

Helen Frankenthaler. 1963 C.E. Acrylic on canvas. fluid blue promontory Soak stain method used Formed by pouring paint onto a wet canvas colors ranging from violet to indigo Blues meld together towards the top Is it truly a landform? Frankenthaler would lift the canvas and tilt it at various angles so that the paint would flow across the surface. Frankenthaler was inspired by the drip method of Jackson Pollock

Seated Boxer

Hellenistic Greek. c. 100 B.C.E. Bronze Old Greek athlete Old and tired Not idealized Pathos, defeat Lifetime of scars

Goldfish

Henri Matisse. 1912 C.E. Fauvism --> Gaugin (morode alter piece) Oil on canvas. Bright orange color Contrasted by the pinks greens and blues of the background Complementary colors --> make each other brighter Fauvism --> bright colors that make images using colors outside of the scope of the natural world Two different angles --> fins and the mouth, and then the top Distorted plants through the glass of the tank Plants and flowers meant to represent patterned wallpaper The angle makes the table slightly tilted, how are the goldfish stationary? Context? Matisse went to Morraco North African influence They spent hours gazing at goldfish --> used for meditation Meditative quality you get if you enter into a church with stained glass, or the dome of a mosque --> recall zoomorphic forms on the arabesques. Peaceful paradise for his mind Saw himself as a goldfish? He sat in his glass conservatory as he created art. Wanted to make soothing art --> devoid of depressing themes

Nike Adjusting Her Sandal

High Classical ca 410 BCE Found in the Acropolis --> The Temple of Athena Nike Marble Ionic Temple The parapet High relief sculpture Wet drapery effect

Stadia II

Julie Mehretu 2004 Ink and acrylic on canvas Overlaid architectural plan of a sports arena with abstract forms and personal notations. Conveys the energy and chaos of today's globalized world Explores themes such as nationalism and revolution as they occur in the worlds of art, sports, and contemporary politics.

Darkytown Rebellion

Kara Walker 2001 Cut paper and projection on wall 4.3 x 11.3m Dark, violent silhouettes, accompanied by flashes of psychedelic color/music make for a surreal experience. Reflects on the historical representation of African Americans in American visual culture. From the Brookes slave ship print (1789), to Birth of a Nation (1915) to the Aunt Jemima logo (c.1890-today), powerful visuals shape African-American stereotypes and inform how popular culture perceives this community Tests the participant's tolerance for imagery that occupies the nebulous space between racism and race affirmation

Lying with the Wolf

Kiki Smith 2001 Ink and pencil on paper Showing bonding between human and animal, the piece speaks not only to Smith's fascination with and reverence for the natural world, but also her noted interests in religious narratives and mythology illustrates women's relationships with animals

In Memoriam Karl Liebknecht

Käthe Kollwitz 1919-1920 heightened with white and black ink Compare to a Lamentation scene Rise of printmaking --> efficent to make copies Ideal for spreading politcal commentary Created in response to the assassination of Communist leader Karl Liebknecht during an uprising of 1919. This work is unique among her prints, and though it memorializes the man, it does so without advocating for his ideology. Composition: The composition divides the sheet into three horizontal sections. The top section is densely packed with figures. Their faces are well modeled and have interesting depth in themselves, but the sense of space is very compressed - the heads push to the foreground and are packed into every available corner of space. It gives the impression of multitudes coming to pay their respects, without compromising the individuality of the subjects. Kollwitz was not a Communist, and even acknowledged that the SPD (generally more cautious and pacifist than the KPD), would have been better leaders. But she had heard Liebknecht speak and admired his charisma, so when the family asked her to create a work to memorialize him she agreed.

New Period of Art (not 250)

Late Gothic roman/Italian Proto(pre)-Renaissance Transition between medieval and renaissance art Abbott Sujet --> Father of the Renaissance 1204 --> Sack of Constantinople (brought back Byzantine style art) Lots of commerce Follow the money and you will get to the art Private patrons Great schism Use of vernacular --> permitted in churches, promotes understanding of religon Drapery remniscant of classical art --> shows a form underneath New Florentine Combination of color and form creates depth

Röttgen Pietà

Late medieval Europe. c. 1300-1325 C.E. Painted wood. c. 1300-25 In the later Middle Ages, a number of preachers and writers discussed a different type of Christ who suffered in the way that humans suffered. This was different from Catholic writers of earlier ages, who emphasized Christ's divinity and distance from humanity It isn't hard to see the appeal of the idea that God understands the pain and difficulty of being human. In the Röttgen Pietà, Christ clearly died from the horrific ordeal of crucifixion, but his skin is taut around his ribs, showing that he also led a life of hunger and suffering. Visual: Earlier medieval representations of Christ focused on his divinity Skin is taut around his ribs Made of wood and retains some of its original paint Three dimensional wounds and a skeletal abdomen Contextual: Christ stands proud and alert on the cross, immune to human suffering. In the later Middle Ages, a number of preachers and writers discussed a different type of Christ who suffered in the way that humans suffered Stressed Christ's humanity and poverty Mary shows strong negative emotions that emphasize her humanity Intent was to show that God and Mary, divine figures, were sympathetic to human suffering, and to the pain, and loss experienced by medieval viewers

Villa Savoye

Le Corbusier (architect) Form: Free plan -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 - Spiral staircase -Roof garden -Spiral staircase or ramps to go up -Ribbon fenestration (windows wrap around house) -House is elevated on columns (modern day pathenon) Function: -Weekend home for the Savoye Family Context: -Poissy-sur-Seine, France -Designed the furniture too

Palazzo Rucellai

Leon Battista Alberti c. 1446-51 Florence Humanism architecture for a private residence Like traditional Florentine palazzi, the façade is divided into three tiers. But Alberti divided these with the horizontal entablatures that run across the façade. The first tier grounds the building, giving it a sense of strength. This is achieved by the use of cross-hatched, or rusticated stone that runs across the very bottom of the building, as well as large stone blocks, square windows, and portals of post-and-lintel construction in place of arches. The overall horizontality of this façade is called "trabeated" architecture, which Alberti thought was most fitting for the homes of nobility. Each tier also decreases in height from the bottom to top. On each tier, Alberti used pilasters, or flattened engaged columns, to visually support the entablature. On the first tier, they are of the Tuscan order. On the second and third tiers, Alberti used smaller stones to give the feeling of lightness, which is enhanced by the rounded arches of the windows, a typically Roman feature. In many ways, this building is very similar to the Colosseum, which Alberti saw in Rome during his travels in the 1430s. The great Roman amphitheater is also divided into tiers. More importantly, it uses architectural features for decorative purposes rather than structural support; like the engaged columns on the Colosseum, the pilasters on the façade of the Rucellai do nothing to actually hold the building up. Also, on both of these buildings, the order of the columns changes, going from least to most decorative as they ascend from the lowest to highest tier.

Last Supper

Leonardo da Vinci. c. 1494-1498 C.E. Oil and tempera. The subject of the Last Supper is Christ's final meal with his apostles before Judas identifies Christ to the authorities who arrest him. The Last Supper (a Passover Seder) is remembered for two events: (1) Christ says to his apostles, "One of you will betray me," and the apostles react, each according to his own personality. (2) founding moment of the sacrament of the Eucharist (the miraculous transformation of the bread and wine into the body and blood of Christ). Symbolic references. Attributes identify each apostle. For example, Judas Iscariot is recognized both as he reaches toward a plate beside Christ (Matthew 26) and because he clutches a purse containing his reward for identifying Christ to the authorities the following day. Peter, who sits beside Judas, holds a knife in his right hand, foreshadowing that Peter will sever the ear of a soldier as he attempts to protect Christ from arrest. The balanced composition is anchored by an equilateral triangle formed by Christ's body. He sits below an arching pediment that, if completed, traces a circle. These ideal geometric forms refer to the renaissance interest in Neo-Platonism oil, tempera, fresco Vanishing point at Christ's head Linear perspective via orthagonals Chiascuro Gestures indicate speech Crowded busy scene School of Athens effect --> creating a focal point using perspectival techinques in what would otherwise be a very busy painting. Horizon, mountains in the distance in the windows (Renaissance technique)

Louis Sullivan, Carson, Pirie, Scott Building

Louis Sullivan 1899-1903/04 Chicago Modern --> decreasing influence of past styles Less is more Lower cost materials Iron and steel The visual asthetic of the Greeks - unique design skyscraper for the time stood out compared to neighboring buildings - celebrates the power and wealth of corporations and consumerism as well as the wealth and technological power of America. Very vertical Corner entrances Merchandise on the street level windows Workplaces/offices higher up.

Vietnam Veterans Memorial

Maya Lin 1982 Black granite panels Panels contain the names of the more than 58,000 soldiers who died in the Vietnam War in chronological order of their deaths. The reflective granite allows the names to take precedence, but also allows the visitor to feel as though they are looking into the peaceful "other world" of the dead. Cut into the earth that "will heal in time."

Still Life in Studio

Louis-Jacques-Mandé Daguerre. 1837 C.E. Daguerreotype. (Photography) Visual: A deguerreotype, oldest surviving photograph Sharp details on small, mirrored, silver-coated copper plates Part art, part science Contextual: "The subjects of The Artist's Studio / Still Life with Plaster Casts lend themselves to visual analysis using the elements of art and principles of composition. Framed by drapery in the corner of his studio, a wicker-covered bottle hangs near a framed artwork just above the center of the frame, both surrounded by plaster casts of the heads and tiny wings of two putti (center), the head of a ram (center-right), and a panel bearing a nude female (possibly Venus) in low relief, flanked by a pushy Cupid (left edge)." Exposure usually about 15-20 minutes Displayed a remarkable range of tonal values, variegated textures, highlights, and shadows

Lukasa (Memory board)

Luba Peoples c. 19th-20th century Wood, beads, and metal Mnemonic device, recounting Luban history Meant to be touched to read History was not static and chronological to the Luban people, but a guidebook. Allowed royalty to retain Upemba Depression in central Africa

Law and Gospel (Law and Grace)

Lucas Cranach c.1529 oil on wood Destruction of thousands of works of religious art during the sixteenth century. Iconoclasts (breakers of likenesses/images) stormed through churches, destroying every work of art they could get their hands on. The most influential image of the Lutheran Reformation The Law and the Gospel explains Luther's ideas in visual form, most basically the notion that heaven is reached through faith and God's grace. Luther despised and rejected the Catholic idea that good deeds, what he called "good works," could play any role in salvation.

Pisupo Lua Afe

MIchel Tuffery 1994 Flattened cans of corned beef Bull (life sized) Context: Aimed towards children Ecological and population health issues in the Pacific corned beef is a processed food high in saturated fat, salt and cholesterol (a type of fat that clogs arteries). These are all things that contribute to disproportionately high incidences of diabetes and heart disease in Pacific Island population the introduction of cattle to New Zealand and the Pacific Islands and how they impact negatively on the plants, landscapes and waterways of these countries

Androgyne III

Magdalena Abakanowicz 1985 C.E. burlap, resin, wood, nails, and string Back in the back, open space in the front Artist was forced to flee the Soviet army during WWII Was persecuted for being rich in a communist society Image of suffering The effect of Seated Figures and Backs can be chilling and is often understood as expressing dehumanization in the twentieth century artist wants the viewer to focus on the humanity of the figures rather than their gender

The Fountain

Marcel Duchamp 1917 Porcelain Urinal Questions the identity of art... what defines it? Does there need to be a deeper meaning? Invoke anger and questions about the concept of art.

Fountain

Marcel Duchamp, 1917 Dada porcelain urinal, paint Resulted in a controversy --> Purchased from a store that sold plumbing fixtures, this object, which was titled Fountain and signed "R. Mutt" was rejected by a vote of the organizers, touching off a fierce debate. The Museum's exhibition explores Duchamp's staging of this controversy and highlights the radical ideas that were sparked by this crucial episode in the history of avant-garde art. As artists and critics debated whether this was art or a hoax, the artist's designation of the porcelain urinal as a readymade changed the course of modern art

Pure Land

Mariko Mori 1996 CE Landscape Digital artwork Distant horizon line creates immersion Futuristic Peaceful warm colors (golden sky, smooth pink land) Buddha references (Purity and rebirth, lotus) Music and incense in the exhibit

The Coiffure

Mary Cassatt. 1890-1891 C.E Impressionist Drypoint and aquatint The straight lines of the mirror and wall and the chair's vertical stripes contrast with the graceful curves of the woman's body. The rose and peach color scheme enhances her sinuous beauty by highlighting her delicate skin tone. Cassatt also emphasizes the nape of the woman's neck, perhaps in reference to a traditional Japanese sign of beauty. Japenese woodblock influence (responding to mass produced art) Woodblock prints

Isenheim Altarpiece

Matthias Grunewald 1512-1516 CE Oil on wood enormous moveable altarpiece, essentially a box of statues covered by folding wings, was created to serve as the central object of devotion in an Isenheim hospital built by the Brothers of St. Anthony. St. Anthony was a patron saint of those suffering from skin diseases. At the Isenheim hospital (treats Saint Anthony's fire), the Antonine monks devoted themselves to the care of sick and dying peasants, many of them suffering from the effects of ergotism, a disease caused by consuming rye grain infected with fungus. At the heart of the altarpiece, Nicolas of Hagenau's central carved and gilded ensemble consists of rather staid, solid and unimaginative representations of three saints important to the Antonine order; a bearded and enthroned St. Anthony flanked by standing figures of St. Jerome and St. Augustine. Below, in the carved predella, usually covered by a painted panel, a carved Christ stands at the center of seated apostles, six to each side, grouped in separate groups of three. Hagenau's interior ensemble is therefore symmetrical, rational, mathematical and replete with numerical perfections—one, three, four and twelve. Grünewald's painted panels come from a different world; visions of hell on earth, in which the physical and psychological torments that afflicted Christ and a host of saints are rendered as visions wrought in dissonant psychedelic color, and played out by distorted figures Predella --> shows Christ and his entombment

Meret Oppenheim

Meret Oppenheim 1936 fur-covered cup, saucer, and spoon Surrealism The twenty-two year old Basel-born artist, Meret Oppenheim, had been in Paris for four years when, one day, she was at a café with Pablo Picasso and Dora Maar. Oppenheim was wearing a brass bracelet covered in fur when Picasso and Maar, who were admiring it, proclaimed, "Almost anything can be covered in fur!" As Oppenheim's tea grew cold, she jokingly asked the waiter for "more fur." Inspiration struck—Oppenheim is said to have gone straight from the café to a store where she purchased the cup, saucer, and spoon used in this piece. physical manifestations of our internal psyches were indicative of a surreality, or the point in which external and internal realities united, as described by André Breton (one of Surrealism's founders and theorists) in his first Manifesto of Surrealism

Mannerism

Michaelangelo ushers in High Renaissance to mannerism distortion of the human figure, a flattening of pictorial space, and a cultivated intellectual sophistication. Occurs largely in Rome (Between Renaissance and Baroque)

Portrait of Sor Juana Inés de la Cruz

Miguel Cabrera. c. 1750 C.E. Oil on canvas. More of a traditional portrait "sitter" --> the subject of a portrait Sor --> sister (nun) Looking up from studying Big deal that she's being portrayed as an intellectual Religous iconography, but scholarship is more important Gaze is towards the viewer Escudo --> embroidery circle that she wears of an enunciation scene Works under a viceroy She was forced to give up her studies and wrote a document renouncing her learning signed in her blood.

The Virgin of Guadalupe

Miguel González. c. 1698 C.E. Based on original Virgin of Gaudalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Mandorla Surrounded by putti --> tiny angels Oil on canvas on wood, inlaid with mother-of-pearl Acheiropoeta --> Miracolous image. Icons made without hands Juan Diego encountered the Virgin Mary who asked him to build a bascillica in her honor. During her fourth request on December 12th, she told Juan Diego to gather roses from the hill into his cloak (or tilma). When he stepped before the bishop and opened his cloak, the roses—Castillian roses (which are not native to Mexico) spilled forth. Imprinted on the tilma was an image of the Virgin Mary herself, known today as the Virgin of Guadalupe. Zumárraga recognized the miracle, and a shrine to the Virgin of Guadalupe was built on the Hill of Tepeya Juan Diego rebelled but was also devout

The Athenian Agora and the experiment in democracy

Most important public space in Athens in 5th century B.C.E Dedicated to gods, Hephaistos and Athena Athenian democracy- people directly participated; anyone who was a great speaker or wealthy could run for leadership; had to be a citizen (Male and Athenian); both parents had to be Athenian Ostracism- voters scratched or painted on a piece of pottery the name of the man he thought most dangerous to the state If Ostracised, the leader would have to leave Athens Demos- "people"; kratos- "power" Was a market place, became governmental building during Classical Period Large open square for citizens to sell goods Stoa- civic building

Electronic Superhighway

Nam June Paik 1995 Smithsonian Map of the U.S. with tvs and radios in each state Neon lights outline the interstate highway Theme: interconnectivity of the U.S. Electronics are the new highway Connect the states

New Spain Context

Obsession with classifying organisms (eugenics)

Les Demoiselles d'Avignon

Pablo Picasso 1907 Oil on Canvas Piece made to compete with Matisse "adically compressed the space of his canvas and replaced sensual eroticism with a kind of aggressively crude pornography" Features five prostitutes from a brothel Picasso frequented Deeper, urban tones Jagged, shattered forms Picasso took ideas from other artists he encountered

Rococo

Pastel colors, feathery lines Boucher (ultimate Rococo artist) French Nobility moving to salons Putti galore smaller, more intimate, scale Frivalous

Where do we come from? What are we? Where are we going?

Paul Gaugin 1897-98 Track from right to left, stages of life Animals Reaching for the apple takes place in Tahiti Peruvian mummy Contextual: Thematic relationship --> European artists having contact with the "exotic other" Connect to Grande Odalisque Gaugin liked to be famous Capatalizing on his popularity

En la barberia no se llora (No Crying Allowed in the Barbershop)

Pepón Osorio 1994 mixed media installation with barbers' chairs, photographs, objects and video large scale Context: address street life, cultural clashes, and the rites of passage experienced by Puerto Ricans in the United State Scene demonstrates the of machismo (a strong sense of masculine pride), in Latino communities.

Composition with Red, Blue, and Yellow

Piet Mondrian. 1930 C.E. Oil on canvas. De Stijl Neoclasscism Abstract Supposed to create an emotion to modern life Black and white contrast Primary colors --> represents human evolution away from other styles of art that combine these colors Life and art go hand in hand Natural progression from cubism Breaking art down to its smallest elements

Hunters in the Snow

Pieter Bruegel the Elder. 1565 C.E. Oil on wood. Visual: Snow-covered landscape that recedes dramatically to a row of jagged mountains in the distance Extensive middle ground and background, depicts the natural and manmade world The high horizon line suggests that we, the viewer, experience this scene from high above Contextual: The painting is thus a carefully constructed scene, drawn as much from the artist's imagination as from his surroundings. Rather than a scene of triumph, Bruegel is showing us a rather unsuccessful hunt. Hunting rights and specially-bred hunting dogs were often associated with the aristocracy in the Northern Renaissance He chose to give emphasis to the landscapes with particular attention paid to the shifting colors of the times of year

School of Athens

Raphael. 1509-1511 C.E. High Renaissance Perspectival Fresco Four branches of human knowledge --> allegorical figures (1) Philosophy (plato, Aristotle) (2) Theology (3) Poetry (4) Justice Pope Julius II commisioned Perfect circle and square building 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. Visual: Uses linear perspective Architectural perspective with a central vanishing point Contextual: Primary purpose of the painting was to decorate the personal library of the Pope Meant to reflect the culture of the High Renaissance You can see each individual represented in a unique way; no two figures look alike The two central figures in The School of Athens are philosophers Plato and Aristotle. Situated under the archway and in the center of the fresco, the viewer's eye is immediately drawn to the two men Symbolizes Philosophy, one of the disciplines of the Humanities or areas of human knowledge

Spiral Jetty

Robert Smithson, 1970 Land Art Using the elements to create art jetty became submerged only a few years after it was made, and remained that way for decades Recently it has been restored ephemerality and entropy Disapears and reapears with natures will Changes in time of day, light, weather, and water level

House in New Castle

Robert Venturi, John Rauch, and Denise Scott Brown 1978-1983 wood frame and stucco complexity and contradiction over abstraction and what Venturi called the "fairy stories" of modernist purity. For Venturi, how buildings look, and are perceived, was far more important than the techniques, systems, and theories used to plan and construct them. Rather than copy a specific style, he borrowed freely, juxtaposing, collaging, and reinterpreting forms from distinct periods and places. Instead, the house sits surrounded by rolling fields, beside a thickly-wooded forest. Like many traditional American farmhouses and barns, the painted siding is white and the intersecting gables are clad with unstained wood shingles. It may look conventional and familiar but on closer inspection the exterior is enlivened by a diverse array of mischievous and sometimes perplexing architectural features. The "front" façade of the New Castle County House incorporates a floating arched screen that, like a highway billboard, rises somewhat awkwardly from the lower edge of the gable (below). The "rear" facade is even more curious and complex (left). While it, too, is dominated by a prominent arched screen, this screen is framed by the edges of the gabled roof. Supported by what appears to be a Doric colonnade, the four stubby columns are, in fact, almost flat.

The Forum and Markets of Trajan

Rome, Italy, ca. 100-112 CE. Resembles shopping mall, groined vaults, skylights Brick faced concrete Equestion sculpture Pillar Use of concrete Barrel Vaults Sculptures of defeated Dacians

The Oxbow

Thomas Cole 1836 Oil on canvas American Romanticism Landscape Left side: Lightning shown in the clouds --> chaotic scenes of nature Vegetation Flock of birds fleeing the storm Untamed nature Right: Lighter More tame farmlands people --> farmers Cottages, society cutting through the landscape Dichotamy between left and right --> humans taming nature Created during manifest destiny Idea that human civilization is good for nature (idealized) Upside down hebrew letters in the back --> spells out "all mighty" --> land was claimed by god Thomas Cole is hidden

Venus of Urbino

Titian 1538 CE Venice Visual: Woman's curvaceous physique Oil on canvas (one of the first) Rigid lines contrast with her body, rendered in fluid brushstrokes that blur at the edges Contextual: Unsure of identity, could range from the divine to the vulgar Affords rich insight into the complex social practices intertwining marriage, sexuality, and female beauty in Renaissance Italy. Set against pearly sheets, her bed cushions are rendered in crimson as if also signaling her passion and inflamed desire Meant for private viewing Suggests marriage based on use of jewelry, roses and dog Recumbent --> laying position Dog called fido --> sign of fidelity Cassoni --> storage chest

Improvisation 28 (second version)

Vasily Kandinsky 1912 Impressionist color Stark black lines Ship, mountains, waves chaos of war biblical destruction Candles with flames Synethesesia Representings a muscial piece Blending of the arts

Le Corbusier

Villa Savoye, Poissy-sur-Seine 1929 "The house should be a machine for living in" Located just outside Paris, the Villa Savoye offered an escape from the crowded city for its wealthy patrons. Its location on a large unrestricted site allowed Le Corbusier total creative freedom. The delicate floating box that he designed is both functional house and modernist sculpture, elegantly melding form and function. Five Points of Architecture, which he viewed as a universal system that could be applied to any architectural site. The system demanded pilotis (slender columns) to raise the building off the ground and allow air to circulate beneath; roof terraces, to bring nature into an urban setting; a free plan that allowed interior space to be distributed at will; a free façade whose smooth plane could be used for formal experimentation; and ribbon windows, which let in light but also reinforced the planarity of the wall.

The Burghers of Calais

Visual: 6 men in tattered clothing The bodies are visibly malnourished, bones and joints are visible They stand together but make no eye contact with one another Eustache de Saint-Pierre had a bowed head and bearded face-leader of the group The heavy drapery on the men makes them appear stronger than at first glance Contextual: Commissioned by the French city of Calais Meant to be a sculpture commemorating Eustache de Saint-Pierre and his heroism Each man is a burgher of Calais, and has identifiable traits attributed to that Eustache de Saint-Pierre was depicted as the leader of the group This is captured in the moment when they fear they are facing death. Though they are eventually spared, Rodin chooses to depict fear rather than relief Men were in a circle, no one man was the focal point

Nadar Raising Photography to the Height of Art

Visual: A lithograph 44.8 x 30.9 cm Contextual: "Famed painter, sculptor, and printmaker, Honoré Daumier was a progressive working-class artist who came to prominence in the 1830s with his bitingly satirical prints (lithographs) that took on everything from politics and the powerful to commentaries on Parisian society and the state of the arts," "With characteristic wit, Daumier refers not only to Nadar's literal elevation of photography and his championing of the artistic possibilities of the medium, but also the recent court decision that recognized photography as an art (and thus subject to the same copyright restrictions as other established fine arts)."

And there's nothing to be done from The Disasters of War

Visual: A man, blind-folded, head downcast, stands bound to a wooden pole. On the ground in front of him is a corpse, contorted, the spine twisted, arms and legs sprawled in opposite directions. A neat line of soldiers aim rifles at the men, the muzzle of their weapons disappearing behind our hero's hip. Using the techniques of etching and drypoint. Contextual: He is heroic, an Alter Christus Shows the sobering consequences of conflict between French troops and Spanish civilians. a critique of the contemporary world, satirizing the socio-economic system in Spain The real-life massacre of Spanish civilians by the French army in 1808. Not printed until thirty-five years after the artist's death, when it was finally safe for the artist's political views to be known.

The Gare Saint-Lazare

Visual: Depicts a bright, sunny day- attempts to produce the effects of pure sunlight Depicts the steam with blues, pinks, violets, tans, grays, whites, blacks, and yellows Has apartments, a bridge, and trains in the back peeking through the steam The roof of the station is depicted in iron and tan tones to contrast the rest of the work The locomotives are the main subject of the work- this is a controversial decision that Monet made to not focus on some of the background aspects more Contextual: Depicts the Gare Saint-Lazare, a train terminal in Paris This is a component of a dozen canvases that depict the Gare Saint-Lazare Impressionist painting One of two out of the twelve works that depicts the station in sunlight New vision of modern life that still focuses on the industrial side of things

Palace of Westminster (Houses of Parliament)

Visual: In gothic style, built in early victorian era A 19th century take on an old medieval tradition On a concrete base, central tower used to support the building "Victorian fantasy" Contextual: Old palace was burned down, a competition for new building, either in gothic or elizabethan style, gothic won Charles Barry won the competition Modern era seemed ugly, period of factory and steam engines, but past provided beautiful architecture and beauty, wanted a revival

Élisabeth Louise Vigée Le Brun Self-Portrait

Visual: Late example of Rococo Artist sits in a relaxed pose at her easel and is positioned slightly off center. Holds a brush to a partially finished work The subject is probably Marie-Antoinette—perhaps intended as a tribute to her favorite sitter. Contextual: The artist who created this opulent showpiece became famous and wealthy as Queen Marie-Antoinette's official court painter. Father cherished her art, mother saw her as ugly Free-flowing style that Marie-Antoinette had made popular at the French court The painting expresses an alert intelligence, vibrancy, and freedom from care.

The Horse in Motion

Visual: Movement of a horse over a course of frames Photographed on a canvas Made with many cameras slay Contextual: "What position did the legs of a horse take when galloping?" - leading question, cause of these photographs Wanted t slow things down in order to show the mechanics of the horse, the feet come together and leave the ground all at once Capturing an image of a moving horse at a time when exposure times were so long, that the slightest movement could turn a portrait into a blurry mess.

The Swing

Visual: Rococo style Woman suspended by a swing tied around branches of a tree Woman wearing a frivolous, pink, fluffy dress with white lace Looks like a flower, she is surrounded by flowers Woman flicking shoe off Older man on side operating the tree swing by ropes on right, another man looking up her skirt on the left 81 x 64.2 cm Contextual: Painting is a metaphor Made for private viewing "While the figures in the work are not identifiable as portraits of specific individuals, their rich attire and leisurely activity underline their aristocratic status." Multiple references to untamed desire People ignored the real issues of the time, ignored the masses, rather focused on their privilege being in the aristocracy

Monticello

Visual: The Virginia State Capitol is a modified version of the Maison Carrée Influenced by the Pantheon Gives the impression of a symmetrical single-story brick home under an austere Doric entablature. Two-column deep extended portico contains Doric columns A sense of both horizontality and verticality Contextual: Jefferson believed art was a powerful tool; it could elicit social change, could inspire the public to seek education, and could bring about a general sense of enlightenment for the American public. He expressed dissatisfaction with the architecture that surrounded him in Williamsburg, believing that the Wren-Baroque aesthetic common in colonial Virginia was too British for a North American audience. A striking example of French Neoclassical architecture in the United States.

Preying Mantra

Wangechi Mutu 2006 Mixed media on mylar Culture expressed through fantasy Her images incorporate the female body, specifically an imagined "African" body, subjected to sexism and racism on a global scale. Includes fragments from fashion magazines, pornography, medical literature or even popular magazines such as National Geographic. Female subjectivity, exoticism and the notion of hybridity

The Jungle

Wilfredo Lam 1942-43 gouache on paper mounted on canvas Panaroma Cuba on the eve of the 1959 Revolution that would overthrow the corrupt government of Cuba's leader at the time, Fulgencio Batista. The artist haphazardly constructs the figures from a collection of distinct forms—crescent-shaped faces; prominent, rounded backsides; willowy arms and legs; and flat, cloddish hands and feet. When assembled these figures resemble a funhouse mirror reflection. Flora, sugarcane (alien to this jungle) U.S. had great influence in Cuban affairs

Woman, I

Willem de Kooning 1950-52 oil on canvas Take on how women are depicted in advertising 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

Marriage A-la-Mode

William Hogarth c. 1743 Visual satire Oil on canvas Marriage for love or for economic gain? Six paintings Tells the story of an aristocratic family --> the squanderfields has a title but no money First Wealthy merchant's daughter has no title but money Man is vain Family tree and dowry Wants to build a mansion Young man is obsessed with himself woman is inconsable Second Cheating on each other Paintings of saints comment on the immorality of the situation Knick knacks --> spending money Fire in the fireplace between them is going out --> as is their relationship Dog --> which is a sign of fidelty, smells another woman's clothing in the husband's pocket Third Doctors session They have syphillis Fourth The toilet She has a child but shes a bad mother (necklace) Fifth Lover impaled her husband Sixth Wife poisons herself after lover is killed Child has syphillis.

Book from the Sky

Xu Bing 1987-91 hand-printed books and ceiling and wall scrolls printed from wood letterpress type ink on paper Four walls Chinese characters Invented his own characters and some real Doesn't really mean anything Grew up in communist China Letter writing was a commodity there Propaganda

Narcissus Garden

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

The Swing (After Fragonard)

Yinka Shonibare (Nigerian born, raised in Britain) 2001 Like the original, but without a head Guillotine reference --> the result of the aristocracies indulgence during the French Rev Subverts original narration of the painting Different dress, darker hues Dutch wax cloth (West African reference) Commenting on the haves and the have nots The have nots make the textiles, work and trade, provide the wealth that the haves (the upper class) take for granted.

Fallingwater

architect: Frank Lloyd Wright 1936-39 CE140 Form: -Ribbon fenestration -Organic plan/space -Horizontality - Stone masonry -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 Pioneered the used of the cantalevier design --> central post

Master of Calamarca, Angel with Arquebus

before 1728 Asiel Timor Dei oil on canvas and gilding Peru "Guns angels and fashion" Tenebrism (Caravagissti) Entire canvas is filled by the figure Angel Incan/Spanish dress Asiel --> Fear of God Representing celestial, aristocratic, and military beings all at once, these angels were created after the first missionizing period, as Christian missionary orders persistently sought to terminate the practice of pre-Hispanic religions and enforce Catholicism. (Key word ENFORCE Catholicism Function of the counter reformation

Pazzi Chapel

begun 1420s, completed 1460s Filippo Brunelleschi Orginally a meeting room for the monks (chapter house) Early Renaissance Perfect Geometry and centrality Close to a central planned space Hemispherical dome with an oculus fills the chapel with light Terra cotta pieces Rational space Visual: Perfect geometry Pietra serena stone (greyish green color on walls) Fluted pilasters and long walls Domed ceiling with an oculus in the middle Bright light shines into the temple through the windows on the ceilings Contextual: Originally used as a chapel house (meeting room for monks) Early renaissance architecture Resembles an ancient Roman temple Centrally planned architecture

The Great Mosque of Córdoba

begun 786 and enlarged during the 8-10th C. Spoila Umayyad Captial in the West Córdoba, Spain Maqsura (screened area for rulers) added later Mihrab is the focal point --> Facing Mecca Looks like a Roman forum Hypostyle hall Horseshoe arches (colored marble with ivory marble) Visigothic and Spain inspo for the arches Site was originally a Roman temple Zoomorphic representations --> humans and animals are forbidden in Islamic holy spaces So they use: 1. Geometric designs 2. Calligraphy 3. Arabesque: organic, interwoven plant motifs 4. Medallions (In carpets, Dome of the Rock)

Alexander Mosaic from the House of the Faun, Pompeii

c. 100 B.C.E. Roman copy of a lost Greek painting, House of the Faun, Pompeii, c. 315 B.C.E. A mighty general (Alexander the Great) charges on horseback across the field of battle. His spear makes contact with a soldier's torso, who begins to recoil in pain and shock, on the verge of falling over the dead body of a horse strewn on the ground behind him. is made up of approximately 1.5 million tesserae, which are small, cubed pieces of glass or stones cut into shape. Naturalistic

Church (Tympanum) of Sainte-Foy

c. 1050-1130 Last Judgment tympanum Saint Foy was a fourteen year old girl who was burned for her beliefs --> young female martyr Christ's second coming as judge --> last judgement scene Demons stroke the flames of hell and punish sinners God's right side = saved Left = hell, hellmouth Christ sits in a mandorla --> full on body halo Origanally painted

The Bayeux Tapestry

c. 1070 embroidered wool on linen (technically not a tapestry) 20 in. tall 238 ft long Hierarchy of scale between Normans and the English Tells the story of William the Conquerer (reference column of Trajan) Visual: Twenty inches high and almost 230 feet in length Consists of seventy-five scenes with Latin inscriptions Embroidered using wool yarn sewed onto linen cloth. Contextual: Depicting the events leading up to the Norman conquest and culminating in the Battle of Hastings in 1066 Presents a rich representation of a particular historic moment The high quality of the needlework suggests that Anglo-Saxon embroiderers produced the tapestry The artists organized composition of the tapestry to lead viewer's eye from one scene to the next and divided compositional space into three horizontal zones Serves as a medieval artifact that operates as art, chronicle, political propaganda, and visual evidence of eleventh-century mundane objects

Tlatilco Figurines

c. 1200-600 B.C.E. Tlatilco, Mesoamerica ceramic Two heads Three eyes and mouths, two noses Yet still symmetrical Wide hips --> fertility Great detail in the hair Idea of duality

Bible moralisée (moralized bibles)

c. 1225-45 Codex French Gothic painting France and Spain Blanche of Castille and Louis IX Biblical text and illustrations among the most expensive medieval manuscripts ever made because they contain an unusually large number of illustrations. These books were generally commissioned by members of royal families, as no one else would have been able to afford such luxury. the commentary often draws parallels between the bad guys of the biblical text and those who were perceived as bad guys in the thirteenth century. In France, as in most of western Europe at this time, Jews and corrupt priests were the bad guys and there are anti-semitic themes throughout the commentary and illustrations.

The Panthenon (Rome)

c. 125 Been attacked Traditional temple front Circular space in the back Orignally dedicated to the gods, then a church Agrippa built the original Pantheon in honor of his and Augustus' military victory at the Battle of Actium in 31 B.C.E.—one of the defining moments in the establishment of the Roman Empire (Augustus would go on to become the first Emperor of Rome). It was thought that Agrippa's Pantheon had been small and conventional: a Greek-style temple, rectangular in plan. Written sources suggest the building was damaged by fire around 80 C.E. and restored to some unknown extent under the orders of Emperor Domitian (who ruled 81-96 C.E.).

Hunefer's Judgement in the presence of Osiris

c. 1275 B.C.E. (New Kingdom) papyrus Thebes, Egypt Hunefer was was a "Royal Scribe" and "Scribe of Divine Offerings." He was also "Overseer of Royal Cattle," and the steward of King Sety I. (Held high positions) Personalized Book of the Dead Series of vignettes, including the "Opening of the Mouth" ritual Anubis brings Hunefer to the scales of judgement, measuring his heart against the feather of maat.

Arena (Scrovegni) Chapel

c. 1305 Comissioned by the Scrovegni Chapel Created by Giotto Enclosed by images Covered in fresceo Faux marble panels Reminiscant of Rome Images of Christ and Mary Programme (smaller works inside a bigger work) Private citizen trying to reach salvation Last judgement scene --> (compare to column trajan or the panthenon friezes) Joachim and Anna (Mary's parents) Kiss scene in front of Jersulam Chiarascuro Clarity of the narrative 2 important scenes Visual: In "late gothic" or "proto renaissance" "The artist who takes the biggest step away from the medieval style of spiritual representation in painting in the early 14th century is Giotto," FRESCOES Contextual: "Commissioning works of art for churches was a common way of doing "good works" which could help you earn your way into Heaven.," "Looking at the photo, you can see that there are numerous separate images in the chapel. The frescoes tell the story of the lives of Mary (beginning with her parents, Joachim and Anna) and Christ on the long walls. By the altar, Giotto painted the Annunciation, and at the other end, on the entrance wall, the Last Judgment,"

Arena Chapel Last Judgment

c. 1305 Giotto Blue Background Virtues and vices Jealousy(reaching, snake), hope (winged, (on the lower pannels) On Christ's right are the blessed Feet, aren't shown, saints Christ's left are the damned Satan, tortured souls, hell Usurers are hung with bags of their money Patron offers the chapel to the three Marys Hanging Judas

The Golden Haggadah

c. 1320 northern Spain Four scenes of the preparation of Passover upper right: Miriam (Moses' sister), holding a timbrel decorated with an Islamic motif, is joined by maidens dancing and playing contemporary musical instruments; upper left: the master of the house, sitting under a canopy, orders the distribution of matzoh (unleavened bread) and haroset (a sweet made from nuts and fruit) to the children Shows wealth of the patron VIsual: Gold backgrounds Gothic style, seen as educational images "The style of the manuscript may look familiar to you—it is very similar to Christian Gothic manuscripts such as the Bible of Saint Louis. Look, for example, at the figure of Moses and the Pharaoh (above). He doesn't really look like an Egyptian pharaoh at all but more like a French king. The long flowing body, small architectural details and patterned background reveal that this manuscript was created during the Gothic period.," An example of both Jewish and Gothic art Contextual: A medieval illuminated manuscript "A hagaddah usually includes the prayers and readings said during the meal and sometimes contained images that could have served as a sort of pictorial aid to envision the history of Passover around the table. In fact, the word "haggadah" actually means "narration" in Hebrew. The Golden Haggadah is one of the most lavishly decorated medieval Haggadot, containing 56 miniatures (small paintings) found within the manuscript,"

Tutankhamun's tomb (innermost coffin and death mask)

c. 1323 B.C.E. (New Kingdom) Gold with inlay of enamel and semiprecious stones Tomb of King Tutankhamun Painted in a god's image Holds the crook and flail, symbols of the king's right to rule. Death mask --> wearing the striped nemes headdress (the striped head-cloth typically worn by pharaohs in ancient Egypt) with the goddesses Nekhbet and Wadjet depicted again protecting his brow. He also wears a false beard that further connects him to the image of a god as with the inner coffin. Back of the mask is covered with a spell from the book of the dead, which protects him as he enters the afterlife.

House Altar depicting Akhenaten, Nefertiti and Three of their Daughters

c. 1350 limestone Family Akehenaten and Nerfiti Curvilinear forms Mix of composite and profile Epicene --> androgynous Looking at each other instead of us Couple is the only one connected to Aten (the sun god) Insults the priesthood Ankhs touching the king and queen Not idealized Departs from 2000 years of established egyption representation Genre --> Scene from everyday life

Mortuary Temple and Large Kneeling Statue of Hatshepsut

c. 1479-58 B.C.E. (New Kingdom) Granite Egypt Female pharoh Hatshepsut Symmetrical Divine right as king (headcloth, beard) Kneeling in the presence of a god Deemphasized breasts --> masculine representation Commisioned art/architecture Temple built against a cliff face --> idea of stability in the beginning of the New Kingdom Succesor attempted to destroy all of her statues, put back together

The Ambum Stone

c. 1500 B.C.E. Papua New Guinea Greywacke Stone Carving Religous object Perhaps used as a pestle Some kind of animal, its features are rounded and include a freestanding neck, elegantly curved head and long nose, and upper limbs that hug its torso and appear to enclose a cupped space above its belly. Stylized eyes, ears and nostrils are depicted in relief Recently a piece was broken --> sparking a debate about who owns historical objects

The Law and the Gospel

c. 1529 Lucas Cranach Oil on wood Decides that as long as the images are reinforcing the New Testament, to be learned from not worshipped, than it is ok. Didactic Law sign, gospel side Northern Symbolism --> Allegory Tree divides the page in half Left is dead, right is blooming with leaves (almost like a Last Judgement scene?) Someone holds the testament look up who that is Add more

Frontispiece of the Codex Mendoza

c. 1541-42 Viceroyalty of New Spain Visual: City divided into four parts by intersecting blue-green undulating diagonals Center of schematic diagram is an eagle on a cactus growing from the midst of a lake. Surrounding the entire page are year glyphs, beginning on the upper left with the date 2-House (1325 C.E.) and finishing (counter clock-wise) with the date 13-Reed. Contextual: Contained information about the lords of Tenochtitlan, the tribute paid to the Aztecs Codex's frontispiece relates information about the organization and foundation of the Aztec capital, Tenochtitlan Symbols and art build history of both capital city and Mexico Scenes of Aztec military conquest are portrayed with strong soldiers

Calling of St. Matthew

c. 1599-1600 Michelangelo Merisi da Caravaggio Heavy tennebrism Oil on canvas Spirtual awakening Baroque artist Contemporary clothing In a Tavern, tax collector Ancient tale told in a modern setting Earth-bound figures Christ reaches out to Matthew Hand derived from Adam's hand (second Adam), but also reflects the ceiling of the Sistine Chapel.

The Presentation of the Portrait of Marie de' Medici

c. 1622-25 Peter Paul Rubens Oil on canvas A young woman in a bejeweled dress with a stiff lace collar gazes confidently out of a simply framed, bust-length portrait placed at the very center of a large canvas. Her name is Marie de' Medici, daughter of the Grandduke of Tuscany. Hymen and Amor (cupid) (left and right respectively) They present the image to King Henry IV of France Torch represents the flame of love The King is smitten In the heaven Jupiter and Juno's presence speaks to the sanctity of marriage However, this match is about politics as well as love. Behind Henry stands the personification of France, wearing a blue silk garment embroidered with gold fleur-de-lys (the coat of arms of the French monarchy) and an elaborate plumed helmet encircled by a gold crown. Calling Henry to abandon militaristic pursuits and settle into a domestic life (see battlefield in the background)

Las Meninas

c. 1656 Diego Rodríguez de Silva y Velázquez (also the subject) Tenebrism oil on canvas no attempt to smooth out the paint on the canvas Painterly effect --> Almost becomes sculptural Trace of the artists hand Reminds you that you are looking at something created by an artist Who is the subject? Not the little girl but the painter shown to the left Mirror at the end reflects the King and Queen Looks out at the viewer

Screen with the Siege of Belgrade and Hunting Scene

c. 1697-1701 Mexico (Art of the Americas) Oil on wood -A chaotic battle scene unfolds across six panels of a folding screen. The seemingly endless amount of human bodies, animals, weapons, and buildings are difficult to differentiate without careful, slow looking. - Private luxury items (made for a palace) - Two sides of painting -Laquered screen -European, Mexican, and Japenese influence. International art -Biombo - "wind wall" (screen) - Twelve panels (six and six) - Continuous narrative

Spaniard and Indian Produce a Mestizo

c. 1715 C.E. Tenebrism Attributed to Juan Rodríguez Juárez. Oil on canvas. Domestic genre Rich color Multiple perspectives "In America people are born in diverse colors, customs, temperaments and languages. From the Spaniard and the Indian is born the mestizo, usually humble, quiet and simple." Spanish father (viceroyalty) Indegenous mother (wearing traditonal mexican pupa) Ethnic mixing ("purifying") Casta pictures --> attempt (but often fail) to capture modeled on depictions of the Holy Family showing the Virgin Mary, saint Joseph, and Christ as a child The numbers and textual inscriptions on casta paintings create a racial taxonomy, akin to a scientific taxonomy. In this way, casta paintings speak to Enlightenment concerns, specifically the notion that people can be rationally categorized based on their ethnic makeup and appearance. Overall problematic image

Nike (Winged Victory) of Samothrace

c. 190 B.C.E. Hellenistic Period 3.28 m high Lartos marble (ship) and Parian marble (figure) Originally faced the sea (literally windblown) The sculptural group consists of two parts, a large ship's bow made of grey marble and a free-standing white marble statue with the overall composition rising more than eighteen feet Nike is announcing a naval triumph Extraordinarily dramatic in composition and style. It is intended to be viewed from multiple angles, encouraging the viewer to move around the statue, and through this interaction engage with the artwork physically and emotionally.

The Pergamon Altar

c. 200-150 B.C.E. (Hellenistic) mythological battle between the Olympian gods and the giants in a wide variety of media—from miniature engraved gemstones and vase paintings, to over-life-sized architectural sculptures. Altar's architectural framework alone is impressive—it comprises a monumental Π-shaped structure surrounded by columns and accessed by a grand staircase. However, its most eye-catching feature is undoubtedly the frieze, a massive 113 meters long and 2.3 meters high marble high-relief that wraps around the building's entire exterior Athena grabbing giant's head

Battle of the Romans and Barbarians (Ludovisi Battle Sarcophagus)

c. 250-260 C.E. Romans fight barbarians on this chaotic coffin, which shows signs of a turn in artistic trends densely populated, anti-classical composition of "writhing and highly emotive"[2] Romans and Goths, and is an example of the battle scenes favored in Roman art during the Crisis of the Third Century.[2

The Great Pyramids of Giza

c. 2500 BCE Limestone, mortar, and granite Giza, Egypt Three primary pyramids: Khufu, Khafre (the great sphyinx), and Menkaure Shape is a reference to the sun --> sun's rays as a ramp the pharaoh mounts to climb to the sky Royal mortuary complex that also included a temple at its base and a long stone causeway Smaller queen satellite pyramids Built by a permanent group of skilled craftsmen and builders who were supplemented by seasonal crews of approximately 2000 conscripted peasants

Stonehedge

c. 2550-1600 B.C.E. Wiltshire, England Big stones 97 ft in diameter 24 feet high Post and lintel construction Burial location of the elite

Palette of King Narmer

c. 3000-2920 B.C.E. Predynastic Egypt Greyish/green siltstone slate Found buried in a deposit within an early temple of the falcon god Horus Decorated with detailed low relief. Shows a king, identified by name as Narmer, and a series of ambiguous scenes Elaborate pallete, used to mix cosmetics, perhaps used to mix and apply makeup to images of the gods in temple. Ritually buried

Santa Sabina

c. 422-432 C.E. Rome, Italy. Late Antique Europe. Brick and stone, wooden roof. Built with Roman Spoila (see columns) Early Christian bascillicas were based on civil puposed Roman bascillicas (see Bascillica Ulpia in the forum of Trajan) Post Edict of Milan (313 CE) --> Christianity is now legal Large space needed Repurposed Pagan Temple The windows are made of pressed gypsum Facade of the church is West facing Clearstory (row of windows higher than eye level) Side aisles

Fibulae

c. 430 Rome/Constantinople Fibulae (singular: fibula) are brooches that were made popular by Roman soldiers, who wore them to hold a cloak or cape in place. Bow fibulae all consist of a body, a pin, and a catch—like safety pins. As a historian of the medieval period writes, This intricate object is typical of the Byzantine/Roman fibulae style. The detailed incising on the body is called pierced openwork.

Niobid Krater

c. 460-50 B.C.E. Early classical Attic red-figure calyx-krater Apollo and Artemis exacting revenge for a mother's hubris Red sillohated by a black background. Ground line (depth)

Tomb of the Triclinium

c. 470 B.C.E. Painted frescos Etruscan chamber tomb The rear wall of the tomb carries the main scene, one of banqueters enjoying a dinner party (above). The diners are dressed in bright and sumptuous robes, befitting their presumed elite status. The skin of the females is lighter than that of the males funerals were often accompanied by games Etruscan funeral rites were not somber but festive, with the aim of sharing a final meal with the deceased as the latter transitioned to the afterlife.

Sarcophagus of the Spouses

c. 520 B.C.E. Etruscan Painted terra cotta. anthropoid (human shaped) sarcophagus Reclining man and woman On a stylized kline (couch) Stylized braided hair Elongated proportions Etruscan funeral art often depicts scenes of revelry, perhaps as a reminder of the funeral banquet that would send the deceased off to the afterlife or perhaps to reflect the notion of perpetual conviviality in said afterlife

San Vitale and the Justinian Mosaic

c. 526-27 Ravenna Byzantine aesthetic Gold background flattens space one of the most important surviving examples of Eastern Roman "Byzantine" Empire architecture and mosaic work. the mosaic of the Emperor Justinian and his court in the sanctuary of the church of San Vitale in Ravenna, Ital The authority of the emperor in the Christian plan of history. As heir to the tradition of Roman Emperors, Justinian sought to restore the territorial boundaries of the Empire. As the Christian Emperor, he saw himself as the defender of the faith. As such it was his duty to establish religious uniformity or Orthodoxy throughout the Empire. In the mosaic Justin is center and he is flanked by members of the clergy on the left and members of the imperial administration on the right.

Peplos Kore

c. 530 B.C.E. Draping gown --> female figure is not emphasized Left foot forward Bilateral symmetry Grave Marker

Colosseum

c. 70-80 C.E. stone Oval (Flavian) ampitheatre Death of Roman Civilization Built on an artifical lake (Nero) Statue of the sun god Combination of Greek orders (Ionic and Corinithian) Animal slaughters, executions, and gladiator battles abattoir --> Place of death.

Head of a Roman Patrician

c. 75-50 BCE marble Seemingly wrinkled and toothless, with sagging jowls, the face of a Roman aristocrat stares at us across the ages. In the aesthetic parlance of the Late Roman Republic, the physical traits of this portrait image are meant to convey seriousness of mind (gravitas) and the virtue (virtus) of a public career by demonstrating the way in which the subject literally wears the marks of his endeavors. Verism can be defined as a sort of hyperrealism in sculpture where the naturally occurring features of the subject are exaggerated, often to the point of absurdity. In the case of Roman Republican portraiture, middle age males adopt veristic tendencies in their portraiture to such an extent that they appear to be extremely aged and care worn.

Pyxis of al-Mughira

c. 968 C.E. Carved ivory with traces of jade. Umayyad. Small jar used to hold perfume/cosmetics Horror vacui --> fear of empty space Design in every crease and crevice Luxury object for the wealthy Calligraphic element towards the top Zoomorphic images because it's a personal item Four medallions showing scenes from royal court Show hunting, falconry, sports, and music Falcon eggs to show royal lineage

Cathedral of Notre Dame de Chartres

c.1145 and 1194-c.1220 Limestone Chartes, France Gothic --> Height, light (of God), Pointy buttresses, stained glass (name coined by Giorgio Vasari) anti-Romanesque (too scary) (Abbot Suger) Relic of the Virgin Mary --> the tunic of the virgin Use to include a school (School of Chartes) and a hospital Facade has a tower on the left center and right Old testement figures on the top Plate tracery (instead of bar tracery) --> rose window Three portals with sculptures tympanum --> The basically semicircular area enclosed by the arch above the lintel of an arched entrance (Jesus in a mandola) Hierarchy of scale The enunciation --> angel Gabriel informs Mary that she is pregnant with Jesus Left is before Christ takes human form (before time), second is his entrance, and third is the second coming of Christ (end of time) Funded by royal families Inhuman figures Basilica has vaults The tunic of the virgin Mary was saved from the fire West front survived, interior is the beginning of high gothic Three part elevation Pointed groin vault Blue stained glass windows The porch is High Gothic, deeper portals (figures still look a bit byzantine)

Arena Chapel Lamentation

c.1305 Giotto Blue background --> made from lapis stones Christ is being mourned after being taken off the crucifix Lamentation --> Lament Mary holding her dead son Naturalism --> see only the backs of two figures, don't add to the narrative just create a frame and illusion of space --> foreshortening Angels also foreshorten Simple background, slope draws our eyes towards Jesus Analogy of the "dead" tree, that may come back to life in spring

The Lindisfarne Gospels

c.700 CE (Early Medieval) Lindisfarne (by Ireland) but Rome inspired Illuminated manuscript Saint Matthew (one of four gospels or evangelists, wrote down Jesus's story) St. Matthew has a winged man St. Mark has a Lion St. Luke has an ox St. John the evangelist has an eagle Cross-carpet pages, features a cross with interlacing designs, bird heads Compare to the Sutton Hoo gold belt buckle motif Metal work inspo Hiberno-Saxon "dinner plate" halo around each gospel

Reliquary of Sainte-Foy

early 11th century In the Church of Saint-Foy gold, silver gilt, jewels, and cameos over a wooden core Skull is inside Intermediary between Earth and heaven Refused to give into Pagan beliefs even under torture

Catacomb of Priscilla, Rome

late 2nd century - 4th century C.E. Excavated tufa and fresco (fresco = painting on a wall) Late Roman empire Early Christians were pagan converts of from Jewish sects Burial Practice Confraternities --> family groups, would pay for these spaces Burial spaces for families Good Shepard imagery Contrappasto Sheep, quails (quails represent earthly life/ peacocks = heaven) Another stands in an orant (prayerful) pose Not symmetry but balance, circle = perfect form Return to religous conservatism Roman technique, Greek figure --> Syncretism = classical style, christian subjects

Virgin (Theotokos) and Child between Saints Theodore and George

sixth or early seventh century encaustic on wood One of thousands of important Byzantine images, books, and documents preserved at St. Catherine's Monastery, Mount Sinai (Egypt) is the remarkable encaustic icon painting of the Virgin (Theotokos) and Child between Saints Theodore and George ("Icon" is Greek for "image" or "painting" and encaustic is a painting technique that uses wax as a medium to carry the color). Visual: Shows the Virgin and Child flanked by two soldier saints, St. Theodore to the left and St. George at the right. Above these are two angels who gaze upward to the hand of God, from which light emanates, falling on the Virgin. Space appears compressed, almost flat Spatial Recession People stand erect with a gaze at the viewer Contextual: The faces are modeled; we see the same convincing modeling in the heads of the angels and the ease with which the heads turn almost three-quarters. Ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world. Unmistakable sense of visual movement inward and upward Zones of holiness suggest a cosmos of the world, earth and real people

Olympia

Édouard Manet 1863 Oil on canvas Subverting traditional depiction Recumbant nude female figure Modernist --> Realism and Impressionism Cat (adam and eve by durer) doesn't have fido Cat is associated with female temptation and sexuality Another figure in the background --> servant. Presenting a basket of flowers Prostitute Painting the working class Modern --> not biblical, not mythological, modern day figure No longer trying to depict reality --> they have photohgraphy for that.